Co-Planar Stereotaxic Atlas of the Human Brain—3-Dimensional Proportional System: An Approach to Cerebral Imaging, J. Talairach, P. Tournoux. Georg Thieme Verlag, New York (1988), 122 pp., 130 figs. DM 268

Suicidal behavior is a leading cause of injury and death worldwide. Information about the epidemiology of such behavior is important for policy-making and prevention. The authors reviewed government data on suicide and suicidal behavior and conducted a systematic review of studies on the epidemiology of suicide published from 1997 to 2007. The authors' aims were to examine the prevalence of, trends in, and risk and protective factors for suicidal behavior in the United States and cross-nationally. The data revealed significant cross-national variability in the prevalence of suicidal behavior but consistency in age of onset, transition probabilities, and key risk factors. Suicide is more prevalent among men, whereas nonfatal suicidal behaviors are more prevalent among women and persons who are young, are unmarried, or have a psychiatric disorder. Despite an increase in the treatment of suicidal persons over the past decade, incidence rates of suicidal behavior have remained largely unchanged. Most epidemiologic research on suicidal behavior has focused on patterns and correlates of prevalence. The next generation of studies must examine synergistic effects among modifiable risk and protective factors. New studies must incorporate recent advances in survey methods and clinical assessment. Results should be used in ongoing efforts to decrease the significant loss of life caused by suicidal behavior.

/pdf/suicide-and-suicidal-behavior-41x9ufvkfm.pdf

Suicide and Suicidal Behavior

https://www.ece.uvic.ca/~bctill/papers/learning/Kringelbach_Rolls_2004.pdf

The functional neuroanatomy of the human orbitofrontal cortex: evidence from neuroimaging and neuropsychology

http://mriquestions.com/uploads/3/4/5/7/34572113/language_review1-s2.0-s1053811912004703-main.pdf

A review and synthesis of the first 20 years of PET and fMRI studies of heard speech, spoken language and reading

Meta-analyzing left hemisphere language areas: Phonology, semantics, and sentence processing

Participants listened to randomly selected excerpts of popular music and rated how nostalgic each song made them feel. Nostalgia was stronger to the extent that a song was autobiographically salient, arousing, familiar, and elicited a greater number of positive, negative, and mixed emotions. These effects were moderated by individual differences (nostalgia proneness, mood state, dimensions of the Affective Neurosciences Personality Scale, and factors of the Big Five Inventory). Nostalgia proneness predicted stronger nostalgic experiences, even after controlling for other individual difference measures. Nostalgia proneness was predicted by the Sadness dimension of the Affective Neurosciences Personality Scale and Neuroticism of the Big Five Inventory. Nostalgia was associated with both joy and sadness, whereas nonnostalgic and nonautobiographical experiences were associated with irritation.

Music-evoked nostalgia: affect, memory, and personality.

Western tonal music relies on a formal geometric structure that determines distance relationships within a harmonic or tonal space. In functional magnetic resonance imaging experiments, we identified an area in the rostromedial prefrontal cortex that tracks activation in tonal space. Different voxels in this area exhibited selectivity for different keys. Within the same set of consistently activated voxels, the topography of tonality selectivity rearranged itself across scanning sessions. The tonality structure was thus maintained as a dynamic topography in cortical areas known to be at a nexus of cognitive, affective, and mnemonic processing.

/pdf/the-cortical-topography-of-tonal-structures-underlying-4ewluv003g.pdf

The cortical topography of tonal structures underlying Western music.

The urge to move in response to music, combined with the positive affect associated with the coupling of sensory and motor processes while engaging with music (referred to as sensorimotor coupling )i n a seemingly effortless way, is commonly described as the feeling of being in the groove. Here, we systematically explore this compelling phenomenon in a population of young adults. We utilize multiple levels of analysis, comprising phenomenological, behavioral, and computational techniques. Specifically, we show (a) that the concept of the groove is widely appreciated and understood in terms of a pleasurable drive toward action, (b) that a broad range of musical excerpts can be appraised reliably for the degree of perceived groove, (c) that the degree of experienced groove is inversely related to experienced difficulty of bimanual sensorimotor coupling under tapping regimes with varying levels of expressive constraint, (d) that high-groove stimuli elicit spontaneous rhythmic movements, and (e) that quantifiable measures of the quality of sensorimotor coupling predict the degree of experienced groove. Our results complement traditional discourse regarding the groove, which has tended to take the psychological phenomenon for granted and has focused instead on the musical and especially the rhythmic qualities of particular genres of music that lead to the perception of groove. We conclude that groove can be treated as a psychological construct and model system that allows for experimental exploration of the relationship between sensorimotor coupling with music and emotion.

