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Elementary Particle Physics
This modern introduction to particle physics equips students with the skills
needed to develop a deep and intuitive understanding of the physical theory
underpinning contemporary experimental results.
The fundamental tools of particle physics are introduced and accompanied
by historical profiles charting the development of the field. Theory and
experiment are closely linked, with descriptions of experimental techniques
used at CERN accompanied by detail on the physics of the Large Hadron
Collider and the strong and weak forces that dominate proton collisions.
Recent experimental results are featured, including the discovery of the Higgs
boson. Equations are supported by physical interpretations, and end-of-
chapter problems are based on data sets from a range of particle physics
experiments including dark matter, neutrino, and collider experiments. A
solutions manual for instructors is available online. Additional features
include worked examples throughout, a detailed glossary of key terms,
appendices covering essential background material, and extensive references
and further reading to aid self-study, making this an invaluable resource for
advanced undergraduates in physics.
ANDREW J. LARKOSKI is a Visiting Assistant Professor at Reed College. He
earned his Ph.D. from Stanford University working at SLAC National
Accelerator Laboratory and has held postdoctoral research appointments at
Massachusetts Institute of Technology and Harvard University. Andrew is a
leading expert on the theory of quantum chromodynamics (QCD) and has
won the LHC Theory Initiative Fellowship and the Wu-Ki Tung Award for
Early-Career Research on QCD.
Elementary Particle Physics
An Intuitive Introduction
ANDREW J. LARKOSKI
Reed College
University Printing House, Cambridge CB2 8BS, United Kingdom
One Liberty Plaza, 20th Floor, New York, NY 10006, USA
477 Williamstown Road, Port Melbourne, VIC 3207, Australia
314–321, 3rd Floor, Plot 3, Splendor Forum, Jasola District Centre, New Delhi – 110025, India
79 Anson Road, #06-04/06, Singapore 079906
www.cambridge.org
Information on this title: www.cambridge.org/9781108496988
DOI: 10.1017/9781108633758
© Andrew J. Larkoski 2019
This publication is in copyright. Subject to statutory exception and to the provisions of relevant
collective licensing agreements, no reproduction of any part may take place without the written
permission of Cambridge University Press.
First published 2019
Printed in the United Kingdom by TJ International Ltd, Padstow Cornwall
A catalogue record for this publication is available from the British Library.
Library of Congress Cataloging-in-Publication Data
Names: Larkoski, Andrew J., 1985– author.
Title: Elementary particle physics : an intuitive introduction / Andrew J. Larkoski.
Description: Cambridge, United Kingdom ; New York, NY : Cambridge University Press, 2019. |
Includes bibliographical references and index.
Identifiers: LCCN 2019003347| ISBN 9781108496988 (hardback ; alk. paper) | ISBN 1108496989
(hardback ; alk. paper)
Subjects: LCSH: Particles (Nuclear physics)
Classification: LCC QC793.2 .L37 2019 | DDC 539.7/2–dc23
LC record available at https://lccn.loc.gov/2019003347
ISBN 978-1-108-49698-8 Hardback
Additional resources for this publication at www.cambridge.org/larkoski
Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external
or third-party internet websites referred to in this publication and does not guarantee that any content on
such websites is, or will remain, accurate or appropriate.
