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The Evolutionary Basis of Meaning in Music: Some Neurological and Neuroscientific Implications (I Cross); Historical Perspectives on the Study of Music in Neurology (J K Johnson et al.); The Creative Brain: Fundamental Features, Associated Conditions and Unifying Neural Mechanisms (S Blunt); The Neurologist in the Concert Hall and the Musician at the Bedside (G York III); The Human Nervous System — A Clavichord? On the Use of Metaphors in the History of Modern Neurology (F Stahnisch); The Musician’s Brain as a Model for Adaptive and Maladaptive Plasticity (E Altenmüller); Temporal Co-ordination of the Two Hands in Playing the Violin (M Wiesendanger); Music as a Calibrator of Time: Auditory Processing (S Jones); Musical Reading and Writing (J Brust); “Fools at Musick” — Thomas Willis on Congenital Amusia (M Lorch); Musicogenic Epilepsy (J Murray); Musical Hallucinations (S Evers); Alwa Glebe’s Imitatio Nietzsche: On Elective Affinities between Migraine-Inspired Artists (K Podoll); Musical Palinacousis as an Aura Symptom in Persistent Aura Without Infarction (K Podoll); Coloured-Hearing Synaesthesia in Nineteenth-Century Italy (L Lorusso & A Porro); Crossed Wires: Synaesthetic Responses to Music (I Moseley); The Recognition of Music in Frontotemporal Lobar Degeneration (J Johnson); Maurice Ravel and the Music of the Brain (O Selnes); Cerebrovascular Disorders of Baroque Composers (T Breitenfeld et al.); From Sensibility to Madness in Late Nineteenth-Century Romanticism — Neurosyphillis in German-Speaking Composers (M Hennerici & H Bäzner); ; Singing: When It Helps (G Schlaug); Singing Improves Word-Production in Patients with Aphasia (G O Skeie et al.); Nerve Compression Syndromes in Musicians — A Surgeon’s View (I Winspur); Focal Hand Dystonia Affecting Musicians (K Butler & K Rosenkranz).

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