bluuebunny/crossref_metadata_2025 huggingface dataset:
Audiences, Critics and the Depurification of Music: Reflections on a 1920s Controversy
Authors: Franklin Peter
Published: January 2007

The tendency to accept that music has a social context while resisting its definition as a social commodity is not particular to the conservative wing of British musicology (albeit influenced by Carl Dahlhaus). The aesthetics of European musical idealism have consistently, and since well before Hanslick, opposed any suggestion that ‘serious’ music should be seen or heard to engage with the market-place, let alone that it might, willy-nilly, be in one. The cherishers of musical purity, however, are to be found not only amongst reactionary critics, with their specific culturally inherited involvement with the Classical style. Pre-1914 modernists and decadents saw the market-place as the creation and province of a philistine bourgeoisie and expressed an often uncompromising, anti-popular idealism of their own. Debussy in 1901 stated:

The enthusiasm of society spoils an artist for me, such is my fear that, as a result, he will become merely an expression of society

- a fear that would have been comprehended by the Viennese Schoenberg, who later formulated the belief that

no musician whose thinking occurs in the highest sphere would degenerate into vulgarity in order to comply with a slogan such as ‘Art for all'… . If it is art it is not for all, and if it is for all it is not art … .
Modal and Tonal Aspects in Two Compositions by Heinrich Schütz
Authors: Linfield Eva
Published: January 2007

Our understanding of the long-term tonal relationships that grow out of seventeenth-century harmonic language is at an elementary stage. An enormous gap seems to exist between our ability to deal with, on the one hand, a sixteenth-century compositional language that basically adheres to a contrapuntal technique and tonally abides by the rules of modality and, on the other, an eighteenth-century tonal language for which we quietly assume harmonic functionality. That scholars have largely avoided an investigation of harmonic language in the seventeenth century is perhaps surprising. Problematic and somewhat enigmatic features of seventeenth-century music are, in some cases, not very different from the characteristics Harold S. Powers attributed to late sixteenth-century modal music: ‘sometimes faintly exotic, often charmingly vague and undirected to our ears, but hardly alien’. Benito V. Rivera appeared to corroborate Powers's perception when he characterized some of the idiosyncrasies of seventeenth-century harmonic practice as ‘isolated harmonic quirkiness’.
Notes on Irish Music
Authors: Lacy F. St. John
Published: January 2007

It is the fashion now-a-days amongst the members of that class of society to whom the term of musical amateur belongs to express the greatest admiration for the folk-songs and melodies of the people. Unlike many of their tastes, this is one which, if rightly used, is worthy of great commendation, for nowhere can the characteristics and feelings of a nation be better read and understood than in the songs of their people. It is in their music that their real selves stand revealed, and it is in music that their inmost thoughts and feelings are expressed.
Further Thoughts about Singing
Authors: Penna Frederic
Published: January 2007

In continuing the subject upon which I had the honour of addressing the Musical Association last January, I should like, first, very briefly to call to your remembrance one topic upon which I then spoke, for, in the present paper, I shall have much occasion to refer to it. I allude to the important requisite that as vocal music is a union between poetry and “harmonised melody,” the most careful attention should be given that, in the combination, the various points demanding accent in the one should be responded to with perfect sympathy in the other. This, for the intelligent singer's sake, who is responsible for the perfection of the outcome. I stated to what notes in the diatonic scale, as well as dissonant notes generally, the accented words and syllables should be set. By the detailed observations I made, I implied, if I did not lay it down as a proposition, that singing was musical oratory, requiring that the delivery of the words should be rich in eloquence and in thorough accord with the sentiment of the music. Further thoughts with respect to this branch of the musical art, which I desire to place before you, will have a passing reference to the elocution of singing —the simple delivery of words; and then, and chiefly, to expression, musical and verbal; the full meaning of which I shall endeavour to show according to the view I take of the comprehension of the word. In the remarks I shall have occasion to make, if I may reckon upon your patience, will be seen the several reasons of my dwelling so much upon it. You will pardon my using very simple language, and giving a few rules well known to all thoughtful musicians who have made this branch a special study, that this paper may present some show of completeness. I shall have to make more than simple reference to translated songs, to transposed songs, and to what occasioned much argument and difference of opinion some few years since—musical pitch.
The Oratorio—Its Relation to Church Music
Authors: Cart Henry
Published: January 2007

It will be sufficient for our purpose in treating this question to take the definition of this Italian word “Oratorio,” which answers to the Latin and German “Oratorium” — the definition that you will find at the beginning of a very admirable article on the subject in Grove's Dictionary (to which I am much indebted), and which is couched in these words : “A Sacred Poem, usually of a dramatic character, sung throughout by Solo Voices and Chorus, to the accompaniment of a full Orchestra, but—at least in modern times —without the assistance of Scenery, Dresses, or Action.”
The Triune Element in Beethoven as Specially Exemplified in his Pianoforte Sonatas
Authors: Langley George
Published: January 2007

“Omne Trinum est perfectum.”–Old Latin adage.

