An Engagingly Written Text That Bridges the Gap Between Neuroanatomy and Clinical Neurology Clinical Neurology and Neuroanatomy provides a clear, logical discussion of the relationship between neuroanatomy, clinical localization, and the diagnosis and treatment of neurologic disease. Written in a concise, conversational style, this unique text offers a valuable overview of fundamental neuroanatomy and the clinical localization principles necessary to diagnose and treat patients with neurologic diseases and disorders. The text is divided into main sections. Part I teaches the neuroanatomy essential for clinical localization and demonstrates how to apply this knowledge to clinical reasoning in developing a differential diagnosis for common neurologic symptoms including weakness, sensory changes, visual loss, ataxia, diplopia, anisocoria, and dizziness. A detailed overview of the neurologic examination and a primer on interpretation of neurodiagnostic tests with a focus on neuroimaging and CSF analysis is also included. Part II provides an up-to-date synthesis of the diagnosis and treatment of neurologic diseases including epilepsy, stroke, neurologic infections, demyelinating diseases, dementia, movement disorders, neurologic complications of cancer and its treatment, and conditions of the peripheral nervous system. More than 50 radiologic images of common and rare neurologic conditions and over 30 tables summarizing key aspects of various conditions and their treatment are featured. Clinical Neurology and Neuroanatomy is an ideal companion for students on their neurology rotation, neurology residents, and any healthcare practitioner looking for a quick, clear, up-to-date resource in neurology. NEW IN THE UPDATED AND EXPANDED SECOND EDITION 26 new full-color neuroanatomy illustrations plus numerous high-resolution MRI and CTI scans New sections on multiple cranial neuropathies, vertical diplopia, basal ganglia circuitry, functional movement disorders, neurologic complications of immune checkpoint inhibitors and CAR T-cell therapy, and antibody-mediated neurologic diseases Updated and expanded tables including new treatments for seizures, multiple sclerosis, and migraine; recently described autoantibody-mediated conditions; and revised classification of brain tumors Updated chapter on strokes reviews the latest clinical trial data on acute stroke treatments, use of dual antiplatelet regimens, and PFO closure

The ability to improvise represents one of the highest levels of musical achievement. An improviser must master a musical language to such a degree as to be able to spontaneously invent stylistically idiomatic compositions on the spot. This feat is one of the pinnacles of human creativity, and yet its cognitive basis is not completely understood. What musical knowledge is required for improvisation? How does a musician learn to improvise? How is this knowledge used in performance? What are the neural correlates of improvised performance? In 'The Improvising Mind', these questions are explored through an interdisciplinary approach that draws on cognitive neuroscience, the study of historical pedagogical treatises on improvisation, interviews with improvisers, and musical analysis of improvised performances. Findings from these treatises and interviews are discussed from the perspective of cognitive psychological theories of learning, memory, and expertise. Musical improvisation has often been compared to 'speaking a musical language'. While past research has focused on comparisons of music and language perception, few have dealt with the music - language comparison in the performance domain. In this book, learning to improvise is compared with language acquisition, and improvised performance is compared with spontaneous speech from both theoretical and neurobiological perspectives. Tackling a topic that has hitherto received little attention,The Improvising Mind is a valuable addition to the literature in music cognition. This book will be of interest to musicologists, music theorists, cognitive neuroscientists and psychologists, musicians, music educators, and anyone with an interest in creativity.