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Lehninger
Principles of Biochemistry
EIGHTH EDITION
David L. Nelson
Professor Emeritus of Biochemistry
University of Wisconsin–Madison
Michael M. Cox
Professor of Biochemistry
University of Wisconsin–Madison
Aaron A. Hoskins
Associate Professor of Biochemistry
University of Wisconsin–Madison
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In 1946, William Freeman founded W. H. Freeman and Company and published
Linus Pauling’s General Chemistry, which revolutionized the chemistry
curriculum and established the prototype for a Freeman text. W. H. Freeman
quickly became a publishing house where leading researchers can make
significant contributions to mathematics and science. In 1996, W. H. Freeman
joined Macmillan and we have since proudly continued the legacy of providing
revolutionary, quality educational tools for teaching and learning in STEM.
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To Our Teachers
Paul R. Burton
Albert Finholt
Jeff Gelles
William P. Jencks
Eugene P. Kennedy
Homer Knoss
Arthur Kornberg
I. Robert Lehman
Andy LiWang
Patti LiWang
Melissa J. Moore
Douglas A. Nelson
Wesley A. Pearson
David E. Sheppard
JoAnne Stubbe
Harold B. White
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About the Authors
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Nelson’s research focused on the signal transductions that
regulate ciliary motion and exocytosis in the protozoan
Paramecium. For 43 years he taught (with Mike Cox) an intensive
survey of biochemistry for advanced biochemistry
undergraduates in the life sciences. He has also taught graduate
courses on membrane structure and function, as well as on
molecular neurobiology. He has received awards for his
outstanding teaching, including the Dreyfus Teacher–Scholar
Award and the Atwood Distinguished Professorship. In 1991–1992
he was a visiting professor of chemistry and biology at Spelman
College. Nelson’s second love is history, and in his dotage he
teaches the history of biochemistry and collects antique scientific
instruments.
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For more than three decades, Cox has taught introductory
biochemistry to undergraduates and has lectured in a variety of
graduate courses. He organized a course on professional
responsibility for first-year graduate students and established a
systematic program to draw talented biochemistry
undergraduates into the laboratory at an early stage of their
college career. He has received multiple awards for both his
teaching and his research, including the Eli Lilly Award in
Biological Chemistry, election as a AAAS fellow, and the UW
Regents Teaching Excellence Award. Cox’s hobbies include
turning 18 acres of Wisconsin farmland into an arboretum, wine
collecting, and assisting in the design of laboratory buildings.
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recognize introns. Hoskins has won awards for his research,
including being named a Beckman Young Investigator and Shaw
Scientist. He has taught introductory biochemistry for
undergraduates since 2012. Hoskins also enjoys playing with his
cat (Louise) and dog (Agatha), yoga/exercise, and tries to read a
new book each week.
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A Note on the Nature of
Science
In this twenty-first century, a typical science education o en
leaves the philosophical underpinnings of science unstated, or
relies on oversimplified definitions. As you contemplate a career
in science, it may be useful to consider once again the terms
science, scientist, and scientific method.
Science is both a way of thinking about the natural world and the
sum of the information and theory that result from such thinking.
The power and success of science flow directly from its reliance
on ideas that can be tested: information on natural phenomena
that can be observed, measured, and reproduced and theories
that have predictive value. The progress of science rests on a
foundational assumption that is o en unstated but crucial to the
enterprise: that the laws governing forces and phenomena
existing in the universe are not subject to change. The Nobel
laureate Jacques Monod referred to this underlying assumption as
the “postulate of objectivity.” The natural world can therefore be
understood by applying a process of inquiry—the scientific
method. Science could not succeed in a universe that played
tricks on us. Other than the postulate of objectivity, science
makes no inviolate assumptions about the natural world. A useful
scientific idea is one that (1) has been or can be reproducibly
substantiated, (2) can be used to accurately predict new
phenomena, and (3) focuses on the natural world or universe.
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Scientific ideas take many forms. The terms that scientists use to
describe these forms have meanings quite different from those
applied by nonscientists. A hypothesis is an idea or assumption
that provides a reasonable and testable explanation for one or
more observations, but it may lack extensive experimental
substantiation. A scientific theory is much more than a hunch. It is
an idea that has been substantiated to some extent and provides
an explanation for a body of experimental observations. A theory
can be tested and built upon and is thus a basis for further
advance and innovation. When a scientific theory has been
repeatedly tested and validated on many fronts, it can be accepted
as a fact.