Under the title of the “Triune Element in Beethoven” I propose to bring before your notice a certain feature of construction pervading his pianoforte sonatas. This feature consists in the occurrence three times in succession of a sentence or part of a sentence, or merely of a rhythm, figure, or some other fragment of a musical idea. The way in which I became conscious of it may not be without significance in estimating its true nature. Generally, a discovery of any peculiarity of musical construction is the result of analysis. But in this instance it was not so revealed. It came quite unsought. It merely dawned upon me as I played when my thoughts were far enough from anything pertaining to mere form. I mention this fact because it somewhat confirms mein my opinion that this three-fold repetition is not merely a matter of form, but of the essence of the thought, and further that it is not a mere characteristic of style, but an index of the mind. While this feature occurs so frequently in the pianoforte sonatas of Beethoven as to invest it with more or less significance, it is noticeable that it is only to be found to a very limited extent in the compositions of other great composers; and even where it does occur in them it rarely, and I think I may say never, possesses that logical force and that organic development that raise it in Beethoven's works from a dead form into a vital principle. This three-fold repetition would, therefore, appear in this higher sense as a characteristic peculiar to the great master.
Irish Church Composers and the Irish Cathedrals
Authors: Bumpus John S.
Published: January 2007

I closed the first portion of this paper, as you may doubtless remember, with a sketch of the life of Sir John Stevenson. I now beg to present to your notice a few details about one of his most distinguished contemporaries in the Dublin choirs. In 1795 the capitular authorities heard of a fine tenor at Lichfield, and, as the result of their negotiations, John Spray was induced, by the ample salary offered, to make the Irish metropolis his home. Spray was a native of Southwell, and he became a chorister in the Minster there under Thomas Spofforth, the organist, uncle of Reginald, the famous glee-writer, and of Samuel, who afterwards (1807–1864) held the appointment of organist of Lichfield Cathedral.
Orchestral and Choral Balance
Authors: Borland John E.
Published: January 2007

The subject of Orchestral and Choral Balance has by no means received the attention due to it from concert-givers, conductors, writers on music, or the public. It has occasionally called forth a casual remark from Press critics when something beyond the ordinary has been noticeable in a performance; writers on orchestration have touched upon it to some extent, and an occasional lecture has been devoted to it; but in nearly every case there has been a mere nibbling at the fringe of a great subject. Even where a general survey has been attempted, it has often taken the form of a sermon preached upon some definite text, such as, for example, the otherwise valuable paper read by Professor Prout before the last Conference of the Incorporated Society of Musicians. In that paper, Dr. Prout showed that his choice of the subject was due to his having noticed a few bad examples of ill-considered balance between choir and band, where the choir was numerically much too strong for the orchestra, such as at the Handel Festivals, to a smaller extent in the Albert Hall, and to a still smaller extent at the Festivals of Birmingham and Leeds. But this is only one aspect of the subject. And though one must admit that the indictment against these performances was justified, I fail to see any justification for a general attack in the same direction upon the relative proportions of bands and choirs in this country. It is sufficient to point out that though the band may be frequently overpowered by the choir at the Crystal Palace and at the Albert Hall, the complaint of many musicians who really know what they are talking about is that many choral societies are painfully overweighted by their accompaniments.
Chamber-Music
Authors: Cobbett W. W.
Published: January 2007

In order that the drift of my remarks may be at once perceived, I should like to state clearly the object of my paper. It is to give my reasons, after a lifetime of experience, for thinking that the private practice of chamber-music is so conducive to personal happiness as to be of real interest to the community at large, as well as to a small section of it, and to suggest a means for its extension and development.
On the Laws of Musical Expression, as Formulated by M. Lussy in His ‘Traité de L'expression Musicale.’
Authors: Curwen J. Spencer
Published: January 2007

This paper is addressed to teachers, rather than to artists. In it I present to you a summary of Lussy's Treatise on Musical Expression—a work published in Paris in 1874, and now in its second edition. I know nothing of the author beyond his own statement, that for twenty years he has been a professor of the pianoforte in Paris. His work is dedicated to M. Gevaert, principal of the Brussels Conservatoire, ‘who,’ says the author, ‘when illustrious theorists and composers declared that a treatise on expression was impossible, encouraged me to proceed and gave me valuable advice.’ Musical people all shake their heads at the notion of reducing to rule such an intangible thing as expression. As well, they will say, might we show a person how to love, as how to impart feeling to what he plays. Of course there is much truth in this, but let us try for the moment to allay our prejudices, and hear what M. Lussy has to say.
Progress and Pedantry: Some Modern Problems for the Theorist
Authors: Dunhill Thomas F.
Published: January 2007

A year or two ago an old friend and fellow-student of mine wrote me a letter in which he made some comments upon the character of modem music as it appeared to him. I have forgotten the exact wording of his criticisms, but it struck me at the time that there must be many musicians who have received, theoretical training similar to our own who would share sympathetically in my friend's bewilderment at the tendencies of the day, and find it hard to reconcile them with anything which they had been taught in their youth. And so I made a mental note of his comments, meaning when opportunity arose to thrash the matter out.
The National School of Virginal Music in Elizabethan Times
Authors: Glyn Margaret H.
Published: January 2007

