Wonderland by Steven Johnson
One premise unites both sides in this debate: that music “presses our pleasure buttons,” as Pinker describes it. Yet there is something too simple in describing our appetite for music in this way. Sugar and opiates, to give just two examples, press pleasure buttons in the brain in a relatively straightforward fashion. Given a taste of one, we instinctively return for more of the same, like those legendary lab rats endlessly pressing the lever for more stimulants. And we put our ingenuity to work concocting ever-more-efficient delivery mechanisms for these forms of pleasure: we refine opium into heroin; we start selling soda in Big Gulp containers. But music—like the patterns and colors unleashed by the fashion revolution—appears to resonate with our pleasure centers at more of an oblique angle. The pleasure in hearing those captivating sounds doesn’t just establish a demand for more of the same. Instead, music seems to send us out on a quest for new experiences: more of the same, but different.