For Patricia and Henry
Contents
Preface
Overview of This Book
Acknowledgements
1 Introduction
1.1 A Brief History of Forces
1.2 The Standard Model of Particle Physics
1.3 The Large Hadron Collider
1.4 Units of Particle Physics and Dimensional Analysis
Exercises
2 Special Relativity
2.1 Symmetries and Their Consequences
2.1.1 Rotational Invariance
2.1.2 Relativistic Invariance
2.1.3 Applying Relativity
2.2 Relativistic Wave Equations
2.2.1 The Klein–Gordon Equation
2.2.2 The Dirac Equation
2.2.3 Electromagnetism
Exercises
8 Quantum Chromodynamics
8.1 Color Symmetry
8.2 Non-Abelian Gauge Theory
8.2.1 Covariant Derivative
8.2.2 Connections and Curvature
8.3 Consequences of Quantum Chromodynamics
8.3.1 Masslessness of the Gluon
8.3.2 Gluon Degrees of Freedom
8.3.3 Self-Interaction of the Gluon
8.3.4 The Running Coupling and Asymptotic Freedom
8.3.5 Low-Energy QCD
Exercises
10 Parity Violation
10.1 Decay of the Neutron
10.2 Discrete Lorentz Transformations
10.2.1 Parity Transformations
10.2.2 Time Reversal and Charge Conjugation
10.2.3 CPT Theorem
10.3 Parity Violation in Nuclear Decays
10.3.1 Consequences of Parity Violation
10.4 The V − A Theory
10.4.1 Decay of the Muon
Exercises
11 The Mass Scales of the Weak Force
11.1 Problems with the V − A Theory
11.2 Spontaneous Symmetry Breaking
11.2.1 Quantum Mechanics Analogy
11.2.2 Goldstone’s Theorem for the Mexican Hat
Potential
11.2.3 Higgs Mechanism in Superconductivity
11.3 Electroweak Unification
11.3.1 Properties of the Weak Force Carriers
11.3.2 Spontaneous Breaking of Electroweak Symmetry
11.3.3 The Broken Weak Theory
11.3.4 Four Predictions of the Broken Weak Theory
Exercises
Not only God knows, I know, and by the end of the semester, you will know.
Sidney Coleman
Particle physics is a subject that strikes both awe and fear into students of
physics. Awe because particle physics is extremely far-reaching: its realm
ranges from the inner workings of atoms to the mechanisms for fusion in the
center of stars to the earliest moments of the universe. From a small number
of fundamental principles, all of these phenomena can be consistently
described and understood. On the other hand, fear because particle physics is
notorious for being a mathematically dense and abstract topic, and one for
which its experimental validation is often reduced to interpreting obscure
plots. Fancy mathematics can be mistaken for physical rigor, and a
mathematics-heavy approach to particle physics often hides a much simpler
structure.
Textbooks on particle physics for undergraduates are often organized
historically, which can add to confusion. Throughout the twentieth century,
more and more was learned about the subatomic world, but the way it
progressed was never linear. For example, hundreds of particles that we now
call hadrons were discovered in the mid-twentieth century, with no clear
organizing principle at the time. It wasn’t until the development of the strong
force, quantum chromodynamics (QCD), in the 1970s that an explanation of
all of these hadrons as combinations of only five fundamental particles, the
quarks, was firmly established. Only after introducing this zoo of particles
would a textbook that proceeds historically identify the simple principles
underlying this structure. The why should take precedence over how physical
phenomena manifest themselves, and a book that builds from the ground up
can’t proceed historically.
Additionally, particle physics is very much an active field of physics with
new data and discoveries. A modern book on particle physics needs to
include discussions of recent results, the most prominent of which is the
discovery of the Higgs boson at the Large Hadron Collider (LHC) in 2012.
However, to describe and motivate why the discovery of the Higgs was so
important requires significant background, covering topics ranging from
electroweak symmetry breaking to the dynamics of proton scattering,
quantum loops in Feynman diagrams, particle detector experiments, and
statistical analyses, among others. Therefore, in some sense, there simply
isn’t space in a modern particle physics textbook to describe every major
result since the 1920s. By the end of the course a student should be able to
understand almost any plot produced by the experiments at the LHC.
This book was born out of the particle physics class at Reed College,
which I taught during the spring semester of 2017. The twin goals of this
textbook are to be up-to-date and to build concepts from the ground up, based
firmly on physical intuition. This book provides an intuitive explanation for
the physics being introduced. This is necessarily an ahistorical approach,
which has consequences for how topics are introduced and motivated as
compared to other textbooks. With a modern viewpoint, we can identify past
results and predictions that had an outsized impact on the field as a whole.