From the earliest times England had been a nest of singing birds, and music was the common heritage of all. In Elizabethan days there were not one or two fine virginal composers, but a whole school of them, as is evident from the MSS. that have survived. They may be named as follows: the earlier were Parsons, Tallis, Blitheman, Byrd, Bull, Giles Farnaby, Munday, Hooper, Morley, Robert Johnson, Phillips, Weelkes, Warrock, Inglott, Richardson; the later were Gibbons, Cosyn, Tomkins, Peerson, Edward Johnson, Richard Farnaby, Strogers, Bevin, Facy, while of four others—Tisdall, Marchant, Oldfield, and Crofurd—nothing is known.
On Some Recent Tendencies in Composition
Authors: Stanford Charles Villiers
Published: January 2007

In a most interesting reprint of Brahms' Commonplace Book, where will be found many of the most striking passages of all sorts and kinds of literature from the Bible to Macaulay and many modern authors of all nationalities, there occurs at the end a quotation from Diderot which very aptly comments on certain tendencies of the present day “Quand on désespère de faire une chose belle, naturelle et simple, on en tente une bizarre.”
The Orchestral Problem of the Future
Authors: Boult Adrian C.
Published: January 2007

It is a great pleasure to come here to-night to talk to so learned a gathering about a problem which interests me much but with which nevertheless I feel that I am not very well qualified to deal. It is a difficult problem and it has to be examined from all kinds of angles. We get sometimes on rather dangerous ground, but we must try to face the difficulties, and I hope to learn a great deal from the discussion which will follow.
On Beats and Combination Tones
Authors: Spottiswoode William
Published: January 2007

The ordinary phenomena of beats produced by two notes nearly in unison are well known. In fact, if the number of vibrations executed per second, or “the frequency” of that note be represented by n, and that of the upper note by n + m, then the number of beats per second will be equal to the difference of these numbers, viz., it will be equal to m. The phenomenon depends upon the fact that the more rapid motions of the higher note gradually gain upon those of the lower; and if at one moment the motions are coincident so as to augment the sound, then at the next moment the coincidence begins to fail. This failure of coincidence continues to increase as time goes on; and at last the movements pass into a phase of complete opposition, so that if the two notes are originally of the same intensity, they completely neutralise one another.
The Balance of Expression and Design in Music (III)
Authors: Hadow W. Henry
Published: January 2007

I need hardly say that these addresses have no claim to be regarded as lectures on Musical History. It is impossible with the time at command to do more than deal with certain isolated aspects of the Art and especially with those which are particularly open to controversy. I have not, for instance, said anything about Beethoven, not because there is at present no controversy about his work for I understand that there is a good deal, but because he has been so definitively treated in the famous chapter of Sir Hubert Parry's “Art of Music” that I do not see how we at the present time can have anything profitable to add. Nor have I dealt with the old controversy of Brahms and Wagner (which occupied the world so much in my younger days) because at the moment there has settled a sort of twilight on their names through which we do not see their lineaments very clearly. I believe myself that this is only a temporary obscuration and that they, or at any rate, the best of their work, will emerge all the better after it. We shall begin to see, for example, the importance of Wagner's design and the genuineness of Brahms' passion. But for the present, within my restricted limits, I would rather leave them on one side and proceed to discuss some aspects of contemporary music. I say again advisedly “some” for the field of survey is so enormous—much larger than it has ever been before—that I cannot hope to do more than take a few examples as illustrative of particular points.
Charles Villiers Stanford: Some Aspects of his Work and Influence
Authors: Dunhill Thomas F.
Published: January 2007

It has become the fashion with the youth of to-day to speak contemptuously of the state of music in this country during the second half of the nineteenth century. The word Victorian, once a symbol of greatness, is now held to denote a kind of complacent sentimentalism.
The Eton Manuscript
Authors: Hughes Dom Anselm
Published: January 2007

In a paper which I had the honour of reading before the Musical Association in 1924 I referred to the long and mysterious gap in English Musical History between 1240 and 1415, and attempted to begin (or to further) the task of filling it in. It would seem arguable that our attention might now be turned to the task of working steadily backwards from 1440, or whatever date we like to put down for the climax of Dunstable's career: for much of Dunstable's work is now accessible for criticism in the publications of the Trent Codices edited by Drs. Adler and Köller (vide Proceedings of the Musical Association for March, 1921) and further details of his bibliography are now coming to light. But before we can do this there is, as the late Mr. Barclay Squire said in one of the last letters he wrote to me, a preliminary period to be dealt with: for after Dunstable's English career closed (if indeed he ever had an English career, which is open to doubt) it seems to be admitted by scholars that there was a fifty years' period of stagnation, or even of decline: certainly a cessation of the proud rôle of teacher to the Netherland School. This may be so: but we are fortunate in being led by scholars of the type of M. van den Borren, who qualify their statements and do not dogmatise on admittedly scanty evidence: and they will be the first to admit that it may not have been so, that the pre-eminence of Dunstable and other English musicians may have continued through the latter part of the century, but that the evidence has been destroyed: and as an incurable optimist I insist on my right to hope that we shall be able to work at filling in this second gap from 1440 to 1490 without being forced to admit the theory of a fifty years' decline. Mr. H. B. Collins, well known to the Musical Association, will begin on the 28th of April, at a lecture before the Plainsong and Mediaeval Music Society, to fill in this gap with a paper on the anonymous “Missa O Quam Suavis” from Cambridge University Library, now in process of publication. And if we fail to reconstruct the progress of this fifty years we can then fall back, with perfect logical and historiographical propriety, upon the Decline theory, and shall be ready to admit it as the only working hypothesis.
Music in the Chapel of King Henry VI
Authors: Hughes Dom Anselm
Published: January 2007

