It's music with me. It's made me an EXCELLENT note-reader and after 20 years of doing this I can "play through" most anything on clarinet or piano on sight.
I've recently taken up handbells, though. While I enjoy composing music more than anything, my interest has been in notated music rather than other ways of learning. My wife and I play duets, and while I learn best by reading music, she doesn't read a note of it and the nature of solo bell playing is such that playing bells while reading notated music is nearly impossible to do. So I help her learn the notes and she helps me with choreography and bit by bit we memorize my compositions.
My sight-reading ability is also tied to my strict attention to detail when I notate my own compositions, so I obsess over the "look" and "feel" of a musical score in making sure that there are no vertical collisions of various markings and that the conductor has no problem at all following it. I number each measure and, in addition, add large rehearsal numbers in rectangular enclosures. I'm just as detailed in my part extractions, and I even obsess over the articulations and expressions of every single note. When I wrote my big work for string quartet and piano, I must have included bowing indications 1/3 of all notes! I even wrote what part of the bow I wanted used and where on the string I wanted the bow. I particularly like the effect of the frog at the bridge on a tremelo, and I was absolutely disgusted that the cellist completely ignored my intentions during that one passage.
I trust no one to handle my music the way I want it done. I'm learning to "let go" a little bit, but it's terribly difficult for me to do.
Part of what has helped me break from this has been playing in a rock band in which I had no way to prepare for rehearsals and I had to instantly learn songs by ear or quick walk-throughs with one of the guitarists. After memorizing so many chord progressions and having two university music degrees behind me to begin with, playing by ear is almost second nature to me now. It took a long time to get there, but I'm surprised how much doing things like that has helped me move from composing for the eyes to composing for the ears. I don't even start by writing anymore--I play my ideas from a keyboard, record them, carefully edit long sequences, and use notation software to "clean up" my recorded performances. In the past I took just as much time actually writing notes as I did editing, so my change of approach has cut the time it takes to compose in half.
There are ways to move past obsessions and "stereotyped patterns of interest," but as it has happened for me it takes a LONG time to accomplish completely.