How networked structures of collaboration and competition within a community of researchers led to the invention, spread, and commercialization of scanning probe microscopy. The scanning tunneling microscope (STM) has been hailed as the “key enabling discovery for nanotechnology,” the catalyst for a scientific field that attracts nearly $20 billion in funding each year. In Instrumental Community, Cyrus Mody argues that this technology-centric view does not explain how these microscopes helped to launch nanotechnology—and fails to acknowledge the agency of the microscopists in making the STM and its variants critically important tools. Mody tells the story of the invention, spread, and commercialization of scanning probe microscopy in terms of the networked structures of collaboration and competition that came into being within a diverse, colorful, and sometimes fractious community of researchers. By forming a community, he argues, these researchers were able to innovate rapidly, share the microscopes with a wide range of users, and generate prestige (including the 1986 Nobel Prize in Physics) and profit (as the technology found applications in industry). Mody shows that both the technology of probe microscopy and the community model offered by the probe microscopists contributed to the development of political and scientific support for nanotechnology and the global funding initiatives that followed. In the course of his account, Mody charts the shifts in U.S. science policy over the last forty years—from the decline in federal basic research funding in the 1970s through the rise in academic patenting in the 1980s to the emergence of nanotechnology discourse in the 1990s—that have resulted in today's increasing emphasis on the commercialization of academic research.

Instrumental Lives is an account of instrument making at the cutting edge of contemporary science and technology in a modern Indian scientific laboratory. For a period of roughly two-and-half decades, starting the late 1980s, a research group headed by CV Dharmadhikari in the physics department at the Savitribai Phule University, Pune, fabricated a range of scanning tunnelling and scanning force microscopes including the earliest such microscopes made in the country. Not only were these instruments made entirely in-house, research done using them was published in the world's leading peer reviewed journals, and students who made and trained on them went on to become top class scientists in premier institutions. The book uses qualitative research methods such as open-ended interviews, historical analysis and laboratory ethnography that are standard in Science and Technology Studies (STS), to present the micro-details of this instrument making enterprise, the counter-intuitive methods employed, and the unexpected material, human and intellectual resources that were mobilised in the process. It locates scientific research and innovation within the social, political and cultural context of a laboratory's physical location and asks important questions of the dominant narratives of innovation that remain fixated on quantitative metrics of publishing, patenting and generating commerce. The book is a story as much of the lives of instruments and their deaths as it is of the instrumentalities that make those lives possible and allow them to live on, even if with a rather precarious existence.

Vocal, Instrumental, and Ensemble Learning and Teaching is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education. Designed for music teachers, students, and scholars of music education, as well as educational administrators and policy makers, this third volume in the set emphasizes the types of active musical attributes that are acquired when learning an instrument or to sing, together with how these skills can be used when engaging musically with others. These chapters shed light on how the field of voice instruction has changed dramatically in recent decades and how physiological, acoustical, biomechanical, neuromuscular, and psychological evidence is helping musicians and educators question traditional practices. The authors discuss research on instrumental learning, demonstrating that there is no 'ideal' way to learn, but rather that a chosen learning approach must be appropriate for the context and desired aims. This volume rounds out with a focus on a wide range of perspectives dealing with group performance of instrumental music, an area that is organized and taught in many varied ways internationally. Contributors Alfredo Bautista, Robert Burke, James L. Byo, Jean Callaghan, Don D. Coffman, Andrea Creech, Jane W. Davidson, Steven M. Demorest, Robert A. Duke, Robert Edwin, Shirlee Emmons, Sam Evans, Helena Gaunt, Susan Hallam, Lee Higgins, Jere T. Humphreys, Harald Jers, Harald J rgensen, Margaret Kartomi, Reinhard Kopiez, William R. Lee, Andreas C. Lehmann, Gary E. McPherson, Steven J. Morrison, John Nix, Ioulia Papageorgi, Kenneth H. Phillips, Lisa Popeil, John W. Richmond, Carlos Xavier Rodriguez, Nelson Roy, Robert T. Sataloff, Frederick A. Seddon, Sten Ternstr m, Michael Webb, Graham F. Welch, Jenevora Williams, Michael D. Worthy

Trying to understand the complex interplay between effective learning and personal experience is one of the main challenges for instrumental music education. Much of the research that focuses on effective learning outcomes often adopts experimental methodologies that do not allow for a thorough examination of the subjective and social processes that accompany each student's musical journey; on the contrary, contributions dedicated to the detailed analysis of the learners' lived experience often do not offer generalizable outcomes to different types of learning and teaching.

Compiled with the most sophisticated chromatographic and spectrometric instruments available, this complete and self-contained seven-volume reference provides forensic, toxicology, and clinical laboratories with up-to-date information on 1,600 drugs and drug-related compounds-one of the largest collections of analytical data generated from a single source. Instrumental Data for Drug Analysis contains timely, quality data presented in a large, easily usable format. It is an essential reference in the libraries of all toxicology, analytical chemistry, and forensic specialists and laboratories.

This 7th volume of SIMP is dedicated to two large themes that were discussed in the last Study Group Symposium held online and arranged by the Music Faculty of the University of the Visual and Performing Arts, Colombo, Sri Lanka, in March 2021: ``Re-invention and Sustainability of Musical Instruments'' and ``Instrumental Music and Food''. Thirteen contributions were compiled in this volume relating to the first theme, while seven contributions were chosen to represent the second. The first part of the contributions illustrates that musical instruments have a long and regionally intertwined history. Often it is hard to say who invented a specific type first as well as to answer if musical instruments were used symbolically or supported in any way supported regional cultural aspects, or what feature of musical instruments had the strongest impact on local developments. The last seven contributions deal with various phenomena such as banquet music, ritual music and food offerings, instrumental ambience music, and festivals.