Used geographically, the title “Chapel of King Henry VI” may naturally turn the mind, especially the musical mind, to King's Chapel at Cambridge; but, as you will have seen from the printed syllabus, I am using the title in the historical sense, as applied to the Chapel of St. George in Windsor Castle, the chapel in which Henry worshipped, and for which he actually wrote music.
Early Classical Symphonies
Authors: Carse Adam
Published: January 2007

At the end of the seventeenth century the concert-symphony, as we now understand that term, was unknown; at the end of the eighteenth it was the most important form of purely orchestral music, and a moderate estimate is that considerably more than 1,500 such works had been written. The later and mature symphonies by Haydn and Mozart were then in existence, and the next quarter-century was to see the advent of all the Beethoven and of most of the Schubert symphonies. If we base our knowledge of symphonies only on those which are commonly played in our concert-rooms, we might reasonably suppose that this form of music came into being rather suddenly during the last quarter of the 18th century, and that Haydn and Mozart were its joint creators. The story of the symphony, however, begins before either of these two composers was born, and the establishment and consolidation of this vital orchestral form belongs to a period which predates that in which the mature and influential symphonies of both Haydn and Mozart made their appearances.
Mozart's Duets for One Pianoforte
Authors: Ferguson Howard
Published: January 2007

At first sight it may seem perverse to exclude Mozart's two-piano music from a paper concerned with his piano duets. But there is a fundamental difference between duets and two-piano music; and I would prefer to stress this difference rather than to ignore it.
The Vocal Style of Thomas Augustine Arne
Authors: Herbage Julian
Published: January 2007

There are today signs that Arne is at last emerging from a cloud of doubt as to his musical ability, a cloud originally laid on him by Dr. Burney, who wrote in his General History of Music:

Arne was never a close imitator of Handel, nor thought, by the votaries of that great musician, to be a sound contrapuntist.
The English Fantasy Suite
Authors: Arnold Cecily , Johnson Marshall
Published: January 2007

The words Fantasy, Fantasia, or Fancy are used infrequently in the earlier manuscripts of English instrumental music. ‘A fansie of Mr. Newman's’ in the Mulliner Book would seem to be about the first appearance, indicating its use in Henry VIII's time; and a ‘phancy’ by Edward Blankes occurs in a manuscript dated 1578. Thereafter the word is found more often, though much of the music is still untitled. The In Nomines, the pieces ‘uppon a plainsong’ or upon part of the gamut, the ‘poyntes’ and the evergreen canons are possibly titled to distinguish them from the general fantasy. Morley presumably includes all but the canon under the heading of Fantasy when describing that form in hisPlaine and Easie Introductionof 1597; but the In Nomines had their direct successors in works ‘to a ground’.
The Harpsichord Since 1800
Authors: Russell Raymond
Published: January 2007

Papers communicated to learned societies generally deal with the results of investigation into some little understood subject of historical interest. It is not often possible to carry that subject up to modern times and to discuss its present-day implications. That, however, is what I am able to do this evening. I have chosen to take the last years of the early keyboard instruments as my starting point, to draw attention to activities relating to them during the nineteenth century, and to outline the circumstances in which the manufacture of the harpsichord and clavichord began once more towards the end of that century. That will bring us to a date some sixty years ago, and I think that is far enough back to enable one to place those happenings in an historical perspective.
A Collection of English 18th Century Harpsichord Music
Authors: Pilkington C. Vere
Published: January 2007

Some time ago at a Council Meeting I was asked to do another Paper for this Association. Under this barrage, I did not like to refuse, but knew that I should have very little time for new research. However, there was one thing I have been doing steadily for thirty years or more which I think is possibly unique; and that is to collect English harpsichord music, and to study and play it on the harpsichord. Although my collection is not, and probably never can be complete, it seemed to me that much of the music was so rare, and never heard even on the Third Programme, that a lecture-recital on the subject might stimulate interest. And I thought that I would try and add to that interest by bringing for you to hear two quite different harpsichords.
Dating Purcell's Dido and Aeneas
Authors: Buttrey John
Published: January 2007

Although Dido and Aeneas is the first English opera which most people remember today, it is wrong to think that it was the first operatic work to be seen in London. That honour belongs to a through-composed French work, Ariane, ou le Mariage de Bacchus. This opera was performed only once, and that was at the Theatre Royal in Drury Lane on 30 March 1674. The music was the work of the French composer, Louis Grabu, who at that time was attached to the English court as Composer of the King's Musick. Then, about the same period, two English operas were seen at The Duke's Theatre in Dorset Garden. One was a version of Shakespeare's The Tempest, and the other was Psyche by Thomas Shadwell, but both of these pieces included spoken dialogue and do not concern us here. But a decade later, in 1685, the through-composed opera by Dryden and Grabu, Albion and Albanius, was given six performances at The Duke's Theatre. So it was Ariane and this work that were the predecessors of Purcell's opera.
Minstrelsy, Church and Clergy in Medieval England
Authors: Rastall Richard
Published: January 2007

