bluuebunny/crossref_metadata_2025 huggingface dataset:
The Kozmin Synthesis of Spirofungin A
Authors: Taber Douglass
Published: November 2020

Often, 6,6-spiroketals such as Spirofungin A 3 have a strong anomeric bias. Spirofungin A does not, as the epimer favored by double anomeric stabilization suffers from destabilizing steric interactions. In his synthesis of 3, Sergey A. Kozmin of the University of Chicago took advantage (Angew. Chem. Int. Ed. 2007, 46, 8854) of the normally-destablizing spatial proximity of the two alkyl branches of 3, joining them with a siloxy linker to assure the anomeric preference of the spiroketal. The assembly of 1 showcased the power of asymmetric crotylation, and of Professor Kozmin’s linchpin cyclopropenone ketal cross metathesis. To achieve the syn relative (and absolute) configuration of 6, commercial cis-2-butene was metalated, then condensed with the Brown (+)-MeOB(Ipc)2 auxiliary. The accompanying Supporting Information, accessible via the online HTML version of the journal article, includes a succinct but detailed procedure for carrying out this homologation. For the anti relative (and absolute) configuration of 9, it is more convenient to use the tartrate 8 introduced by Roush. Driven by the release of the ring strain inherent in 10, ring opening cross metathesis with 6 proceeded to give the 1:1 adduct 11 in near quantitative yield. The derived cross-linked silyl ether 12 underwent smooth ring-closing metathesis to the dienone 1. On hydogenation, the now-flexible ring system could fold into the spiro ketal. With the primary and secondary alcohols bridged by the linking silyl ether, only one anomeric form, 2, of the spiro ketal was energetically accessible. A remaining challenge was the stereocontrolled construction of the trisubstituted alkene. To this end, the aldehyde 13 was homologated to the dibromide 14. Pd-mediated coupling of the alkenyl stannane 15 with 14 was selective for the E bromide. The residual Z bromide was then coupled with Zn(CH3)2 to give 16. These steps, and the final steps to complete the construction of spirofungin A 3 , could be carried out without exposure to equilibrating acid, so the carefully established spiro ketal confi guration was maintained.
The Hoveyda Synthesis of (-)-Clavirolide C
Authors: Taber Douglass
Published: November 2020

Conjugate addition-enolate trapping, a strategy originally developed by Gilbert Stork, has become a powerful method for stereocontrolled ring construction. A key step in the synthesis of (-)-Clavirolide C 3 reported (J. Am. Chem. Soc. 2008, 130, 12904) by Amir H. Hoveyda of Boston College occurred early on, with the enantioselective conjugate addition of Me3 Al to 1 to give the silyl enol ether 2. Enantioselective conjugate addition to establish a quaternary center β on a cyclohexanone had been established (OHL August 18, 2008), but not yet on cyclopentanones. Professor Hoveyda found that a modified form of the Ag catalyst that they had published earlie, in combination with the Lewis acidic AlMe3, effected conjugate addition to 1 in 84 % ee. Quenching of the reaction mixture led to the enol silyl ether 2. The assembly of the 11-membered ring of 3 also began with an enantioselective conjugate methylation, of the lactone 4 with Me2Zn, again using a catalyst developed by Professor Hoveyda. Opening of the lactone 5 followed by Swern oxidation gave the Weinreb amide 6, that was homologated and reduced to give 7. Addition of n-BuLi to 2 regenerated the enolate. There were two issues in the addition of that enolate to the aldehyde 7: syn vs. anti stereocontrol, and control of the configuration of the newly formed ternary center on the ring relative to the already-established quaternary center. Inclusion of Et3B in the reaction mixture assured anti aldol formation, but there was only a modest preference for the desired bond formation trans to the slightly more bulky butenyl group, to give 8. Medium rings are more strained than are larger rings. The diene 8 was reluctant to close with the second generation Grubbs catalyst, but the catalyst developed by Professor Hoveyda worked well. The δ-lactone of 3 was then constructed by acylation of 9 with 10 followed by reductive cyclization with SmI2. Conjugate addition to the derived enone 12 on the outside face of the medium ring alkene gave the desired 13 (9:1 dr). This reaction may be proceeding via the s-cis conformer, as the more stable s-trans conformer would have been expected to give the other diastereomer. Dehydration of 13 then delivered (-)-Clavirolide C 3.
The Trost Synthesis of (-)-Ushikulide A
Authors: Taber Douglass
Published: November 2020