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reproducible observations, and the scientist must report these
observations with complete honesty.
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Not all paths to discovery involve planning. Serendipity o en plays
a role. The discovery of penicillin by Alexander Fleming in 1928
and of RNA catalysts by Thomas Cech in the early 1980s were both
chance discoveries, albeit by scientists well prepared to exploit
them. Inspiration can also lead to important advances. The
polymerase chain reaction (PCR), now a central part of
biotechnology, was developed by Kary Mullis a er a flash of
inspiration during a road trip in northern California in 1983.
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The authoritative reference with a
framework for understanding.
Lehninger Principles of Biochemistry earned acclaim for its presentation and
organization of complex concepts and connections, anchored in the principles
of biochemistry. This legacy continues in the eighth edition with a new
framework that highlights the principles and supports student learning.
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Streamlined for easier navigation
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A Long Journey
At any rate the Gregorian chant flourished and was so loved that
Benedict Biscop, and other monks interested in music, came from
far-off England to learn the chant invented by St. Gregory. A long
journey! In 675 Biscop sent to Rome for singers and built
monasteries very close to a pagan temple, where the Anglo-Saxons
still worshipped the Roman Sun god, Apollo, also god of music.
These he filled with beautiful relics, paintings and stained glass
windows, Bibles and service books illuminated in gold and color,
which he brought from Rome.
Bringing things from Rome may sound easy to you, but fancy the
travel and inconvenience when there were no steamships, no
railroads, no aeroplanes, but only Roman roads, which however
marvelous, were long and wearisome by foot or by horse, or mule
and rude wagons. This shows how much the people of Britain desired
music and beauty in their church services.
Venerable Bede
Diaphony
Discant (XIIth Century)
In the Middle Ages, the men did most of the singing so the music
was written in a range to suit their voices. C is middle C, and F the
bass clef.
All music had to be written by hand and the monks made
wonderful parchment copies of works composed for the church
services. They soon grew careless about the yellow lines and red
lines, so Guido placed the letters C and F at the beginning of the lines
instead of using the colored lines.
Sometimes there were three lines to a staff, sometimes four, five,
and even eleven! The use of clefs showing which line was C or F,
made reading of music much easier. At the end of the 16th century
the question of the number of lines to the staff was definitely
decided, then they used four lines for the plain chant and five for all
secular music. By calling the fifth line of the eleven, middle C, two
staffs of five lines resulted—the grand staff of today.
Here is a table to show you how clefs grew:
Hucbald built his scales in groups of four tones like the Greek
tetrachords but Guido extended this tetrachord to a hexachord or
six-toned scale, and by overlapping the hexachords, he built a series
of scales to which he gave the name, gamut, because it started on the
G which is the first note of our grand staff (lowest line, bass clef) and
the Greek word for G is “Gamma.”
Here is a translation:
Grant that the unworthy lips of Thy servant
May be gifted with due harmony,
Let the tones of my voice
Sing the praises of Thy wonders.
We still call our scale degrees ut (frequently changed to do), re, mi,
fa, sol, la. The French today use these syllables instead of the letters
of the alphabet, and Guido is known as the man who originated this
solmization (the word taken from the syllables sol and mi).
Where did the syllable si, the seventh degree of the scale, come
from? This hymn was written to St. John and in Latin his name is
Sancte Ioannes, the initials of which form the syllable si which came
into use long after Guido’s time.
This system was very difficult for the singers to learn as it was
quite new to them, so Guido used his hand as a guide to the singers.
Each joint represented a different syllable and tone, and a new scale
began on every fourth tone. Look at the Guidonian hand on the next
page.
Guido was so great a teacher and musician that he was given credit
for inventing much that already existed. He gathered all the
knowledge he could find into a book, that was sent to the
monasteries and music schools. He put in much that never before
had been written down, explained many things that had never been
clear, and added much that was new and useful.
Sometimes his name was written Gui or Guion. When he lived
people had no last names but were called by the name of their native
towns; as Guido was born in Arezzo, a town of Tuscany, he was called
Guido d’Arezzo; Leonardo da Vinci, the great painter, was born in
the village of Vinci; and the great Italian composer Pierluigi da
Palestrina came from Palestrina.