A problem that continually makes its presence felt in the medieval field is that of the use of instruments in church. The sources of sacred music offer little internal evidence, and for a variety of reasons the evidence of the literary and visual arts must be treated with reserve. Many of us would now probably subscribe to F. Ll. Harrison's view that ‘… there is no evidence that any instruments but the organ were normally played in church. …’ It is with the exceptions implied by the word ‘normally’ that this paper is concerned. Documentary evidence shows that other instruments were indeed played in church—that has never been disputed. Granted that these occasions were in some way exceptional, we must set out to answer certain questions: in what circumstances were other instruments used ?—what instruments were involved?—and what traditions, if any, are represented by these apparently isolated occasions? It is the attempts to answer the last of these, especially, that have caused disagreement in the past.
St. Cecilia and Music
Authors: Luckett Richard
Published: January 2007

St. Cecily, a Roman virgin, beautiful, of noble and wealthy birth, ‘believing the Gospel, carried it alwaies about her, reading often thereon’. But her father betrothed her to Valerian, a young aristocrat who was not a Christian. He, ‘being inflamed with the love of Cecily, desired much the wedding day’. But Cecily ‘fasted, wept, and prayed continually’, desiring God to preserve her virginity, ‘for that this marriage was not by her desired … since she had given herself wholly to Jesus Christ’. Nevertheless the wedding took place and only afterwards, when she was alone with Valerian in the bridal chamber, was she able to tell him of ‘a waighty matter … I have an Angel of God in my company, who is jealous of me, and guardeth my body very diligently. If he see thee so hardy, as to come near, or touch me, with carnal or lascivious love, he will chastise thee rigorously; but if he see, that thou love me with pure and chast love, he will love thee, as he lovest me.’ Valerian, we are told, ‘hearing these words, was somewhat troubled’.
Improved Analysis of Unstable Bouncing Vibration and Stabilizing Design of Flying Head Slider in Near-Contact Region
Authors: Ono Kyosuke , Yamane Masami
Published: January 2007

This paper describes an improved analytical study of the bouncing vibration of a flying head slider in the near-contact region and gives quantitative designs guideline for realizing a stable flying head slider, based on the results of a parametric study. First, we numerically calculated the general characteristics of the contact and adhesion forces between a smooth contact pad and disk surface by considering asperity contact, the lubricant meniscus, and elastic bulk deformation. As a result, it was shown that the contact characteristics can be represented by a simple model with five independent parameters when the asperity density is large and the asperity height is small as in cases of current slider and disk surfaces. Then, we numerically computed the slider dynamics in a two degree of freedom slider model with nonlinear air-bearing springs by using the simplified contact characteristic model. As a result, we have obtained a self-excited bouncing vibration whose frequency, amplitude and touchdown/takeoff hysteresis characteristics agree much better with the experimental results compared with our previous analysis. From a parametric study for takeoff height, we could obtain design guidelines for realizing a stable head slider in a low flying height of 5nm or less.
Pterostilbene, an Active Constituent of Blueberries, Suppresses Aberrant Crypt Foci Formation in the Azoxymethane-Induced Colon Carcinogenesis Model in Rats
Authors: Suh Nanjoo , Paul Shiby , Hao Xingpei , Simi Barbara , Xiao Hang , Rimando Agnes M. , Reddy Bandaru S.
Published: January 2007

Purpose: Epidemiologic studies have linked the consumption of fruits and vegetables to reduced risk of several types of cancer. Laboratory animal model studies have provided evidence that stilbenes, phenolic compounds present in grapes and blueberries, play a role in inhibiting the risk of certain cancers. Pterostilbene, a naturally occurring stilbene from blueberries, was tested for its preventive activity against colon carcinogenesis.

Experimental Design: Experiments were designed to study the inhibitory effect of pterostilbene against the formation of azoxymethane-induced colonic aberrant crypt foci (ACF) preneoplastic lesions in male F344 rats. Beginning at 7 weeks of age, rats were treated with azoxymethane (15 mg/kg body weight s.c., once weekly for 2 weeks). One day after the second azoxymethane treatment, rats were fed experimental diets containing 0 or 40 ppm of pterostilbene. At 8 weeks after the second azoxymethane treatment, all rats were sacrificed, and colons were evaluated for ACF formation and for inhibition of inducible nitric oxide synthase (iNOS) and proliferating cell nuclear antigen. Effects on mucin MUC2 were also determined.

Results: Administration of pterostilbene for 8 weeks significantly suppressed azoxymethane-induced formation of ACF (57% inhibition, P < 0.001) and multiple clusters of aberrant crypts (29% inhibition, P < 0.01). Importantly, dietary pterostilbene also suppressed azoxymethane-induced colonic cell proliferation and iNOS expression. Inhibition of iNOS expression by pterostilbene was confirmed in cultured human colon cancer cells.