(-)-Ushikolide A 4, isolated from a culture broth of Streptomyces sp. IUK-102, showed powerful activity against murine splenic lymphocyte proliferation (IC50 = 70 nM). The most important player in the synthesis of 4 described ( J. Am. Chem. Soc. 2008, 130, 16190) by Barry M. Trost of Stanford University was the ProPhenol ligand 1. The precursor 2 was prepared by coupling the mesylate 7, the alkyne 12, and the aldehyde 13. The first role of catalyst 1 was in mediating the enantioselective coupling of commercial 5 with 6 to give, after saponification and CuCl decarboxylation, the mesylate 7. The preparation of 12 began with the Noyori hydrogenation of the ester 8 to the alcohol 9 in the expected high ee. Note that although this transformation was carried out at 1800 psi, such reductions proceed well and in similar ee at 60°C and 60 psi. Brown crotylation of the derived aldehyde 10 delivered 11, that was homologated to the alkyne 12. The third fragment 13 was prepared by chiral auxiliary directed aldol condensation. Combination of 12 with 13 was followed by Au-mediated cyclization, converting the internal alkyne of 14 to the spiroketal of 15. Pd-catalyzed coupling of 15 with 7 then led to 2 with high diastereocontrol. The aldol addition of the enolate of 17 to 18 proved elusive under the usual conditions, but with 30 mol % of the Zn catalyst 1 the reaction proceeded smoothly, to deliver 19 with high diastereocontrol. To complete the synthesis, hydroboration with 9-BBN was effected on the free carboxylic acid 3, and Pd-mediated coupling of the derived borane was carried out with the free iodo alcohol 2. As a result, the product hydroxy acid 20 could be taken directly to the subsequent macrolactonization.
The Davies / Williams Synthesis of (-)-5- epi -Vibsanin E
Authors: Taber Douglass
Published: November 2020

There are currently 61 known vibsane-type diterpenes, as exemplified by (-)-5-epi –Vibsanin E 3. The first synthesis of 3, described (J. Am. Chem. Soc. 2009, 131, 8329) by Huw M. L. Davies of Emory University and Craig M. Williams of the University of Queensland, was based on the enantioselective seven-membered ring construction developed by the Davies group and the end game established by the Williams group. A key step in the synthesis was the intramolecular hetero Diels-Alder cyclization of 1 to 2.The absolute configuration of 1 was set by the Rh-mediated cyclopropanation of 4 withthe diazo ester 5. Though closely related to the α-diazo β-keto ester 6, the alkene of 5donates electron density to the intermediate Rh carbene, making it more susceptible tothe influence of the chiral ligands. The alkene of the enol ether then participated in theCope rearrangement, delivering 8. Routine functional group transformation then converted8 to 1, that cyclized smoothly to 2.The enol ether of 2 was reduced with high diastereocontrol to give 10. The ketone wasinstalled by allylic oxidation, setting the stage for attachment of the two pendant sidechainsof 3 by conjugate addition followed by enolate trapping. Cu-catalyzed addition of theα-oxygenated organolithium12 proceeded well in the presence of TMS-Cl, to establish thesilyl enol ether 13. Allylation of the regenerated enolate proceeded at oxygen, but the enolether 14 so prepared rearranged to the desired C-alkylated product 15 on microwaveheating.The synthesis endgame was based on an unusual transformation, the addition to the ketoaldehyde 16 of the phosphonium salt 17, developed ( Tetrahedron 2008 , 64 , 6482) by theWilliams group. This allowed the introduction of the complete vinyl ester array of (-)-5-epi-Vibsanin E 3.This synthesis illustrates the power of the elegant enantioselective seven-membered ringconstruction developed by the Davies group. The Williams phosphonium salt will also havegeneral applicability.
Configuration Space Sampling Methods
Authors: Raff Lionel , Komanduri Ranga , Hagan Martin , Bukkapatnam Satish
Published: November 2020

In order to achieve the maximum accuracy in characterizing the PES and the associated force fields for an MD investigation, careful preparation of the database is an essential step in the process. The points that must be addressed include the following: 1. The total volume of configuration space is extremely large, and its size increases as the internal energy of the system rises. For example, consider a four-atom system. For this system, at least six internal coordinates must be specified to determine the spatial configuration of the molecular system. At a given internal energy, each of these six coordinates can span a continuous range of values from some minimum to some maximum. If each variable range is divided into 100 equal increments and the potential energy of the system computed by some ab initio method for all possible configurations of the system, a total of 1006or 1012 electronic structure calculations would need to be executed. This is clearly beyond the computational capabilities of any computational system currently in existence. Grid sampling methods can and have been used effectively for three atom systems. However, for more complex systems, it is essential that procedures be developed that permit the regions of configuration space that are important in the reaction dynamics to be identified. 2. Sampling methods usually should be optimized to produce a reasonably uniform density of data points in those regions of configuration space that are important in the dynamics. If this is not done and there are regions of very high point density and others with low point density, no fitting technique will function well. The parameters of the method will adjust themselves to fit regions of high density preferentially over those with low density even when the low-density regions may be more important in the dynamics. An exception to the need to have an approximately uniform density of points in the database occurs in regions where the potential gradient is large. In such regions, the density of points in the database will need to be larger than in regions in which the gradient is small.
Empirical Potential-Energy Surfaces Fitting Using Feed forward Neural Networks
Authors: Raff Lionel , Komanduri Ranga , Hagan Martin , Bukkapatnam Satish
Published: November 2020