For example, interpreting results at the LHC requires use of proton collision
simulations, referred to as parton shower programs. The physical basis for the
parton shower is the DGLAP splitting functions, which were developed in the
1970s as a consequence of QCD. Thus it is vital for interpretation of results
from the LHC to understand and appreciate the DGLAP splitting functions.
Chapter 9 covers this topic.
A potential drawback of this approach is that it is not encyclopedic. Any
undergraduate textbook on particle physics suffers from this, however. A full
mathematical treatment of particle physics requires quantum field theory,
which is (at least) a year-long graduate-level course. So, there will be some
things for which the motivation is less than ideal. The most prominent of
these is the construction and calculation of Feynman diagrams, which are
motivated in this book in analogy to circuit diagrams, but their mathematical
justification lies well beyond such a course. Similarly, to understand all of the
intricacies of experimental measurements requires years of actually working
on the experiments. Only then can you understand where the systematic
uncertainties come from, the limitations of your detector, and all of the blood,
sweat, and tears that went into a measurement, which is sometimes just a
single number.
Overview of This Book
This textbook is organized into three broad themes:
I don’t claim to have invented this organization; at least two other modern
particle physics textbooks use a similar organizational scheme. However, I do
think that this is the correct approach for such a course. Of the four
fundamental forces, three are relevant for particle physics (strong, weak,
electromagnetism), and of those three, the strong and weak forces have no
long-distance classical counterpart. So, it is natural, then, to focus on them,
especially because their phenomena dominate the description of the physics
probed at the LHC.
Key Features
Worked Examples and Supplementary Appendices
Along with the intuitive discussion of topics, each chapter contains worked
examples focused around understanding a relevant measurement. There is
really nothing as satisfying in physics as seeing a prediction which started
from some very simple assumptions validated by concrete data. The goal of
the worked examples is both to show the student the application of these
ideas and to share the excitement of working in the field of particle physics,
where experiment and theory are so closely connected. Additionally,
appendices provide background or summary information as a quick and easy
reference for students. The appendices cover a background of quantum
mechanics (likely from a perspective students haven’t seen), details about
Dirac δ-functions, Fourier transforms, a collection of results from the main
body of the text, and a bibliography of suggested reading for delving further.
Key particle physics terms are emphasized in bold throughout the text, and a
glossary of a substantial number of the terms is also provided, as significant
jargon is used in particle physics.
Exercises on Recent Results
The exercises at the end of each chapter cover a broad range of applications
to test the student’s understanding of the topic of the particular chapter. Most
of the exercises are relatively standard calculations for the student, but two or
three of the exercises are in much more depth and involve studying data from
experiment in the context of the material of the chapter. This broadens and
deepens the topics covered in the worked examples, and exposes students to
relevant experiments and results that couldn’t be covered within the main
text. Examples of these exercises include analyzing dark matter mass and
interaction rate bounds, estimating the mass of the top quark from its decay
products, studying LHC event displays, a simple extraction of quark parton
distribution functions from data for the Z boson rapidity, lowest-order
predictions for jet masses at the LHC, predicting neutrino scattering rates in
the IceCube experiment, validating the left-handed nature of the top quark
decay, and estimating backgrounds in searches for the Higgs boson decay.
Additionally, the final exercise in each chapter is the statement of an open
problem in particle physics, intended to expose the student to some of the big
questions of the field.
Historical Profiles
It is sometimes easy to forget that physics is a human endeavor done by
people. I have included historical profiles throughout the text to provide
context and a bit of humanity to the topic. I have highlighted scientists who
contributed significantly to the subject at hand, but have attempted to focus
on those people who haven’t been overly deified (e.g., not Fermi or
Feynman). Historical profiles include mini-biographies of Emmy Noether (p.
16), Paul Dirac (p. 34), Fabiola Gianotti (p. 127), Mary Gaillard and Sau Lan
Wu (p. 188), Gerardus’t Hooft (p. 235), Guido Altarelli (p. 258), Chien-
Shiung Wu (p. 291), Helen Quinn (p. 367), and Benjamin Lee (p. 407). A
few “legendary” particle physics stories are presented, including the
etymology of the barn unit of cross section (p. 81), the origin of penguin
diagrams (p. 337), and the Higgs boson discovery announcement (p. 417).