Conclusions: The results of the present study suggest that pterostilbene, a compound present in blueberries, is of great interest for the prevention of colon cancer.
Dissecting the General Physicochemical Properties of Noncovalent Interactions Involving Tyrosine Side Chain as a Second‐Shell Ligand in Biomolecular Metal‐Binding Site Mimetics: An Experimental Study Combining Fluorescence, 13C NMR Spectroscopy and ESI Mass Spectrometry
Authors: Yang Chi Ming , Li Xueying , Wei Wei , Li Yitong , Duan Zhengjuan , Zheng Jianyu , Huang Tai
Published: January 2007

Detailed physicochemical features inherent in the dynamic cation–π interactions of aromatic amino acid side chains in the secondary coordination spheres around metal ions were extracted and mapped by intrinsic tyrosine fluorescence titration experiments with two homologous, artificially engineered metal‐binding scaffolds which mimic metal‐binding sites in metalloproteins. A newly formulated method for the treatment of fluorescence titration data allows straightforward assessment of both the magnitudes and properties of metal‐chelation‐assisted cation–aromatic interactions (K2) underlying a proposed two‐step metallosupramolecular association process. The unprecedented linear platform‐motif correlations between the two contrasting scaffolds in their changes in tyrosine fluorescence on binding of 3d metal cations help to elucidate the properties of general cation–arene recognition corresponding to the metal‐responsive characteristics of the second‐shell Tyr residue surrounding the metal‐binding sites in the supramolecular context, and thereby define a new noncovalent design principle for metal‐ion recognition in aqueous solution. As supported by NMR spectroscopic and ESI‐MS analyses and molecular mechanics force field calculations, the systematic study exemplifies the concept of using steady‐state tyrosine fluorescence as a powerful tool for comprehensive descriptions of cation–π interactions in the extended environment of a metal‐binding site. We established that the physicochemical properties pertaining to indirect metal–arene interactions are highly dependent on the electronic properties of the metal ions. This work suggests that second‐shell cation‐π interactions may play more diverse roles, including modulation of structure, reactivity, and function of metal‐binding sites, than the previously well‐established direct cation–π interactions involving hard cations (e.g., alkali metal ions). Moreover, such a study will continue to complement theoretical predications and/or the early experimental investigations in organic solvents.
Generation and cyclization of thiocarbonyl S‐ylides by reaction of diazocompounds with C‐sulfonyldithioformates
Authors: Khattab Ahmed F. , Ali Omar M. , El‐Sayed Ibrahim
Published: January 2007

The unexpected 1,3‐benzodithiine derivatives 5b,c were obtained from the reactions of trimethylsilyldiazomethane 2 with C‐sulfonyldithioformates, bearing pentachlorophenylthio group, 1b,c via unprecedented cyclization of the transient thiocarbonyl ylides 4b,c. While the corresponding reaction with C‐sulfonyldithioformates, bearing phenylthio group, afforded 5a via [2 + 3]‐cycloadditive dimerization of a transient thiocarbonyl ylides 4a. Under the same reaction condition, C‐sulfonyldithioformates 1d–f react with diazomethane and/or phenyldiazomethane to afford the unsymmetrical 1,3‐dithiolane 7d,e and thiirane 8e,f derivatives, respectively. © 2007 Wiley Periodicals, Inc. Heteroatom Chem 18:28–33, 2007; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/hc.20246
Observation of an unusually facile fragmentation pathway of gas‐phase peptide ions: a study on the gas‐phase fragmentation mechanism and energetics of tryptic peptides modified with 4‐sulfophenyl isothiocyanate (SPITC) and 4‐chlorosulfophenyl isocyanate (SPC) and their 18‐crown‐6 complexes
Authors: Shin Joong‐Won , Lee Yong Ho , Hwang Sungu , Lee Sang‐Won
Published: January 2007

Various peptide modifications have been explored recently to facilitate the acquisition of sequence information. N‐terminal sulfonation is an interesting modification because it allows unambiguous de novo sequencing of peptides, especially in conjunction with MALDI‐PSD‐TOF analysis; such modified peptide ions undergo fragmentation at energies lower than those required conventionally for unmodified peptide ions. In this study, we systematically investigated the fragmentation mechanisms of N‐terminal sulfonated peptide ions prepared using two different N‐terminal sulfonation reagents: 4‐sulfophenyl isothiocyanate (SPITC) and 4‐chlorosulfophenyl isocyanate (SPC). Collision‐induced dissociation (CID) of the SPC‐modified peptide ions produced a set of y‐series ions that were more evenly distributed relative to those observed for the SPITC‐modified peptides; yn−1 ion peaks were consistently and significantly larger than the signals of the other y‐ions. We experimentally investigated the differences between the dissociation energies of the SPITC‐ and SPC‐modified peptide ions by comparing the MS/MS spectra of the complexes formed between the crown ether 18‐crown‐6 (CE) and the modified peptides. Upon CID, the complexes formed between 18‐crown‐6 ether and the protonated amino groups of C‐terminal lysine residues underwent either peptide backbone fragmentation or complex dissociation. Although the crown ether complexes of the unmodified ([M + CE + 2H]2+) and SPC‐modified ([M* + CE + 2H]2+) peptides underwent predominantly noncovalent complex dissociation upon CID, the low‐energy dissociations of the crown ether complexes of the SPITC‐modified peptides ([M′ + CE + 2H]2+) unexpectedly resulted in peptide backbone fragmentations, along with a degree of complex dissociation. We performed quantum mechanical calculations to address the energetics of fragmentations observed for the modified peptides. Copyright © 2007 John Wiley & Sons, Ltd.
Polarization anisotropy in nonpolar oriented GaN films studied by polarized photoreflectance spectroscopy
Authors: Behn Udo , Misra Pranob , Grahn Holger T. , Imer Bilge , Nakamura Shuji , DenBaars Steven P. , Speck James S.
Published: January 2007