When the system of interest becomes too complex to permit the use of ab initio methods to obtain the system potential-energy surfaces (PES), empirical potential surfaces are frequently employed to represent the force fields present in the system under investigation. In most cases, the functional forms present in these potentials are selected on the basis of chemical and physical intuitions. The parameters of the surface are frequently adjusted to fit a very small set of experimental data that comprise bond energies, equilibrium bond distances and angles, fundamental vibrational frequencies, and perhaps measured barrier heights to reactions of interest. Such potentials generally yield only qualitative or semiquantitative descriptions of the system dynamics. Several research groups have significantly improved the accuracy of the values of the experimental properties computed using empirical potential surfaces by fitting the chosen functional form for the potential to the force fields obtained from trajectories using ab initio Car-Parrinello molecular dynamics simulations. The fitting to the force fields is usually done using a least-squares fitting approach. This method has been employed by Izvekov et al. to obtain effective non-polarizable three-site force fields for liquid water. Carré et al. have employed such a procedure to obtain a new pair potential for silica. In their investigation, the vector of potential parameters was fitted using an iterative Levenberg-Marquardt algorithm. Tangney and Scandolo have also developed an interatomic force field for liquid SiO2 in which the parameters were fitted to the forces, stresses, and energies obtained from ab initio calculations. Ercolessi and Adams have used a quasi-Newtonian procedure to fit an empirical potential for aluminum to data obtained from first-principals computations. Empirical potentials can be improved by making the parameters parameterized functions of the coordinates defining the instantaneous positions of the atoms of the system. This approach has been successfully employed by numerous investigators The difficulty with this procedure is that the number of parameters that must be adjusted increases rapidly. Appropriate fitting of these parameters requires a much more extensive database. Finally, the actual fitting process can often be tedious, difficult, and time-consuming.
Other Applications of Neural Networks to Quantum Mechanical Problems
Authors: Raff Lionel , Komanduri Ranga , Hagan Martin , Bukkapatnam Satish
Published: November 2020

The usual method for solving the vibrational Schrödinger equation to obtain molecular vibrational spectra and the associated wave functions generally involves the expansion of the vibrational wave function, ψk(y), in terms of a linear combination of a set of basis functions.
Introduction to Programming
Authors: Manzo V. J
Published: November 2020

A programming language is a means to specify processes performed by a computer. A programming language is somewhat similar to the language we speak. Each word in the language serves some function and the ordering of each word follows a syntax from which we derive meaning. In a programming language, these words are commonly referred to as functions or objects. Each object has some purpose germane to the programming language. For example, an object called number might allow a user to specify a number. Another object called + might be used to add that number to another number. The objects, each with a specific purpose, work together to create some intended outcome; this is how a program works. In this case, the program we defined added two numbers together. In a typical programming language, there are numerous objects, each with a specific function. One difficulty in the beginning stages of learning to program is that you do not know the fundamental objects that form the basic vocabulary of that programming language. In this book, we will begin by developing small music programs that use only a few objects. As we progress in chapters, more objects will be introduced and your programs will become more sophisticated as you incorporate more objects into them. Another difficulty lies in thinking about the steps involved in creating a program. There are different ways to write programs that achieve the same result, but they all require that precise activity be specified in order to produce that result. In my first experience as a kindergarten music teacher, I stood at the door of my classroom and greeted the students as they entered the room. “Good morning, let’s take out our books and start class.” At that moment, they hadn’t yet put their backpacks down, walked to their seats, or sat in their chairs. It was obvious that they were not ready to begin class. Some students scrambled to find any book anywhere in the room. Some took all of their books out of their backpacks. One student began crying. It was a disaster.
Math and Music
Authors: Manzo V. J
Published: November 2020

In this chapter, we will discuss some of the math used in musical operations. If you just cringed when I said the m word, have no fear. We’ll be looking at the math behind musical things you already know how to do like transposing music by some interval and adding chord tones to a root note. We will also look at some of the things that will help make your program look better and more accessible to users. By the end of this chapter, you will have made a program that harmonizes MIDI notes. Let’s build a MIDI synthesizer. You remember how to do this. Create a new patch and 1. Create a new object called notein 2. Create 2 number boxes 3. Connect the first 2 outlets of notein to both number boxes 4. Create a new object called noteout 5. Connect the first outlet of each number box to the first 2 inlets of noteout Done! This is just about as simple as it gets for building a MIDI synthesizer. In fact, you don’t even really need the number boxes; they’re just displaying the pitch and velocity data as they come in. However, for now, we’ll leave the number boxes in to ensure that data are fl owing properly. Remember that if you forget which outlet connects to which inlet, you can hold your mouse over an inlet or an outlet to reveal a small window displaying the type of data that is being received or sent. 6. Create a new object called kslider Kslider is graphical object that resembles a keyboard. It has two inlets that receive pitch and velocity, respectively. 7. Create 2 number boxes beneath kslider’s 2 outlets 8. Connect the outlets of kslider to the inlet of each number box, respectively In a moment, we will integrate the kslider into the existing objects in our patch. For now, let’s 9. Lock the patch and click on kslider’s keys Note that each key on kslider’s graphical keyboard sends the corresponding MIDI pitch out its left outlet.
Working with Time
Authors: Manzo V. J
Published: November 2020