Guido’s work was considered revolutionary and not in accord with
the old ways which the church fathers reverenced. Because of plots
against him, he was cast into prison. But the Pope, realizing his
greatness and value, saved him. The inventors of new ideas always
suffer!
Mensural Music or Timed Music
In the 10th century, organs came into use in the churches, but they
were ungainly and crude, sounding only a few tones, and were
probably only used to keep the singers on pitch. The organ had been
invented long before this, and had been used in Greece and Egypt. It
was built on the principle of Pan’s Pipes and was very simple. There
were many portable organs, called portatives, small enough to be
carried about.
One organ (not a portative!) at Winchester, England, had four
hundred pipes and twenty-six pairs of bellows. It took seventy men
to pump air into it and two men to play it by pounding on a key with
their fists or elbows. The tone was so loud that it could be heard all
over the town. Fancy that!
During these centuries, music was growing slowly but surely. Out
of organum and discant and faux bourdon, arose a style called
counterpoint, in which three, four or more melodies were sung at the
same time. The writing of counterpoint, or line over line, is like a
basket weave for the different melodies weave in and out like pieces
of willow or raffia forming the basket. Later will come the chorale,
written in chords or up and down music like a colonnade or series of
columns. Keep this picture in mind. (St. Nicolas Tune, Chapter XI.)
The word point means note so counterpoint means note against
note. The word was first applied in the 13th century to very crude
and discordant part-writing. But, little by little the monks learned
how to combine melodies beautifully and harmoniously and we still
use many of their rules.
Gradually great schools of church music flourished in France,
Germany, Spain, England, Italy and the Netherlands in the 14th, 15th
and 16th centuries.
Bit by bit this vast musical structure was built. It did not grow
quickly; each new idea took centuries to become a part of music, and
as often the idea was not good, it took a long time to replace it.
CHAPTER VIII
Troubadours and Minnesingers Brought Music to Kings and People
Except for the first few chapters in this book, we have told you of
music made by men who wanted to improve it. You have seen how
the fathers of the Church first reformed music, and gave it a
shorthand called neumes; before that, the music laws of the
Egyptians, the scales and modes of the Arab, the Greek scales which
the churchmen used in the Ambrosian and the Gregorian modes.
Then came the two-lined staff, and the beginnings of mensural or
measured music by which they kept time. Then you saw how two
melodies were fitted together and how they grew into four parts. All
this we might call “on purpose” music. At the same time, in all the
world, in every country, there was Song ... and never have the world
and the common people (called so because they are neither of the
nobility nor of the church) been without folk song which has come
from the folks of the world, the farmers, the weavers, and the
laborers.
The best of these songs have what the great composers try to put
into their music—a feeling of fresh free melody, design, balance, and
climax, but more of this in the chapter on Folk Song.
This chapter is to be about Troubadours, Trouvères, and
Minnesingers, who have left over two thousand songs. In most of
these, they made up both words and music, but sometimes they used
new words made up for folk tunes that everyone knew, or for
melodies from the plain-chants which they had heard in church;
sometimes they used the same melody for several different poems,
and often they set the same words to several melodies. Many of these
troubadour songs and minnelieder became the people’s own folk
songs.
But now you must hear of the folk who lived hundreds of years
before these poet singers. Unknowingly, out of the heart and soul
and soil of their native lands, they made songs and sang poetry and
played sometimes other peoples’ song, scattering their own wherever
they went.
From these traveling singers and players, in all countries, came the
professional musicians who were minstrels, bards, troubadours, etc.,
according to when, where and how they lived.
The Why of the Minstrel
The people sang and played not only because they wanted to, or
because they loved it, but because they were the newspaper and the
radio of their time, singing the news and doings of the day. These
minstrels who traveled from place to place “broadcasted” the events.
No music was written down and no words were fastened by writing
to any special piece. The singer would learn a tune and when he sang
a long story (an epic) he would repeat the tune many times so it was
necessary to find a pleasing melody, or singers would not have been
very welcome in the courts and market places. These musical news
columns entertained the people who had few amusements. The
wandering minstrels with their harps or crwth (Welsh harps), or
whatever instrument they might have used in their particular
country, were welcomed with open arms and hearts.