We have used polarized photoreflectance spectroscopy to study the electronic‐band‐structure modification of GaN films grown along different nonpolar orientations due to biaxial, anisotropic in‐plane strain. For nonpolar oriented films, the c‐axis of GaN lies in the film plane. An unstrained, high‐quality C ‐plane GaN film is used to estimate the difference in the band gap energies between 10 K and room temperature. We use the crystal‐field and spin–orbit splitting energies and the deformation potential D 5 determined at low temperatures to calculate the transition energies and the polarization properties of nonpolar oriented films at room temperature using the k · p perturbation approach. The calculated transition energies and oscillator strengths are then compared to the experimentally obtained values. (© 2007 WILEY‐VCH Verlag GmbH & Co. KGaA, Weinheim)
Reduction of stacking faults in (11$ \bar 2 $0) and (11$ \bar 2 $2) GaN films by ELO techniques and benefit on GaN wells emission
Authors: Bougrioua Z. , Laügt M. , Vennéguès P. , Cestier I. , Gühne T. , Frayssinet E. , Gibart P. , Leroux M.
Published: January 2007

New conditions for one‐step ELO were implemented to grow coalesced (11$ \bar 2 $0) non‐polar and (11$ \bar 2 $2) semi‐polar GaN layers starting, respectively, from R ‐ and M ‐plane sapphire. A great part of the stacking faults (SFs) and dislocations are filtrated resulting in GaN material with better structural and optical properties. In the ELO‐like (11$ \bar 2 $0) and (11$ \bar 2 $2) films, the near band edge emission dominates photoluminescence spectra and is in the range 3.45–3.48 eV depending on lattice deformation. The strongest emission is met for the semi‐polar (11$ \bar 2 $2) ELO. When mask stripes are not normal to the c‐axis, a singular ELO is developed with inclined coalescence facets. However, in this case, SFs overgrow above the mask and so lead to poor optical properties, dominated by SF and dislocation related peaks. In any case, the internal electric field reduction in (Al,Ga)N/GaN non‐ or semi‐polar quantum‐wells stacks is better viewed when the heterostructures are grown on ELO with stripes normal to the c‐axis. (© 2007 WILEY‐VCH Verlag GmbH & Co. KGaA, Weinheim)
Insights into the Conformational Changes of Several Human Lysozyme Variants Associated with Hereditary Systemic Amyloidosis
Authors: Liu Hsuan‐Liang , Wu Yi‐Ching , Zhao Jian‐Hua , Liu Yi‐Fan , Huang Chi‐Hung , Fang Hsu‐Wei , Ho Yih
Published: January 2007

In this study, various ethanol‐ and temperature‐induced molecular dynamics simulations were conducted to investigate the conformational changes of several human lysozyme variants (I56T, D67H, and T70N) associated with hereditary systemic amyloidosis. The results show that these variants are all more sensitive to conditions affecting the structural integrity of this protein. The structural analyses of these variants reveal a high population of more unstable β‐domain and distorted hydrophobic core compared to the wild‐type human lysozyme, particularly for the two natural amyloidogenic variants D67H and I56T. For the D67H variant, the distance between the mass centers of residues 54 and 67 was found to elongate as a result of the destruction of the hydrogen‐bonding network stabilizing the two long loops in the β‐domain. It further accelerates the unfolding of this variant, starting from the hydrophobic core between the α‐ and β‐domains. For the I56T variant, the introduction of a hydrophilic residue in the hydrophobic core directly destroys the native contacts in the α–β interface, leading to fast unfolding. The present results are consistent with the previous hypothesis suggesting that the distortion of the hydrophobic core at the α–β interface putatively results in the formation of the initial “seed” for amyloid fibrils.
Morphology and nrITS Phylogeny of the Genus Pinguicula L. (Lentibulariaceae), with Special Attention to Embryo Evolution
Authors: Degtjareva G. V. , Casper S. J. , Hellwig F. H. , Schmidt A. R. , Steiger J. , Sokoloff D. D.
Published: January 2007

Abstract: The genus Pinguicula (Lentibulariaceae) is unusual within the dicot order Lamiales because of the occurrence of both embryos with two cotyledons and those with just one cotyledon. In order to elucidate the infrageneric relationships and the evolutionary history of the embryo, we analysed (1) the internal transcribed spacers ITS1 and ITS2 of the nuclear ribosomal DNA (nrITS) of 29 Old and New World taxa of Pinguicula, and (2) the morphological and anatomical characters of the seeds. We suggest that the cotyledon number and spermoderm structure were quite unstable in the evolution of Pinguicula. Although basal nodes of the nrITS tree are sensitive to taxon sampling, all tree topologies found in this study imply homoplasy in the cotyledon number.
Impact of anti-discrimination laws on credit scoring
Authors: Andreeva Galina , Ansell Jake , Crook Jonathan
Published: January 2007