In this chapter, we will discuss aspects of time, rhythm, and the sequencing of events. When used in combination with what you know about generating pitch material, this chapter will help you to create interactive performance and composition systems, as well as create patches that demonstrate rhythmic complexity. By the end of this chapter, you will have created patches that can record and loop MIDI sequences as well as a number of patches that work with notes over time. Digital Audio Workstations (DAWs) are complex programs that generally all allow users to sequence music in some way by recording MIDI and audio, and make edits to the recording data. Popular commercial DAWs include Apple Logic and GarageBand, Digidesign Pro Tools, Sony Acid, and Ableton Live, to name a few. The last thing you’d probably want to do in Max is write a patch that operates like one of these DAWs. In fact, one of the great things about Max is that since it’s not a DAW but a programming language, it’s so unlike traditional DAWs that it allows you to write any kind of program you want (like our synth that used the wheels to play pitches in Chapter 2). However, there are some aspects of these DAWs that we will want to incorporate into our patches. In particular, recording MIDI and playing it back is made possible in Max through an object called seq (as in sequencer). 1. Create a new patch 2. Create a new object called seq The seq object can record and play back raw MIDI data. Since we’re dealing with raw MIDI data as opposed to just pitches, we’ll use the midiin and midiout objects. In fact, just to protect ourselves, let’s also include the “raw MIDI” version of flush, midiflush, to avoid any stuck notes.
Audio Playback and Pitch Tracking
Authors: Manzo V. J
Published: November 2020

In this chapter, we will look at some of the ways that you can play back and record sound files. As you know, Max lets you design the way you control the variables in your patch. We will apply these design concepts to the ways we control the playback of recorded sound. We will also look at some ways to track the pitch of analog audio and convert it into MIDI numbers. By the end of this chapter, you will have written a program that allows you to play back sound files using a computer keyboard as a control interface as well as a program that tracks the pitch you’re singing from a microphone and automatically harmonizes in real time. We will create a simple patch that plays back some prerecorded files I have prepared. Please locate the8 “.aif ” audio files located in the Chapter 13 Examples folder. 1. Copy these 8 audio files to a new folder somewhere on your computer 2. In Max, create a new patch 3. Click File>Save As and save the patch as playing_sounds.maxpat in the same folder where you put these 8 audio files. There should be 9 files total in the folder (8 audio and 1 Max patch) 4. Close the patch playing_sounds.maxpat 5. Re-open playing_sounds.maxpat (the audio files will now be in the search path of the Max patch) We can play back the prerecorded audio files we just copied using an object called sfplay~. The sfplay~ object takes an argument to specify how many channels of audio you would like the object to handle. For instance, if you are loading a stereo (two channel) file, you can specify the argument 2. Loading a sound file is easy: simply send the sfplay~ object the message open. Playing back the sound is just as easy: send it a 1 or a 0 from a toggle. Let’s build a patch that plays back these files.
Working with Live Video
Authors: Manzo V. J
Published: November 2020

In this chapter, we will discuss Jitter, a set of objects that handles video and visual-related content in Max. Jitter is for handling video what MSP is for handling audio. Adding visual elements to your patch can turn your interactive systems into multimedia ones. By the end of this chapter, you will have created a patch that changes the color of a live video when pitches are played. In this book, we will not cover all the features and options available with Jitter. Instead, we will focus on ways to incorporate video from cameras and existing video footage into our patches. This will address some of the immediate connections between music education and video while providing a broad enough foundation of Jitter concepts and techniques to build on later through the Jitter tutorials and exploration. In the same way that the MSP objects end with ~, the Jitter objects all begin with “jit.” In fact, you already learned one Jitter object in Chapter 9, jit.cellblock; the object that resembled a spreadsheet. A spreadsheet is a type of grid known as a matrix in which each location on the grid, like a spreadsheet cell, contains some (or no) information. When we discussed the mousestate object and the amount of pixels determined by the screen resolution, we were discussing a matrix—a matrix (a grid) that displays a certain number of pixels (like tiny little cells in a spreadsheet that display color). The more pixels that are used to represent an image, the higher the resolution of the image will be, resulting in a clearer appearance. If, for example, you had a photo of the Mona Lisa that only used 12 pixels to represent the immense detail of the painting, your photo would appear less than lifelike, to say the least. Similar to our discussion last chapter about bit depth, the higher the resolution you can work with, the more clarity your image will have, generally.
Video Research Instrument
Authors: Manzo V. J
Published: November 2020