This sounds as if these singers and players traveled, and indeed
they did! They sprang up from all parts of Europe and had different
names in different places. There were bards from Britain and
Ireland, skalds from the Norse lands, minstrels from “Merrie
England,” troubadours from the south of France, trouvères from the
north of France, jongleurs from both north and south who danced
and juggled for the joy of all who saw them, and minnesingers and
meistersingers in Germany.
Druids and Bards
Centuries before this, Homer the great Greek poet was called the
Blind Bard and he chanted his poems, the Iliad and the Odyssey, to
the accompaniment of the lyre, the favorite instrument of the Greeks.
But when we speak of bards in this chapter we mean the poets and
musicians of ancient Britain, when that island was inhabited and
ruled by the Druids, 1000 B.C. We do not know when the bards first
began to make music or when they were first called bards, but it is
certain that for many centuries before the Christian era, these rude,
barbarous people of the countries we know as Wales, England,
Ireland and Scotland, had many songs, dances and musical
instruments.
Look at a map of France, and see how much like a teapot it is
shaped. The western part, the spout, is Brittany! As its name shows,
this part of France was inhabited by the same race of people as were
in Britain, they spoke the same language, had the same religion and
made the same music. These people were Celts and their priests were
called Druids. Much we said about primitive people is true of these
early Britons. They expressed their feelings, and tried to protect
themselves from Nature and human foes by means of religious rites
and ceremonies in which music and dancing played the leading part.
They had no churches, but held religious services in the open
under the oak trees. They piled boulders on top of each other to form
altars, or built large circular enclosures of huge flat rocks, inside of
which they gathered for worship, or to assist at some ceremonial in
which sacrifices of animals and occasionally of human beings were
made. These human sacrifices occurred once a year at the Spring
Festival which was celebrated in much the same fashion as in Greece.
These masses of stone are found not only in the British Isles, the
most famous of which is Stonehenge (which was recently bought by
an American), but there are also many of these so-called cromlechs
and menhirs in Brittany.
It is curious how often men and women do the same things at
times and places so completely separated that they could not have
been influenced by each other, but did what was natural for them. It
seems that between the state of being primitive or savage and of
being cultured, mankind must pass through certain states of mind
and certain bodily actions common to all men. In tracing the growth
of any habits and actions of people,—in government, religion,
amusements, art, music, manners and customs, and language, we
find the same customs constantly repeated among different races. If
you remember this point, you will be interested to watch, in this
book, the difference between these experiences common to all
mankind and those which later on, were caused by the influence that
one race had on another through meeting, through conquest and
through neighborly contact.
The bards belonged to the priesthood and were Druids. They sang
in verse the brave deeds of their countrymen, praises of the gods and
heroes, and legends of war and adventure, accompanying themselves
on primitive harps, or on an instrument something like the violin
without a neck, called a crwth. They wore long robes and when they
were acting as priests, these were covered with white surplices
somewhat like the gowns of our own clergy. From a bit of
information handed down by the bards, we learn that in Ireland, the
graduate bard wore six colors in his robes, said to be the origin of the
plaid of the Scotch Highlanders; the king wore seven colors; lords
and ladies, five; governors of fortresses, four; officers and gentlemen,
three; soldiers, two, and the people were allowed to wear only one.
Even their dress seemed important and marked the rank!
There were three kinds of bards: priestly bards who took part in
the religious rituals and were also the historians, domestic bards who
made music in honor of their masters, and heraldic bards whose
duties were to arouse patriotism through songs in praise of their
national heroes. They had to pass examinations to become bards,
and the lower ranks were tested for knowledge and ability before
being promoted to the higher ranks. Recently there has been a
revival in Wales of the Eisteddfod, or song contests of the Druids.
“Minstrelsy,” or singing to the crwth or harp, lived on long after
Druidism had been replaced by the Christian faith. Did you ever
wonder where the custom came from of mistletoe at Christmas time?
Or of dancing around a Maypole? Or building bonfires for May-day
and St. John’s eve? Celebrating All-Hallowe’en with pumpkins and
black cats? And of having Christmas trees? Well, these customs are
all relics of Druidism of 2000 or more years ago.
Skalds