The political desire for further integration within the European Union will have an increasing effect on the financial services industry, including banking and credit lending. Harmonisation can potentially have great benefit for consumers as the European banks compete for their business across the Union. Harmonisation, however, brings with it a set of decisions for both credit grantors and regulators. There are issues associated with information that can be used in risk assessment to ensure fair decisions in granting credit. In the past the rules have been developed under national legislation. EU directives seek to harmonise the national rules and provide a new guidance on variables that may be held. The major concern relates to the issue of discrimination. The aim of the law is to promote the principle of equal treatment, which can be interpreted in a number of ways. The legal interpretation of discrimination does not necessarily coincide with the economic standpoint. Furthermore, previous empirical research suggests that prohibition of variables may not only affect the ability to distinguish between good and bad risk, but may also be disadvantageous to the groups the legislation is supposed to protect. This paper explores these issues from both theoretical and practical points of view.
Dynamically driven phase transformations in heterogeneous materials. I. Theory and microstructure considerations
Authors: Clements B. E. , Plohr JeeYeon N. , Addessio F. L.
Published: January 2007

A theoretical model recently developed for heterogeneous materials undergoing dynamically driven thermodynamic phase transitions [F. L. Addessio et al. J. Appl. Phys. 97, 083509 (2005)] has been extended to allow for complex material microstructures. The model is applied to silicon carbide—titanium (SiC–Ti) unidirectional metal matrix composites where the aligned SiC fibers are filler and Ti is the matrix. Ti is known to undergo a low pressure and temperature solid-solid first-order phase transition. The microstructural analysis uses the generalized method of cells, which partitions a representative volume element into subcells containing the SiC fibers and the Ti matrix. The thermomechanical analysis has been reformulated from the previous work. In the reformulation it is found that thermodynamic quantities are naturally expressed as mass fraction averages over the two coexisting phases while the mechanical quantities are expressed naturally as volume averages. Consequently, the thermomechanical reformulation merges the mass averages typically found in thermodynamics with the volume averages used for mechanical properties of composites. Simulations have been pursued to study the complex interplay between loading, microstructure, and the thermomechanical response of the system as it undergoes the solid-solid Ti phase transformation. This is done for several different representative volume elements. For different orientations of loads relative to the fiber axes, the effect of local microstructure on the macroscopic stress-strain and thermodynamic response of the SiC–Ti composite is investigated.
Aging correlation functions of the interrupted fractional Fokker-Planck propagator
Authors: Witkoskie James B. , Cao Jianshu
Published: January 2007

The authors explore aging in a general semi-Markov process with arbitrary waiting time distributions and discuss the role of trapping phenomenon in glasses in determining the waiting time distributions. In certain limits, they obtain a two-time propagator for the fractional Fokker-Planck equation through coordination, but one can generalize the construction to incorporate cutoffs in the aging of the system, i.e., the interrupted aging. The construction allows the incorporation of cutoffs in the aging of the system, and the exploration of signatures of aging effects in systems that eventually achieve equilibrium. Cutoffs in aging effects are illustrated for interrupted fractional diffusion in a harmonic potential and for the on-time probability of a quantum dot system.
Improvement of magnetic properties of granular perpendicular recording media by using a fcc nonmagnetic intermediate layer with stacking faults
Authors: Hashimoto Atsushi , Saito Shin , Itagaki Norikazu , Takahashi Migaku
Published: January 2007

Various binary systems are investigated as face-centered cubic (fcc) bases for the nonmagnetic intermediate layer (NMIL) in granular perpendicular recording media. Loss of stacking order on the (111) plane in fcc NMIL is found to enhance the perpendicular magnetic anisotropy energy (KuRL) of the overlying medium. One persuasive reason for this enhancement is the preferred epitaxial growth of magnetic grains on only the (111) atomic terrace of the fcc NMIL due to collapse of the sixfold symmetry of (1¯11), (11¯1), and (111¯) atomic terraces of the fcc NMIL.
Photoluminescence studies of type-II diluted magnetic semiconductor ZnMnTe∕ZnSe quantum dots
Authors: Kuo M. C. , Hsu J. S. , Shen J. L. , Chiu K. C. , Fan W. C. , Lin Y. C. , Chia C. H. , Chou W. C. , Yasar M. , Mallory R. , Petrou A. , Luo H.
Published: January 2007

Type-II diluted magnetic semiconductor ZnMnTe quantum dots (QDs) in ZnSe matrix grown by molecular beam epitaxy were investigated by conventional and magnetophotoluminescence (PL) spectroscopy. The QD emission exhibits a type-II characteristic in excitation power dependence of PL peak energy. A nonzero circular polarization of PL at the absence of magnetic field was observed. This phenomenon is attributed to the accumulation of interface charges confined in adjacent layers. The magneto-optical measurement demonstrates a magnetic-induced degree of circular polarization in the PL spectra, indicating the Mn incorporation into the QD system.
Contactless technique to quantify the edge-junction recombination in solar cells
Authors: Chen Florence W. , Cotter Jeffrey E.
Published: January 2007

This letter presents a method to determine the recombination properties of exposed edges of p-n-junction silicon devices, particularly, solar cells. The method is based on the extended analysis of injection level dependent carrier lifetime data of samples with various degrees of intentionally created edges. Its application to laser-cut edges is shown here. Values of per-length space-charge-region recombination current densities of approximately 2×10−8 and 2×10−9A∕cm have been determined for laser-cut- and laser-cut-and-etched edges. The technique is beneficial for both understanding edge recombination in solar cells and developing improved edge passivation techniques.