In the next few chapters, we will examine some larger projects covering a number of topics in music education. In this chapter, we will look at a research instrument designed to measure the time when a participant responds to some stimuli while watching videos. 1. Open the file STI.maxpat from the Chapter 18 Examples folder This patch allows a researcher to show participants one or more video files and ask them to press the space bar in response to whatever the researcher wants to observe. For example, the researcher might show a video of an orchestra performing Samuel Barber’s Adagio for Strings and ask participants to press the space bar whenever they experienced “thrills” or “chills.” The program would then record the exact times, with respect to the video, that each participant experienced such a reaction. The researcher could then compare the times from that participant’s session to the times from another participant’s session. Let’s walk through the process together, though, unfortunately, instead of seeing an orchestra, you’ll have to endure a homemade movie from my trip to Colorado (it’s short—don’t worry). While you are watching the video, pretend that you are experiencing “thrills” and press the space bar a few times. To start the video, press the Return/Enter key; this will display the video in fullscreen. When the video comes to an end, press the esc key to close the fullscreen view. There’s not much audio in this video, but you can click the “test audio” button to ensure that your sound card is working (the ezdac~ should be “on” by default with the icon colored red). 2. Press the Return/Enter key to start the video in fullscreen view.
Informal Music Learning Instruments
Authors: Manzo V. J
Published: November 2020

In 2010, I was involved in a research project called the Interactive Music Technology Curriculum Project (Manzo & Dammers, 2010), or IMTCP; its goal was to teach music composition and performance to students who have no musical training by using soft ware instruments that allow them to play chord functions. In this chapter, we will examine the patches developed for this project. As you will see, even though each patch facilitates a different musical activity, the patches themselves use similar chunks of code neatly organized in bpatchers. These patches allow students to play chords, at first, with the number keys (1–8) from a computer keyboard as they learn about diatonic scale degrees and chord functions. Students in this project were asked to go online and get the YouTube links to their 10 favorite songs. The faculty for this project took those songs and reduced each part of the form (verse, chorus, bridge, etc.) to a set of numerical chord functions within a key. For example, the verse would be referred to as a The project was influenced by the Manhattanville Music Curriculum Project (MMCP; Thomas, 1970) and Lucy Green’s research on Informal Music Learning (Green, 2008). “1 5 6 4” in C Major while the chorus was a “2 4 1 5.” Students would then use a patch to play back the chord functions using the ASCII keyboard. 1. Open the file E001.maxpat from within the folder E001 located in the Chapter 19 Examples folder 2. Press the number keys on your computer keyboard (1–8) to play back the C Major scale. Use the space bar to end the sustain 3. Click the toggles 3 and 5 to add a third and a fifth to the output. Notice that the name of the triad is now displayed on the right We’ve looked at patches similar to this in the EAMIR SDK. Let’s take a look at some of the more interesting and novel features of this patch.
How Sherlock Holmes Got His Start
Authors: O'Brien James
Published: November 2020

One can achieve somewhat of an understanding of how Sherlock Holmes came to exist by looking at the contributions of three people: Conan Doyle himself, Edgar Allan Poe, and Conan Doyle’s mentor in medical school, Dr. Joseph Bell. First we shall look at Conan Doyle, focusing on those aspects of his life that led to his writing of the Sherlock Holmes stories. Arthur Conan Doyle was born on May 22, 1859, in Edinburgh. His father, Charles Altamont Doyle, was English and his mother, Mary Foley, was Irish. His father had a drinking problem and was consequently less a factor in Conan Doyle’s upbringing than was his mother. Charles would eventually end up in a lunatic asylum (Stashower 1999, 24). Mary Doyle instilled in her son a love of reading (Symons 1979, 37; Miller 2008, 25) that would later lead him to conceive of Sherlock Holmes. Conan Doyle’s extensive reading had a great influence on the Sherlock Holmes stories (Edwards 1993). He was raised a Catholic and attended Jesuit schools at Hodder (1868–1870) and Stonyhurst (1870–1875), which he found to be quite harsh. Compassion and warmth were less favored than “the threat of corporal punishment and ritual humiliation” (Coren 1995, 15). Next he spent a year at Stella Matutina, a Jesuit college in Feldkirch, Austria (Miller 2008, 40). As Conan Doyle’s alcoholic father had little income, wealthy uncles paid for this education. By the end of his Catholic schooling, he is said to have rejected Christianity (Stashower 1999, 49). At the less strict Feldkirch school, his drift away from religion turned toward reason and science (Booth 1997, 60). At this time he also read the writings of Edgar Allan Poe, including his detective stories. So, although Sherlockians debate the “birthplace” of Holmes, a claim can be made that Holmes was conceived in Austria. In 1876, Conan Doyle began his medical studies at the highly respected University of Edinburgh. These years also played a large role in shaping the Holmes stories. One obvious factor was his continued exposure to science.
Meet the Main Characters
Authors: O'Brien James
Published: November 2020