Extensive In-Text Referencing
I have also worked to provide extensive (and where possible, exhaustive)
references to the original literature for every topic covered in this book.
References are provided as footnotes, so that one can immediately identify
the paper without flipping back and forth to the end of the chapter or end of
the book. I have also collected all in-text references in the bibliography for
ease of searching. The only way that the referencing could be as thorough as
it is is through innumerable searches of my own on InSpire
(http://inspirehep.net) and arXiv (http://arxiv.org). InSpire is an
online database of essentially every publication relevant to particle physics in
history. The reference format used in this book is that provided by InSpire,
which is ubiquitous in technical papers on particle physics. arXiv is the
preprint archive for particle physics (and now many more fields), where
scientists post their completed papers before journal publication. It enables
the rapid transmission of ideas, and every paper on particle physics written in
the past 25 years is available there for free.
Introduction
(1.1)
(1.2)
It turns out that, in appropriate units that we will discuss further later in this
chapter, GN is incredibly tiny. Gravitational forces are completely ignorable
for any microscopic experiment involving individual particles, like electrons
or protons.
The next force that was understood is electromagnetism. Unlike gravity,
which is universally attractive because mass is always positive,
electromagnetism can be either attractive or repulsive (or neutral). Particles
or other objects can have positive, negative, or no charge and the relative sign
of charges determines whether the force is attractive or repulsive. The electric
force between two charges q1 and q2 separated by distance ⃗r is
(1.3)
(1.4)
PSYCHE
FROM BOOK I
The goddess donned her ancient gala dress, and seated in the
shell, as they paint in pictures, glided over the waters on two large
dolphins.
Cupid, bestowing his imperious look, bestirred all Neptune’s court.
The frisky waves, perceiving Venus, swam after her, replete with
merriment. The watery tribe of Tritons issues to her from the abysses
of the waters: one dives all about her and pacifies the wanton waves;
another, whirling in the depths, gathers pearls at the bottom and
drags forth all the secrets of the sea to place before her feet. One,
struggling with the monsters, forbids them to disport nearby; another,
briskly leaping into the coachman’s seat, scolds loudly those he
meets and orders them to stand aside; he proudly holds the lines,
and steers his path away from rocks, and crushes impudent
monsters. One, with trident, precedes her on a whale and drives all
far out of the way; he casts about him his angry looks and, that all
may know his will, loudly blows a coral horn; another, having come to
the goddess from distant regions, bears before her a bit from a
crystal mountain instead of a mirror. This sight refreshes her
pleasure and the joy upon her brow.
“Oh, if this sight,” proclaims he, “for ever remained in this crystal!”
But the Triton’s wish is vain: that vision will disappear like a dream,
and nothing will remain but the stone, and in the heart a fatal flame
which will consume him. Another has joined the retinue of the
goddess, and protects her from the sun and cools the sultry beam by
sending upwards a stream of water. Meanwhile sirens, sweet
singers, sing verses in her honour, and mingle fiction with truth in
their attempt to extol her: some dance before her; others,
anticipating her wishes, are present to serve her, and with fans waft
coolness to the goddess; others, borne on the crests, breathe
heavily in travelling post from fields, beloved by Flora, and bring her
flowery wreaths. Thetis herself has sent them for small and great
services, and wishes only that her husband stay at home. The
weather being most favourable, the storms dare not annoy her, and
only the Zephyrs are free to fondle Venus.
FROM BOOK II
Psyche awoke from her sleep not sooner than midday past, nay,
one hour after midday. All serving-maids came to dress the princess,
and brought with them forty garments and all that with them went.
For that day Psyche designated the simplest of all gowns, for she
hastened as soon as possible to inspect the marvels of the palace. I
shall follow in the princess’s track and shall present the mansion to
you, and describe all in detail that could amuse her.
