Analytical Concordance of PD-L1 Assays Utilizing Antibodies From FDA-Approved Diagnostics in Advanced Cancers: A Systematic Literature Review.

Unlabelled: Four programmed death ligand 1 (PD-L1) immunohistochemistry assays (28-8, 22C3, SP263, and SP142) have been approved for use by the US Food and Drug Administration (FDA). Analytical concordance between these assays has been evaluated in multiple studies. This systematic review included studies that investigated the analytical concordance of immunohistochemistry assays utilizing two or more PD-L1 antibodies from FDA-approved diagnostics for evaluation of PD-L1 expression on tumor or immune cells across a range of tumor types and algorithms.

Tonal and "Anti-Tonal" Cognitive Structure in Viennese Twelve-Tone Rows.

We show that the twelve-tone rows of Arnold Schoenberg and Anton Webern are "anti-tonal"-that is, structured to avoid or undermine listener's tonal schemata. Compared to randomly generated rows, segments from Schoenberg's and Webern's rows have significantly lower fit to major and minor key profiles. The anti-tonal structure of Schoenberg's and Webern's rows is still evident when we statistically controlled for their preference for other row features such as mirror symmetry, derived and hexachordal structures, and preferences for certain intervals and trichords.

Analysis of real-world PD-L1 IHC 28-8 and 22C3 pharmDx assay utilisation, turnaround times and analytical concordance across multiple tumour types.

Aims: Programmed death-1/programmed death ligand 1 (PD-1/PD-L1) inhibitor therapy is accompanied by companion or complementary PD-L1 testing in some tumour types. We investigated utilisation of the Dako PD-L1 IHC 28-8 and 22C3 pharmDx assays and the Ventana PD-L1 (SP142) assay and evaluated concordance between the 28-8 and 22C3 assays in a real-world cohort of patients tested at a single US national reference laboratory.

Methods: NeoGenomics Laboratories performed PD-L1 testing on tumour samples between October 2015 and March 2018.

On the Enjoyment of Sad Music: Pleasurable Compassion Theory and the Role of Trait Empathy.

Drawing on recent empirical studies on the enjoyment of nominally sad music, a general theory of the pleasure of tragic or sad portrayals is presented. Not all listeners enjoy sad music. Multiple studies indicate that those individuals who enjoy sad music exhibit a particular pattern of empathic traits.

Musical Aesthetics: Uncertainty and Surprise Enhance Our Enjoyment of Music.

How does music give pleasure? A recent study of harmony in popular music suggests that the pleasure of listening to music is linked to two characteristic interactions between uncertainty and surprise.

Word Intelligibility in Multi-voice Singing: The Influence of Chorus Size.

Objective: This study investigated how the intelligibility of sung words is influenced by the number of singers in a choral music style.

Methods: The study used repeated measures factorial. One hundred forty-nine participants listened to recordings of spoken and sung English words and attempted to identify the words.

The sounds of safety: stress and danger in music perception.

As with any sensory input, music might be expected to incorporate the processing of information about the safety of the environment. Little research has been done on how such processing has evolved and how different kinds of sounds may affect the experience of certain environments. In this article, we investigate if music, as a form of auditory information, can trigger the experience of safety.

Affect induction through musical sounds: an ethological perspective.

How does music induce or evoke feeling states in listeners? A number of mechanisms have been proposed for how sounds induce emotions, including innate auditory responses, learned associations and mirror neuron processes. Inspired by ethology, it is suggested that the ethological concepts of signals, cues and indices offer additional analytic tools for better understanding induced affect. It is proposed that ethological concepts help explain why music is able to induce only certain emotions, why some induced emotions are similar to the displayed emotion (whereas other induced emotions differ considerably from the displayed emotion), why listeners often report feeling mixed emotions and why only some musical expressions evoke similar responses across cultures.

The psychological functions of music listening.

Why do people listen to music? Over the past several decades, scholars have proposed numerous functions that listening to music might fulfill. However, different theoretical approaches, different methods, and different samples have left a heterogeneous picture regarding the number and nature of musical functions. Moreover, there remains no agreement about the underlying dimensions of these functions.

Eyebrow movements and vocal pitch height: evidence consistent with an ethological signal.

When asked to sing a high pitch, people produce a facial expression that is judged more friendly compared with singing a low pitch [Huron et al. (2009). Empirical Musicology Rev.

Changing the Tune: Listeners Like Music that Expresses a Contrasting Emotion.

Theories of esthetic appreciation propose that (1) a stimulus is liked because it is expected or familiar, (2) a stimulus is liked most when it is neither too familiar nor too novel, or (3) a novel stimulus is liked because it elicits an intensified emotional response. We tested the third hypothesis by examining liking for music as a function of whether the emotion it expressed contrasted with the emotion expressed by music heard previously. Stimuli were 30-s happy- or sad-sounding excerpts from recordings of classical piano music.

Two challenges in cognitive musicology.

Two themes in music cognition research are highlighted--inspired by the contributions in this volume: (a) statistical learning and (b) evolutionary theorizing. Our ability to test alternatives to statistical learning is threatened by the rapidly diminishing opportunities for cross-cultural studies unconfounded by bimusicalism. Our ability to infer possible evolutionary origins for music is confounded by the "hedonic plenitude" of modern music-making--where multiple pleasure channels are activated simultaneously.

Soluble adenylyl cyclase is required for netrin-1 signaling in nerve growth cones.

Growth cones at the tips of nascent and regenerating axons direct axon elongation. Netrin-1, a secreted molecule that promotes axon outgrowth and regulates axon pathfinding, elevates cyclic AMP (cAMP) levels in growth cones and regulates growth cone morphology and axonal outgrowth. These morphological effects depend on the intracellular levels of cAMP.

Bicarbonate-responsive "soluble" adenylyl cyclase defines a nuclear cAMP microdomain.

Bicarbonate-responsive "soluble" adenylyl cyclase resides, in part, inside the mammalian cell nucleus where it stimulates the activity of nuclear protein kinase A to phosphorylate the cAMP response element binding protein (CREB). The existence of this complete and functional, nuclear-localized cAMP pathway establishes that cAMP signals in intracellular microdomains and identifies an alternate pathway leading to CREB activation.

A novel pyridopyrimidine inhibitor of abl kinase is a picomolar inhibitor of Bcr-abl-driven K562 cells and is effective against STI571-resistant Bcr-abl mutants.

Inhibition of the constitutively active Bcr-abl tyrosine kinase(TK) by STI571 has proven to be a highly effective treatment for chronic myelogenous leukemia (CML). However, STI571 is only transiently effective in blast crisis, and drug resistance emerges by amplification of or development of mutational changes in Bcr-abl. We have screened a family of TK inhibitors of the pyrido [2,3-d]pyrimidine class, unrelated to STI571, and describe here a compound with substantial activity against STI-resistant mutant Bcr-abl proteins.