In this section we will examine the factors which led to Sherlock Holmes becoming such a recognizable literary figure. Several factors contribute to this. After describing his physical characteristics and his personality, we look at the most important feature of his fame, his brilliant deductive abilities. It is in this that Arthur Conan Doyle is somewhat indebted to his mentor, Dr. Joseph Bell, as described in chapter 1. In A Study in Scarlet (STUD), the very first Holmes tale, Dr. Watson describes Sherlock Holmes as being more than six feet tall, very lean, with piercing eyes and a thin hawk-like nose. Holmes’s voice was high and occasionally strident. We learn later that his eyes were gray and he had a narrow face and black hair. Most illustrators over the years have faithfully reproduced this picture of the great detective (see figure 2.1). Very little about Holmes’s background is revealed to us. Most of what we do know is told in The Greek Interpreter (GREE). In this tale, the twenty-fourth of the sixty, Watson is shocked to learn that Holmes has a brother named Mycroft. It turns out that neither of the roommates has told the other that they have a brother. We also learn that the Holmes brothers are from a family of country squires. The family traces itself back to the Frenchman Horace Vernet (1789–1863), a noted painter of military scenes. Clearly there was enough money in Holmes’s background for him to attend college. We know from The “Gloria Scott” (GLOR) that he did attend for two years. In The Musgrave Ritual (MUSG), Watson describes Holmes as very untidy. Apparently he kept his cigars in a coal scuttle and his tobacco in the toe of a Persian slipper. His correspondence was affixed to the mantel by a jackknife. In what is considered a patriotic gesture (Tracy 1977, 379), he honored his queen by using a pistol to shoot the letters VR, for Victoria Regina, into the wall of the Baker Street rooms.
Sherlock Holmes: Other Sciences
Authors: O'Brien James
Published: November 2020

Sherlock Holmes knew more chemistry than any other science. But in this chapter, we shall find that he was well informed in a number of other sciences as well. Since mathematics contributes to all sciences, we first examine the Canon for instances of mathematical knowledge. We find a number of references to and uses of math in nearly all the early stories. After Holmes and Moriarty supposedly went over the Reichenbach Falls in The Final Problem (FINA) and Holmes returned, he rarely used math again. In A Study in Scarlet (STUD), Watson scoff s at a magazine article that claims that the conclusions of a trained observer are as “infallible as so many propositions of Euclid.” He soon learns that his new roommate Holmes is the author of the article. So here, very early on, we have Holmes drawing a mathematical analogy to his deductive work. He invokes Euclid again in the second story, Sign of Four (SIGN). This time he chides Watson about his writing style. Holmes accuses Watson of allowing romanticism to creep into his narration of the previous case, STUD. According to Holmes, this awkward technique produces “much the same effect as if you worked a love-story or an elopement into the fifth proposition of Euclid.” The fifth proposition states that if two sides in a triangle are equal, then the angles opposite those two sides will also be equal. Note that Holmes makes no calculation using Euclid’s proposition, but he depends on Watson’s knowledge of math to make a point about the way the narrative of STUD was written. This is the first time, but not the last, that he criticizes Watson the chronicler. In SIGN, Holmes’s conversation again assumes that his listener is acquainted with mathematical terms. When he sees that Tonga has left a footprint in creosote, he claims that tracking him will be as easy as using the “rule of three,” which states that if three of the four terms in a proportion are known, then the fourth may be calculated.
Introducing Technology-Based Music Instruction
Authors: Dorfman Jay
Published: November 2020

Mrs. Jones has 14 years of teaching under her belt. She received her music education degree from an excellent state university program and completed a master’s in music education early in her career during the summers. After teaching at several levels, she has settled in a good junior high school position in an upper middle-class neighborhood. The music department—she and two other teachers—is a collaborative group that consistently turns out strong performances for the school and community. About five years ago, Mrs. Jones noticed that technology was becoming an increasingly important part of many of the school music programs she considered to be on par with her own. She had introduced some technology in her orchestra class—she used notation software to create warm-up exercises and often played listening examples for the students that she stored on her iPod. So, with the same enthusiasm that she approaches most of the parts of her job, she approached her principal about funding a computer lab for the music department. Her request was met with excitement. The principal agreed to set up a lab dedicated to the music department and to schedule a class for Mrs. Jones to teach called Music Technology for the following fall. There was no established curriculum for the class, but Mrs. Jones would have the summer to assemble the curriculum and lesson plans, in consultation with the principal and the other music teachers. They all recognized that starting this class would bring new students to their excellent music department and could only draw more public attention to their good work. The lab would have 15 student stations and an additional station for the teacher. None of the music teachers or the school’s administrators had any expertise in designing computer labs, so they left that task up to the district’s architects. The information technology (IT) department was enlisted to set up all of the hardware and software and to make appropriate network and server connections, with enough time for Mrs. Jones to get used to the lab before the school year would begin.
Logistics: “Bit by Bit, Putting It Together”
Authors: Greher Gena R. , Heines Jesse M.
Published: November 2020