/pdf/sensorimotor-coupling-in-music-and-the-psychology-of-the-5cs2hq6vjr.pdf

Sensorimotor Coupling in Music and the Psychology of the Groove

O VER THE PAST 25 YEARS OUR UNDERSTANDING of how music interacts with the human mind and brain has grown rapidly, and multimedia technologies have augmented the ways in which we engage with music. In Embodied Music Cognition and Mediation Technology, Marc Leman examines how these developments might be unified into something that is simultaneously a theory of music cognition and a blueprint for the music mediation technology of the future. Mediation refers to the mappings between the intentions and desires on the part of active musical participants and the technology that renders the music. The main mediating principle elaborated on in the monograph, which is more intellectual discourse than textbook, is rooted in the belief that musical interactions are socially charged, embodied affairs. Thus, individuals understand music in the same way that they understand others’ intentions during social interaction, and expressive intentions are attributed to music because patterns of sonic energy evoke bodily gestures that are meaningful to an individual due to his or her personal history as an active participant within a cultural environment. The first three chapters contextualize the embodied music cognition approach. In Chapter 1, Leman sets the scene by making clear the challenges that face those who are concerned with how subjective musical experiences are linked to physical sound patterns. Chapter 2 then deals with the diversity of paradigms that are relevant to the business of interdisciplinary music research. Here Leman adeptly identifies relationships between trends in music research, such as the emergence of systematic musicology, and landmark developments in the discipline of psychology, such as the advent of the Gestalt school and cognitivism. He also charts the progress made in the fields of technology, information theory, and computational modeling, with well selected philosophical matter visited along the way. This serves as a historical prelude to the birth of the modern embodied cognition paradigm, which asserts that, “knowledge does not emerge from passive perception, but from the need to act in an environment” (p. 43). In Chapter 3, Leman expands upon this ecological theme with a view toward music mediation technology, developing the premise that mediating technology should exploit the way in which individuals naturally engage themselves with music. The ensuing chapters delve into the details of what embodied music cognition means. Chapters 4 and 5 build a case for why it makes sense to think about engagement with music in terms of corporeal articulations and action-based ontologies, and how these lead to pleasurable experiences with music, whereas Chapters 6 and 7 describe how this type of framework might play itself out in musical instrument and music retrieval technologies. Throughout these chapters, Leman articulates a framework in which performer/music/listener interactions can be structured/mediated. The framework contends with the formidable challenges inherent in mapping between the intentions, actions, and percepts of individuals and very specific musical signals. Ultimately, the problem is one of identifying relationships between semantics and musical structure, and then specifying the technological requirements for accomplishing the translation from one to the other. Leman breaks the problem down into three interacting conceptual levels, which he talks about as first-person, second-person, and third-person descriptions. Thirdperson descriptions are objective representations of the structural features of the music, whereas first-person descriptions are subjectively assigned semantic labels that refer to expressive intentions. According to Leman, previous approaches to understanding music (e.g., traditional musicology) have fixated upon these two levels of description without giving adequate treatment to the “rules” that govern the mapping between objective representations and subjective interpretations. Such rules are needed to achieve his scientific goal of developing a complete theory of music, as well as his practical goal of developing a successful mediation technology. The key to Leman’s solution is the proposal that an understanding of musical intentions requires third-person and first-person descriptions to be linked via second-person descriptions, which are corporeal in nature. At this intermediate level, expressive bodily gestures from an individual’s repertoire of actions are used to describe moving sonic forms in a manner that the individual can interpret based on his or

https://www.jstor.org/stable/info/10.1525/mp.2009.26.3.289

Petr Janata

Papers

Music-evoked nostalgia: affect, memory, and personality.

The cortical topography of tonal structures underlying Western music.

Sensorimotor Coupling in Music and the Psychology of the Groove

Embodied music cognition and mediation technology

Activation of the inferior frontal cortex in musical priming.