Brain-computer interfaces (BCIs) have attracted much attention recently, triggered by new scientific progress in understanding brain function and by impressive applications. The aim of this review is to give an overview of the various steps in the BCI cycle, i.e., the loop from the measurement of brain activity, classification of data, feedback to the subject and the effect of feedback on brain activity. In this article we will review the critical steps of the BCI cycle, the present issues and state-of-the-art results. Moreover, we will develop a vision on how recently obtained results may contribute to new insights in neurocognition and, in particular, in the neural representation of perceived stimuli, intended actions and emotions. Now is the right time to explore what can be gained by embracing real-time, online BCI and by adding it to the set of experimental tools already available to the cognitive neuroscientist. We close by pointing out some unresolved issues and present our view on how BCI could become an important new tool for probing human cognition.

Moving to music is intuitive and spontaneous, and music is widely used to support movement, most commonly during exercise. Auditory cues are increasingly also used in the rehabilitation of disordered movement, by aligning actions to sounds such as a metronome or music. Here, the effect of rhythmic auditory cueing on movement is discussed and representative findings of cued movement rehabilitation are considered for several movement disorders, specifically post-stroke motor impairment, Parkinson's disease and Huntington's disease. There are multiple explanations for the efficacy of cued movement practice. Potentially relevant, non-mutually exclusive mechanisms include the acceleration of learning; qualitatively different motor learning owing to an auditory context; effects of increased temporal skills through rhythmic practices and motivational aspects of musical rhythm. Further considerations of rehabilitation paradigm efficacy focus on specific movement disorders, intervention methods and complexity of the auditory cues. Although clinical interventions using rhythmic auditory cueing do not show consistently positive results, it is argued that internal mechanisms of temporal prediction and tracking are crucial, and further research may inform rehabilitation practice to increase intervention efficacy.

Ondansetron is a selective 5-hydroxytryptamine 3 (5-HT 3 ) receptor antagonist that has been introduced to clinical practice as an antiemetic for cancer treatment-induced and anesthesia-related nausea and vomiting. Its use under these circumstances is both prophylactic and therapeutic. It has a superior efficacy, safety and pharmacoeconomic profile compared with other groups of antiemetics, namely antidopaminergics, antihistamines and anticholinergics. However, its place in the management of anticipatory and delayed vomiting in cancer treatment and as a rescue antiemetic in surgical patients needs to be further explored. Furthermore, recent animal and human research also reflects its possible novel application in the treatment of other disease states, such as alcoholism, cocaine addiction, opioid withdrawal syndrome, anxiety disorders, gastrointestinal motility disorders, Tourette's syndrome and pruritus. This review revisits the widespread physiological and pathological effects of 5-HT and discusses both the basic science literature and the clinical developments responsible for the conventional and novel uses of ondansetron. In addition, new discoveries relating to the effects of ondansetron on other receptors/channels and their possible therapeutic applications are presented.

Perceiving musical rhythms can be considered a process of attentional chunking over time, driven by accent patterns. A rhythmic structure can also be generated internally, by placing a subjective accent pattern on an isochronous stimulus train. Here, we investigate the event-related potential (ERP) signature of actual and subjective accents, thus disentangling low-level perceptual processes from the cognitive aspects of rhythm processing. The results show differences between accented and unaccented events, but also show that different types of unaccented events can be distinguished, revealing additional structure within the rhythmic pattern. This structure is further investigated by decomposing the ERP into subcomponents, using principal component analysis. In this way, the processes that are common for perceiving a pattern and self-generating it are isolated, and can be visualized for the tasks separately. The results suggest that top-down processes have a substantial role in the cerebral mechanisms of rhythm processing, independent of an externally presented stimulus.

a b s t r a c t a r t i c l e i n f oIn the current study we use electroencephalography (EEG) to detect heard music from the brain signal, hypothesizing that the time structure in music makes it especially suitable for decoding perception from EEG signals. While excluding music with vocals, we classified the perception of seven different musical fragments of about three seconds, both individually and cross-participants, using only time domain information (the event-related potential, ERP). The best individual results are 70% correct in a seven-class problem while using single trials, and when using multiple trials we achieve 100% correct after six presentations of the stimulus. When classifying across participants, a maximum rate of 53% was reached, supporting a general representation of each musical fragment over participants. While for some music stimuli the amplitude envelope correlated well with the ERP, this was not true for all stimuli. Aspects of the stimulus that may contribute to the differences between the EEG responses to the pieces of music are discussed.