The Sondheim and Lapine song “Putting It Together” refers to the many challenges facing an artist trying to produce an artistic product and overcome the myriad obstacles to getting funding and recognition. Most people involved in the arts as creators and performers can certainly identify with the many logistical issues highlighted by the song. As the lyric so aptly states, “The art of making art, is putting it together”. Creating or producing the “product” can result in a physical work of art, a performance piece, or, for the purposes of this book, a new software application. Although some may claim divine intervention or inspiration as the muse, it is generally the result of numerous fits and starts, multiple stages of development, attention to minute details, and more hours than one would care to think about. And that is just the beginning. Getting the work “out there” requires just as much attention. The goal of this chapter is to bring you into the process of “putting together” an interdisciplinary project or course, putting together a project team, and getting it and them off the ground. Logistics is one of the many challenges in this kind of collaborative endeavor. It becomes particularly problematic at the college level for both professors and students. Professors’ schedules are difficult to synchronize, but students’ schedules are, too, especially when students have different majors. Gena’s previous experiences with attempting interdisciplinary projects with colleagues from different disciplines, along with her experiences developing partnerships with local music teachers, informs much of how we structure our projects and negotiate our collaboration, both with each other and within the parameters of our individual departments. It is difficult enough to attempt a project with a colleague from your own disciplinary area, so it might seem even more daunting to attempt this with someone outside your department. Perhaps as you are reading this book you are formulating an idea for the type of interdisciplinary project or class you would like to create.
The Performamatics Model of Sharing and Networking: We’re All Connected
Authors: Greher Gena R. , Heines Jesse M.
Published: November 2020

By now you must have realized that we do not shy away from using technology, whether directly in our teaching or in the administration of our Sound Thinking course. A great deal of time, thought, and effort goes into maintaining a very detailed course website where students can access the course syllabus, obtain contact information for each other, review class notes, retrieve assignment parameters, check their grades for each assignment, and find links to a host of resources to help them succeed in the course (please see our course website at soundthinking.uml.edu). Since we also wanted our course website to serve as an archival repository, until recently (more about this later) we linked it to a social networking site. The additional site provided opportunities for student input. The purposes of all the web support is to enable students to interact with us and their peers beyond the classroom and to facilitate their ability to post their reflections, respond to instructor-initiated questions, pose questions themselves and answer questions posed by other students, upload and share music and video links with the class, and post their completed projects so that everyone can see what everyone else did on a given project. In addition, each class is videotaped, archived, and linked to our course website. Our goal in making all of this information readily available is to ensure that everything a student needs to know regarding any aspect of the course can be accessed anytime, anywhere. If, for whatever reason, a student can’t be in class, the assignments, notes on what was covered in class, and an actual video of a particular day’s class are always available 24/7. We all know that on many levels, and for different people at various times in any course, there will be those moments when the learning curve will seem insurmountable. Those moments are most likely to occur at 2:00 AM. To that end, we encourage you to adopt some form of course website as an extension of your face-to-face meeting time.
Melamchi River Blues
Authors: Colopy Cheryl
Published: November 2020

While I lived in Kathmandu, I regularly visited the American Mission Association. Members call it Phora, while some Nepalis call it “mini America.” It’s a club, and expatriates with the right kind of visa can apply to become members. It has a pool and tennis courts, a small gym, a field for baseball and soccer, a children’s playground, movie rentals, manicures and massages, a commissary and wifi café, and very polite Nepali staff. It has a certain colonial feel to it, which bothered me at times: yet it was also a haven where on a weekday afternoon I could exercise, read the papers, and eat lunch. Phora refers to phohara durbar, which in Nepali means “fountain palace.” The extensive, welltended grounds where dozens of expats and their children gather for hours on weekends was once the site of a Rana palace, a place for parties and dances, performances and cinema. It got its name because there were fountains throughout the gardens as well as inside the building. The ornate, neoclassical palace is long gone. In serious disrepair by 1960, the palace was demolished and the land sold to the American government. But phohara durbar has other claims to fame. It was also the site of the first piped water in the Kathmandu Valley. To explain how this came about, I’ll tell you a little more about the valley’s history and culture. The Lichchhavis and Mallas kept the city from growing beyond certain limits. They prohibited building outside a ring of shrines to various mother goddesses, like Kali. They knew that disturbing the land beyond that ring would be “killing your own food, your economic base,” says Sudarshan Tiwari, the architect and cultural historian who has reconstructed aspects of ancient life in the valley. There is still some agriculture in the Kathmandu Valley, because a few of the old landowners stubbornly hold on to their fields even as a sea of “wedding cake,” multistory, pastel houses engulfs them. But daily the green plots of rice and vegetables shrink as the valley succumbs, like the ancient water channels, to unplanned urban development.
Bioorganic Reactions
Authors: Morrow Gary W.
Published: November 2020