At first Psyche visited the rooms, nor left a corner in them where
she did not pass a while; thence to the conservatory and to the
balcony; thence on the veranda, and down, and out, to inspect the
house from all sides. A bevy of girls were slow in following her; only
the Zephyrs were fast enough, and they guarded her, lest running
she should fall. Two or three times she inspected the house from
within and from without. Meanwhile the Zephyrs and Cupids pointed
out the architecture to her and all the marvels of nature, which
Psyche was anxious to inspect. She wished to see all, but knew not
where to begin, for her eyes were distracted now by one thing, now
by another. Psyche would fain have looked at everything, but running
around so much, she soon became fatigued.
While resting herself, she looked at the statues of famous masters:
those were likenesses of inimitable beauties, whose names, in prose
and verse, in various tales, both short and long, reign immortally
among all the nations and through all the ages: Calisto, Daphne,
Armene, Niobe, Helen, the Graces, Angelica, Phryne, and a
multitude of other goddesses and mortal women appeared before
her eyes in lifelike form, in all their beauty arrayed along the wall. But
in the middle, and right in front of them, Psyche’s image stood on an
elevated pedestal and surpassed them all in beauty. Looking at it,
she herself fell to wondering, and, beside herself with wonderment,
stopped: then you might have perceived another statue in her, such
as the world had never seen.
Psyche would have stayed there a long time, looking at her image
that held sway over her, if her servants who were with her had not
pointed out in other places, for the pleasure of her eyes, other
likenesses of her beauty and glory: up to her waist, her feet, her
lifelike form, of gold, of silver, of bronze, of steel, her heads, and
busts, and medals; and elsewhere mosaic, or marble, or agate
represented in these forms a new splendour. In other places Apelles,
or the god of artists who with his hand had moved Apelles’s brush,
had pictured Psyche in all her beauty, such as no man could have
imagined before.
But does she wish to see herself in pictures? Here, Zephyrs bring
her Pomona’s horn and, strewing flowers before her, disport with her
in vales; in another, she with mighty buckler in her hands, dressed as
Pallas, threatens from her steed, with her fair looks more than with
her spear, and vanquishes the hearts through a pleasant plague.
There stands Saturn before her: toothless, baldheaded and grey,
with new wrinkles on his old face, he tries to appear young: he curls
his sparse tufts of hair, and, to see Psyche, puts on his glasses.
There, again, she is seen like a queen, with Cupids all around her, in
an aërial chariot: to celebrate fair Psyche’s honour and beauty, the
Cupids in their flight shoot hearts; they fly in a large company, all
carrying quivers over their shoulders, and, taking pride in her
beautiful eyes, raise their crossbows and proclaim war to the whole
world. There, again, fierce Mars, the destroyer of the law of peace,
perceiving Psyche, becomes gentle of manner: he no longer stains
the fields with blood, and finally, forgetting his rules of war, lies
humbled at her feet and glows with love to her. There, again, she is
pictured among the Pleasures that precede her everywhere and by
the invention of varied games call forth a pleasant smile upon her
face. In another place the Graces surround the princess and adorn
her with various flowers, while Zephyr, gently wafting about her,
paints her picture to adorn the world with; but, jealous of licentious
glances, he curbs the minds of the lovers of licentiousness, or,
perchance, shunning rebellious critics, hides in the painting the
greater part of her beauties, though, as is well known, before Psyche
those beauties of themselves appear in the pictures.
In order that various objects, meeting her eyes, should not weary
her, her portraits alone were placed upon the wall, in simple and in
festive gowns, or in masquerade attire. Psyche, you are beautiful in
any attire: whether you be dressed as a queen, or whether you be
seated by the tent as a shepherdess. In all garments you are the
wonder of the world, in all you appear as a goddess, and but you
alone are more beautiful than your portrait.
Gavriíl Románovich Derzhávin. (1743-1816.)