It is not essential to have a background in enzymology or biochemistry to gain at least an introductory-level understanding of many biosynthetic processes, so this book does not deal with enzymology or enzyme structure or function in any significant way, even though much of the chemistry we will be examining depends almost entirely on enzyme catalysis. Nevertheless, we will refer to enzyme catalysis and the names of specific enzymes throughout the text as we examine biosynthetic processes and reactions in significant detail. So what exactly are enzymes? Simply put, enzymes are naturally occurring proteins that catalyze various biochemical reactions in living systems. As we will see, many of the reactions they catalyze are familiar organic reactions, but have specific purposes and target structures. Generally speaking, enzymes catalyze organic reactions by lowering transition state energies or raising ground state energies of reactants in much the same way as nonenzymatic catalysts in laboratory chemical reactions, though in the case of enzyme catalysis, rate enhancements of as much as 1023 have been reported, far exceeding rate enhancements currently achievable by conventional chemical means. Understanding the interaction of enzymes and substrates (reactants) to form an enzyme–substrate complex (E–S complex) is fundamental to having some appreciation for how enzymes carry out their work. While overly simplistic, the “lock-and-key” model of enzyme–substrate interaction provides an intuitive context for understanding the remarkable substrate specificity of enzyme-mediated reactions. Thus, so-called enzyme active sites or binding sites (the “lock”) will only accept certain specific substrate structures (the “key”), with shape, conformation, intermolecular forces, and other factors determining the lock-and-key fit. Enzymes not only catalyze specific kinds of reactions, they can act specifically on certain compounds or classes of compounds or functional groups, often showing remarkable selectivity and stereospecificity, especially in the recognition and/or introduction of chirality centers in organic molecules. In terms of nomenclature, enzyme names always end with an ase suffix and are typically named in accordance with the substrate they act upon and/or the kind of reaction process they catalyze.
Wind Power in Japan
Authors: Valentine Scott
Published: November 2020

The story of wind power development in Japan is, at its essence, a subplot to a story of path dependency and the clout of a well-entrenched nuclear power regime. Path dependency refers to the tendency of an entrenched technology to evolve incrementally, primarily due to the existence of entrenched special interests that are committed financially and ideologically to a given technology. These special-interests spawn a regime that finances incremental technological evolution in order to keep pace with consumer demand and that is capable of mounting strong market defense of incumbent technology. By achieving a high level of market penetration, an incumbent technology amasses both the market share necessary to undercut competitive offerings and the political support needed to create market entry barriers for competing technologies. In Japan, nuclear power has been such a technology. Prior to March 11, 2011, Japan laid claim to possessing the third-largest nuclear power program in the world. The nation’s 54 nuclear power reactors were capable of providing almost 30% of the nation’s electricity needs, and the government was committed to a nuclear power expansion policy that would result in nuclear power capacity providing 40% of the nation’s electricity supply by 2030. So how did a nation located in an extremely active seismic region that was on the receiving end of two atomic bombs (which killed between 150,000 and 250,000 people) wind up with such a well-entrenched nuclear power regime? The answer to this question helps explain why wind power developers in Japan have had such a difficult time penetrating the Japan market. At the end of World War II, a defeated Japan found itself under the administrative oversight of the United States. On December 8, 1953, US President Dwight D. Eisenhower delivered a speech to an assembly of the United Nations, which came to be called the “atoms for peace” speech. In his address, Eisenhower announced a US initiative to “encourage worldwide investigation into the most effective peacetime uses of fissionable material.”
Paper, Plastic, or Politics?
Authors: Steinberg Paul F.
Published: November 2020

It would seem only fair that an author who places a question in the title of a book should be expected to answer it directly. So who does rule the earth? The answer is Napoleon. He did, after all, leave behind a legal code that, as we saw in chapter 1, continues to guide the behavior of billions of people throughout the world today. And then there’s June Irwin, the country doctor who convinced the town of Hudson, Canada, to create rules banning nonessential pesticides and spawned a nationwide movement for change. And let’s not forget her foes in the pesticide industry, who raced across America passing state preemption rules that deny local communities the right to regulate these poisons. The earth is ruled by the Roman Emperor Justinian, who created the legal precedent for public access to beaches (discussed in chapter 2), as well as the real estate developer David Gottfried (chapter 3), co-inventor of the rulemaking system for green buildings known as LEED. The list most certainly includes Edmund Muskie and Philip Hart, the senators who spearheaded passage of the US Clean Air Act and Clean Water Act in the early 1970s. But it also includes José Delfín Duarte, whose local water association is empowered to decide how water resources are managed in his small corner of Costa Rica—an effort that required revising rules at local and national levels. Whether famous figures like Jean Monnet, founder of the European Union, or tenacious groups of citizens like Portland’s Bicycle Transportation Alliance, whether working at the level of empires or that of neighborhoods, the people who rule the earth are those who leave behind a legacy of rules that shape the actions and opportunities of generations to come. If we so choose—if we can put aside for a moment the “little things” we do for the earth, and think about the larger, lasting changes that result when people come together and rewrite the rules they live by—then the group of rulemakers also includes you and me.