Derzhávin was born near Kazán, deriving his descent from
a Tartar Murza, and passed his childhood in the east, in the
Government of Orenbúrg. His early education was very
scanty. In his fourteenth year his mother hastened with him to
Moscow to enter him for future service as the son of a
nobleman; but, her means being exhausted, she returned with
him to Kazán, where she placed him in the newly opened
Gymnasium. Even here the lack of good teachers precluded
his getting any thorough instruction; his only positive gain was
a smattering of German, which was to help him later in
acquainting himself with the productions of the German Muse.
In 1762 he entered the regiment of the Transfiguration
(Preobrazhénski) as a common soldier. Whatever time he
could call his own in the crowded and dingy barracks in which
he passed eight years of his life he devoted to reading and to
imitations of Russian and German verse. In 1772 he was
made a commissioned officer, and was employed to quell the
Pugachév rebellion.
It was only in 1779 that Derzhávin began to write in a more
independent strain; one of the best odes of this new period is
his Monody on the Death of Prince Meshchérski. But the one
that gave him his greatest reputation was his Felítsa, with
which began a new epoch in Russian poetry. Lomonósov,
Sumarókov, Tredyakóvski, and a number of minor poets had
flooded Russian literature with lifeless odes in the French
pseudo-classic style, written for all possible occasions, and
generally to order. Just as a reaction was setting in against
them in the minds of the best people, Derzhávin proved by his
Felítsa that an ode could possess other characteristics than
those sanctioned by the French school. In 1782 he occupied
a position in the Senate under the Procurator-General
Vyázemski. He had an exalted opinion of Catherine, whom he
had not yet met, and he spoke with full sincerity of her in his
ode. The name Felítsa was suggested to him by the princess
in her moral fable (see p. 276 et seq.). The chief interest in
the ode for contemporary society lay in the bold attacks that
Derzhávin made on the foibles of the dignitaries. Its literary
value consists in the fact that it was the first attempt at a
purely colloquial tone of playful banter, in a kind of poetic
composition formerly characterised by a stilted language,
replete with Church-Slavic words and biblical allusions.
Numerous are the references made by the poets of the day to
the Singer of Felítsa (see p. 358 et seq.); they all felt that
Derzhávin had inaugurated a new era, that the period which
had begun with Lomonósov’s Capture of Khotín was virtually
over.
Catherine made Derzhávin Governor of Olónetsk, and later
of Tambóv; but neither in these high offices, nor later, when
Paul appointed him Chief of the Chancery of the Imperial
Council, and Alexander I. made him Minister of Justice, was
he successful. His excitable temperament, combined with a
stern love of truth which brooked no compromise, made him
everywhere impossible. Of the many productions which he
wrote after Felítsa, none gained such wide popularity as his
Ode to God. Though parts of it bear strong resemblance to
similar odes by Klopstock, Haller, Brockes, and to passages
in Young’s Night Thoughts, yet the whole is so far superior to
any of them that it soon was translated into all European
languages, and also into Japanese; there are not less than
fifteen versions of it in French. Derzhávin lived to hear
Púshkin recite one of his poems and to proclaim him his
spiritual successor. The following translations of Derzhávin’s
poems in English are known to me:
God, On the Death of Meshcherski, The Waterfall, The Lord
and the Judge, On the Death of Count Orlov, Song (The Little
Bee), in Sir John Bowring’s Specimens of the Russian Poets,
Part I.; To a Neighbour, The Shipwreck, Fragment, ib., Part II.;
To God, The Storm, in William D. Lewis’s The Bakchesarian
Fountain, Philadelphia, 1849; The Stream of Time, in J.
Pollen’s Rhymes from the Russian; Drowning, by N. H. Dole;
Ode to the Deity, by J. K. Stallybrass, in The Leisure Hour,
London, 1870, May 2; Ode to God, by N. H. Dole, in The
Chautauquan, vol. x; On the Death of Meshcherski, in C. E.
Turner’s Studies in Russian Literature, and the same in
Fraser’s Magazine, 1877.
FELÍTSA[148]
THE STORM
FOOTNOTES: