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In molecular biology and genetics, mutations are changes in a genomic sequence: the DNA sequence of a cell's genome or the DNA or RNA sequence of a virus. These random sequences can be defined as sudden and spontaneous changes in the cell. Mutations are caused by radiation, viruses, transposons and mutagenic chemicals, as well as errors that occur during meiosis or DNA replication.^[1][2][3] They can also be induced by the organism itself, by cellular processes such as hypermutation.

Mutation can result in several different types of change in sequences; these can either have no effect, alter the product of a gene, or prevent the gene from functioning properly or completely. One study on genetic variations between different species of Drosophila suggests that if a mutation changes a protein produced by a gene, the result is likely to be harmful, with an estimated 70 percent of amino acid polymorphisms having damaging effects, and the remainder being either neutral or weakly beneficial.^[4] Due to the damaging effects that mutations can have on genes, organisms have mechanisms such as DNA repair to prevent mutations.^[1]

Description[link]

Mutations can involve large sections of DNA becoming duplicated, usually through genetic recombination.^[5] These duplications are a major source of raw material for evolving new genes, with tens to hundreds of genes duplicated in animal genomes every million years.^[6] Most genes belong to larger families of genes of shared ancestry.^[7] Novel genes are produced by several methods, commonly through the duplication and mutation of an ancestral gene, or by recombining parts of different genes to form new combinations with new functions.^[8][9]

Here, domains act as modules, each with a particular and independent function, that can be mixed together to produce genes encoding new proteins with novel properties.^[10] For example, the human eye uses four genes to make structures that sense light: three for color vision and one for night vision; all four arose from a single ancestral gene.^[11] Another advantage of duplicating a gene (or even an entire genome) is that this increases redundancy; this allows one gene in the pair to acquire a new function while the other copy performs the original function.^[12][13] Other types of mutation occasionally create new genes from previously noncoding DNA.^[14][15]

Changes in chromosome number may involve even larger mutations, where segments of the DNA within chromosomes break and then rearrange. For example, in the Homininae, two chromosomes fused to produce human chromosome 2; this fusion did not occur in the lineage of the other apes, and they retain these separate chromosomes.^[16] In evolution, the most important role of such chromosomal rearrangements may be to accelerate the divergence of a population into new species by making populations less likely to interbreed, and thereby preserving genetic differences between these populations.^[17]

Sequences of DNA that can move about the genome, such as transposons, make up a major fraction of the genetic material of plants and animals, and may have been important in the evolution of genomes.^[18] For example, more than a million copies of the Alu sequence are present in the human genome, and these sequences have now been recruited to perform functions such as regulating gene expression.^[19] Another effect of these mobile DNA sequences is that when they move within a genome, they can mutate or delete existing genes and thereby produce genetic diversity.^[2]

Nonlethal mutations accumulate within the gene pool and increase the amount of genetic variation.^[20] The abundance of some genetic changes within the gene pool can be reduced by natural selection, while other "more favorable" mutations may accumulate and result in adaptive changes.

For example, a butterfly may produce offspring with new mutations. The majority of these mutations will have no effect; but one might change the color of one of the butterfly's offspring, making it harder (or easier) for predators to see. If this color change is advantageous, the chance of this butterfly surviving and producing its own offspring are a little better, and over time the number of butterflies with this mutation may form a larger percentage of the population.

Neutral mutations are defined as mutations whose effects do not influence the fitness of an individual. These can accumulate over time due to genetic drift. It is believed that the overwhelming majority of mutations have no significant effect on an organism's fitness. Also, DNA repair mechanisms are able to mend most changes before they become permanent mutations, and many organisms have mechanisms for eliminating otherwise permanently mutated somatic cells.

Beneficial mutations can improve reproductive success.

Causes[link]

Two classes of mutations are spontaneous mutations (molecular decay) and induced mutations caused by mutagens.

Spontaneous mutation[link]

Spontaneous mutations on the molecular level can be caused by:^[21]

• Tautomerism – A base is changed by the repositioning of a hydrogen atom, altering the hydrogen bonding pattern of that base resulting in incorrect base pairing during replication.
• Depurination – Loss of a purine base (A or G) to form an apurinic site (AP site).
• Deamination – Hydrolysis changes a normal base to an atypical base containing a keto group in place of the original amine group. Examples include C → U and A → HX (hypoxanthine), which can be corrected by DNA repair mechanisms; and 5MeC (5-methylcytosine) → T, which is less likely to be detected as a mutation because thymine is a normal DNA base.
• Slipped strand mispairing – Denaturation of the new strand from the template during replication, followed by renaturation in a different spot ("slipping"). This can lead to insertions or deletions.

A covalent adduct between benzo[a]pyrene, the major mutagen in tobacco smoke, and DNA^[22]

Induced mutation[link]

Induced mutations on the molecular level can be caused by:

• Chemicals
  • Hydroxylamine NH₂OH
  • Base analogs (e.g. BrdU)
  • Alkylating agents (e.g. N-ethyl-N-nitrosourea) These agents can mutate both replicating and non-replicating DNA. In contrast, a base analog can only mutate the DNA when the analog is incorporated in replicating the DNA. Each of these classes of chemical mutagens has certain effects that then lead to transitions, transversions, or deletions.
  • Agents that form DNA adducts (e.g. ochratoxin A metabolites)^[23]
  • DNA intercalating agents (e.g. ethidium bromide)
  • DNA crosslinkers
  • Oxidative damage
  • Nitrous acid converts amine groups on A and C to diazo groups, altering their hydrogen bonding patterns which leads to incorrect base pairing during replication.
• Radiation
  • Ultraviolet radiation (nonionizing radiation). Two nucleotide bases in DNA – cytosine and thymine – are most vulnerable to radiation that can change their properties. UV light can induce adjacent pyrimidine bases in a DNA strand to become covalently joined as a pyrimidine dimer. UV radiation, particularly longer-wave UVA, can also cause oxidative damage to DNA.^[24] Mutation rates also vary across species. Evolutionary biologists^{[citation needed]} have theorized that higher mutation rates are beneficial in some situations, because they allow organisms to evolve and therefore adapt more quickly to their environments. For example, repeated exposure of bacteria to antibiotics, and selection of resistant mutants, can result in the selection of bacteria that have a much higher mutation rate than the original population (mutator strains).

Classification of mutation types[link]

Illustrations of five types of chromosomal mutations.

Selection of disease-causing mutations, in a standard table of the genetic code of amino acids.^[25]

By effect on structure[link]

The sequence of a gene can be altered in a number of ways. Gene mutations have varying effects on health depending on where they occur and whether they alter the function of essential proteins. Mutations in the structure of genes can be classified as:

• Small-scale mutations, such as those affecting a small gene in one or a few nucleotides, including:
  • Point mutations, often caused by chemicals or malfunction of DNA replication, exchange a single nucleotide for another.^[26] These changes are classified as transitions or transversions.^[27] Most common is the transition that exchanges a purine for a purine (A ↔ G) or a pyrimidine for a pyrimidine, (C ↔ T). A transition can be caused by nitrous acid, base mis-pairing, or mutagenic base analogs such as 5-bromo-2-deoxyuridine (BrdU). Less common is a transversion, which exchanges a purine for a pyrimidine or a pyrimidine for a purine (C/T ↔ A/G). An example of a transversion is adenine (A) being converted into a cytosine (C). A point mutation can be reversed by another point mutation, in which the nucleotide is changed back to its original state (true reversion) or by second-site reversion (a complementary mutation elsewhere that results in regained gene functionality). Point mutations that occur within the protein coding region of a gene may be classified into three kinds, depending upon what the erroneous codon codes for:
    • Silent mutations: which code for the same amino acid.
    • Missense mutations: which code for a different amino acid.
    • Nonsense mutations: which code for a stop and can truncate the protein.
  • Insertions add one or more extra nucleotides into the DNA. They are usually caused by transposable elements, or errors during replication of repeating elements (e.g. AT repeats^{[citation needed]}). Insertions in the coding region of a gene may alter splicing of the mRNA (splice site mutation), or cause a shift in the reading frame (frameshift), both of which can significantly alter the gene product. Insertions can be reverted by excision of the transposable element.
  • Deletions remove one or more nucleotides from the DNA. Like insertions, these mutations can alter the reading frame of the gene. They are generally irreversible: though exactly the same sequence might theoretically be restored by an insertion, transposable elements able to revert a very short deletion (say 1–2 bases) in any location are either highly unlikely to exist or do not exist at all. Note that a deletion is not the exact opposite of an insertion: the former is quite random while the latter consists of a specific sequence inserting at locations that are not entirely random or even quite narrowly defined.
• Large-scale mutations in chromosomal structure, including:
  • Amplifications (or gene duplications) leading to multiple copies of all chromosomal regions, increasing the dosage of the genes located within them.
  • Deletions of large chromosomal regions, leading to loss of the genes within those regions.
  • Mutations whose effect is to juxtapose previously separate pieces of DNA, potentially bringing together separate genes to form functionally distinct fusion genes (e.g. bcr-abl). These include:
    • Chromosomal translocations: interchange of genetic parts from nonhomologous chromosomes.
    • Interstitial deletions: an intra-chromosomal deletion that removes a segment of DNA from a single chromosome, thereby apposing previously distant genes. For example, cells isolated from a human astrocytoma, a type of brain tumor, were found to have a chromosomal deletion removing sequences between the "fused in glioblastoma" (fig) gene and the receptor tyrosine kinase "ros", producing a fusion protein (FIG-ROS). The abnormal FIG-ROS fusion protein has constitutively active kinase activity that causes oncogenic transformation (a transformation from normal cells to cancer cells).
    • Chromosomal inversions: reversing the orientation of a chromosomal segment.
  • Loss of heterozygosity: loss of one allele, either by a deletion or recombination event, in an organism that previously had two different alleles.

By effect on function[link]

• Loss-of-function mutations are the result of gene product having less or no function. When the allele has a complete loss of function (null allele) it is often called an amorphic mutation. Phenotypes associated with such mutations are most often recessive. Exceptions are when the organism is haploid, or when the reduced dosage of a normal gene product is not enough for a normal phenotype (this is called haploinsufficiency).
• Gain-of-function mutations change the gene product such that it gains a new and abnormal function. These mutations usually have dominant phenotypes. Often called a neomorphic mutation.
• Dominant negative mutations (also called antimorphic mutations) have an altered gene product that acts antagonistically to the wild-type allele. These mutations usually result in an altered molecular function (often inactive) and are characterised by a dominant or semi-dominant phenotype. In humans, Marfan syndrome is an example of a dominant negative mutation occurring in an autosomal dominant disease. In this condition, the defective glycoprotein product of the fibrillin gene (FBN1) antagonizes the product of the normal allele.
• Lethal mutations are mutations that lead to the death of the organisms which carry the mutations.
• A back mutation or reversion is a point mutation that restores the original sequence and hence the original phenotype.^[28]

See also Behavior mutation.

By effect on fitness[link]

In applied genetics it is usual to speak of mutations as either harmful or beneficial.

• A harmful mutation is a mutation that decreases the fitness of the organism.
• A beneficial mutation is a mutation that increases fitness of the organism, or which promotes traits that are desirable.

In theoretical population genetics, it is more usual to speak of such mutations as deleterious or advantageous. In the neutral theory of molecular evolution, genetic drift is the basis for most variation at the molecular level.

• A neutral mutation has no harmful or beneficial effect on the organism. Such mutations occur at a steady rate, forming the basis for the molecular clock.
• A deleterious mutation has a negative effect on the phenotype, and thus decreases the fitness of the organism.
• An advantageous mutation has a positive effect on the phenotype, and thus increases the fitness of the organism.
• A nearly neutral mutation is a mutation that may be slightly deleterious or advantageous, although most nearly neutral mutations are slightly deleterious.

Distribution of fitness effects[link]

In reality, viewing the fitness effects of mutations in these discrete categories is an oversimplification. Attempts have been made to infer the distribution of fitness effects (DFE) using mutagenesis experiments and theoretical models applied to molecular sequence data. Distribution of fitness effects, as used to determine the relative abundance of different types of mutations (i.e. strongly deleterious, nearly neutral or advantageous), is relevant to many evolutionary questions, such as the maintenance of genetic variation^[29] , the rate of genomic decay^[30] and the evolution of sex and recombination^[31] . In summary, DFE plays an important role in predicting evolutionary dynamics ^{[32] [33]} . A variety of approaches have been used to study the distribution of fitness effects, including theoretical, experimental and analytical methods.

• Mutagenesis experiment: The direct method to investigate DFE is to induce mutations and then measure the mutational fitness effects, which has already been done in viruses, bacteria, yeast, and Drosophila. For example, most studies of DFE in viruses used site-directed mutagenesis to create point mutations and measure relative fitness of each mutant ^{[34] [35] [36] [37]} . In Escherichia coli, one study used transposon mutagenesis to directly measure the fitness of a random insertion of a derivative of Tn10^[38] . In yeast, a combined mutagenesis and deep sequencing approach has been developed to generate high-quality systematic mutant libraries and measure fitness in high throughput ^[39]. However, given that many mutations have effects too small to be detected^[40] and that mutagenesis experiments can only detect mutations of moderately large effect, DNA sequence data analysis can provide valuable information about these mutations.

The distribution of fitness effects of mutations in vesicular stomatitis virus. In this experiment, random mutations were introduced into the virus by site-directed mutagenesis, and the fitness of each mutant was compared with the ancestral type. A fitness of zero, less than one, one, more than one, respectively, indicates that mutations are lethal, deleterious, neutral and advantageous. Data from^[34] .

• Molecular sequence analysis: With rapid development of DNA sequencing technology, an enormous amount of DNA sequence data is available and even more is forthcoming in the future. Various methods have been developed to infer DFE from DNA sequence data^{[41] [42] [43] [44]} . By examining DNA sequence differences within and between species, we are able to infer various characteristics of the DFE for neutral, deleterious and advantageous mutations ^[45] . Specifically, the DNA sequence analysis approach allows us to estimate the effects of mutations with very small effects, which are hardly detectable through mutagenesis experiments.

One of the earliest theoretical studies of the distribution of fitness effects was done by Motoo Kimura, an influential theoretical population geneticist. His neutral theory of molecular evolution proposes that most novel mutations will be highly deleterious, with a small fraction being neutral^{[46] [47]} . Hiroshi Akashi more recently proposed a bimodal model for DFE, with modes centered around highly deleterious and neutral mutations^[48] . Both theories agree that the vast majority of novel mutations are neutral or deleterious and that advantageous mutations are rare, which has been supported by experimental results. One example is a study done on the distribution of fitness effects of random mutations in vesicular stomatitis virus^[34] . Out of all mutations, 39.6% were lethal, 31.2% were non-lethal deleterious, and 27.1% were neutral. Another example comes from a high throughput mutagenesis experiment with yeast^[39]. In this experiment it was shown that the overall distribution of fitness effects is bimodal, with a cluster of neutral mutations, and a broad distribution of deleterious mutations.

Though relatively few mutations are advantageous, those that are play an important role in evolutionary changes^[49]. Like neutral mutations, weakly selected advantageous mutations can be lost due to random genetic drift, but strongly selected advantageous mutations are more likely to be fixed. Knowing the distribution of fitness effects of advantageous mutations may lead to increased ability to predict the evolutionary dynamics. Theoretical work on the DFE for advantageous mutations has been done by John H. Gillespie^[50] and H. Allen Orr^[51] . They proposed that the distribution for advantageous mutations should be exponential under a wide range of conditions, which has generally been supported by experimental studies, at least for strongly selected advantageous mutations^{[52] [53] [54]} .

In summary, it is generally accepted that the majority of mutations are neutral or deleterious, with rare mutations being advantageous; however, the proportion of types of mutations varies between species. This indicates two important points: first, the proportion of effectively neutral mutations is likely to vary between species, resulting from dependence on effective population size; second, the average effect of deleterious mutations varies dramatically between species^[45] . In addition, the DFE also differs between coding regions and non-coding regions, with the DFE of non-coding DNA containing more weakly selected mutations^[45] .

By impact on protein sequence[link]

• A frameshift mutation is a mutation caused by insertion or deletion of a number of nucleotides that is not evenly divisible by three from a DNA sequence. Due to the triplet nature of gene expression by codons, the insertion or deletion can disrupt the reading frame, or the grouping of the codons, resulting in a completely different translation from the original.^[55] The earlier in the sequence the deletion or insertion occurs, the more altered the protein produced is.

In contrast, any insertion or deletion that is evenly divisible by three is termed an in-frame mutation

• A nonsense mutation is a point mutation in a sequence of DNA that results in a premature stop codon, or a nonsense codon in the transcribed mRNA, and possibly a truncated, and often nonfunctional protein product.
• Missense mutations or nonsynonymous mutations are types of point mutations where a single nucleotide is changed to cause substitution of a different amino acid. This in turn can render the resulting protein nonfunctional. Such mutations are responsible for diseases such as Epidermolysis bullosa, sickle-cell disease, and SOD1 mediated ALS (Boillée 2006, p. 39).
• A neutral mutation is a mutation that occurs in an amino acid codon which results in the use of a different, but chemically similar, amino acid. The similarity between the two is enough that little or no change is often rendered in the protein. For example, a change from AAA to AGA will encode arginine, a chemically similar molecule to the intended lysine.
• Silent mutations are mutations that do not result in a change to the amino acid sequence of a protein. They may occur in a region that does not code for a protein, or they may occur within a codon in a manner that does not alter the final amino acid sequence. The phrase silent mutation is often used interchangeably with the phrase synonymous mutation; however, synonymous mutations are a subcategory of the former, occurring only within exons. The name silent could be a misnomer. For example, a silent mutation in the exon/intron border may lead to alternative splicing by changing the splice site (see Splice site mutation), thereby leading to a changed protein. Silent mutations occur because of the degenerate nature of the genetic code.

By inheritance[link]

A mutation has caused this garden moss rose to produce flowers of different colors. This is a somatic mutation that may also be passed on in the germ line.

In multicellular organisms with dedicated reproductive cells, mutations can be subdivided into germ line mutations, which can be passed on to descendants through their reproductive cells, and somatic mutations (also called acquired mutations),^[56] which involve cells outside the dedicated reproductive group and which are not usually transmitted to descendants.

A germline mutation gives rise to a constitutional mutation in the offspring, that is, a mutation that is present in every cell. A constitutional mutation can also occur very soon after fertilisation, or continue from a previous constitutional mutation in a parent.^[57]

The distinction between germline and somatic mutations is important in animals that have a dedicated germ line to produce reproductive cells. However, it is of little value in understanding the effects of mutations in plants, which lack dedicated germ line. The distinction is also blurred in those animals that reproduce asexually through mechanisms such as budding, because the cells that give rise to the daughter organisms also give rise to that organisms germ line. A new mutation that was not inherited from either parent is called a de novo mutation.

Diploid organisms (e.g. human)contain two copies of each gene – a paternal and a maternal allele. Based on the occurrence of mutation on each chromosome, we may classify mutations into three types.

• A heterozygous mutation is a mutation of only one allele.
• A homozygous mutation is an identical mutation of both the paternal and maternal alleles.
• Compound heterozygous mutations or a genetic compound comprises two different mutations in the paternal and maternal alleles.^[58]

A wildtype or homozygous non-mutated organism is one in which neither allele is mutated.

Special classes[link]

• Conditional mutation is a mutation that has wild-type (or less severe) phenotype under certain "permissive" environmental conditions and a mutant phenotype under certain "restrictive" conditions. For example, a temperature-sensitive mutation can cause cell death at high temperature (restrictive condition), but might have no deleterious consequences at a lower temperature (permissive condition).

Nomenclature[link]

A committee of the Human Genome Variation Society (HGVS) has developed the standard human sequence variant nomenclature,^[59] which should be used by researchers and DNA diagnostic centers to generate unambiguous mutation descriptions. In principle, this nomenclature can also be used to describe mutations in other organisms. The nomenclature specifies the type of mutation and base or amino acid changes.

• Nucleotide substitution (e.g. 76A>T) – The number is the position of the nucleotide from the 5' end, the first letter represents the wild type nucleotide, and the second letter represents the nucleotide which replaced the wild type. In the given example, the adenine at the 76th position was replaced by a thymine.
  • If it becomes necessary to differentiate between mutations in genomic DNA, mitochondrial DNA, and RNA, a simple convention is used. For example, if the 100th base of a nucleotide sequence mutated from G to C, then it would be written as g.100G>C if the mutation occurred in genomic DNA, m.100G>C if the mutation occurred in mitochondrial DNA, or r.100g>c if the mutation occurred in RNA. Note that for mutations in RNA, the nucleotide code is written in lower case.
• Amino acid substitution (e.g. D111E) – The first letter is the one letter code of the wild type amino acid, the number is the position of the amino acid from the N-terminus, and the second letter is the one letter code of the amino acid present in the mutation. Nonsense mutations are represented with an X for the second amino acid (e.g. D111X).
• Amino acid deletion (e.g. ΔF508) – The Greek letter Δ (delta) indicates a deletion. The letter refers to the amino acid present in the wild type and the number is the position from the N terminus of the amino acid were it to be present as in the wild type.

Harmful mutations[link]

Changes in DNA caused by mutation can cause errors in protein sequence, creating partially or completely non-functional proteins. Each cell, in order to function correctly, depends on thousands of proteins to function in the right places at the right times. When a mutation alters a protein that plays a critical role in the body, a medical condition can result. A condition caused by mutations in one or more genes is called a genetic disorder. Some mutations alter a gene's DNA base sequence but do not change the function of the protein made by the gene. One study on the comparison of genes between different species of Drosophila suggests that if a mutation does change a protein, this will probably be harmful, with an estimated 70 percent of amino acid polymorphisms having damaging effects, and the remainder being either neutral or weakly beneficial.^[4] However, studies in yeast have shown that only 7% of mutations that are not in genes are harmful.^[60]

If a mutation is present in a germ cell, it can give rise to offspring that carries the mutation in all of its cells. This is the case in hereditary diseases. In particular, if there is a mutation in a DNA repair gene within a germ cell, humans carrying such germ-line mutations may have in increased risk of cancer, such as the list on Wikipedia of inherited human DNA repair gene mutations that increase cancer risk. On the other hand, a mutation may occur in a somatic cell of an organism. Such mutations will be present in all descendants of this cell within the same organism, and certain mutations can cause the cell to become malignant, and thus cause cancer.^[61]

A DNA damage can cause an error when the the DNA is replicated, and this error of replication can cause a gene mutation that, in turn, could cause a genetic disorder. DNA damages are repaired by the DNA repair system of the cell. Each cell has a number of pathways through which enzymes recognize and repair damages in DNA. Because DNA can be damaged in many ways, the process of DNA repair is an important way in which the body protects itself from disease. Once a DNA damage has given rise to a mutation, the mutation cannot be repaired. DNA repair pathways can only recognize and act on "abnormal" structures in the DNA. Once a mutation occurs in a gene sequence it then has normal DNA structure and cannot be repaired.

Beneficial mutations[link]

Although mutations that change in protein sequences can be harmful to an organism; on occasions, the effect may be positive in a given environment. In this case, the mutation may enable the mutant organism to withstand particular environmental stresses better than wild-type organisms, or reproduce more quickly. In these cases a mutation will tend to become more common in a population through natural selection.

For example, a specific 32 base pair deletion in human CCR5 (CCR5-Δ32) confers HIV resistance to homozygotes and delays AIDS onset in heterozygotes.^[62] The CCR5 mutation is more common in those of European descent. One possible explanation of the etiology of the relatively high frequency of CCR5-Δ32 in the European population is that it conferred resistance to the bubonic plague in mid-14th century Europe. People with this mutation were more likely to survive infection; thus its frequency in the population increased.^[63] This theory could explain why this mutation is not found in southern Africa, where the bubonic plague never reached. A newer theory suggests that the selective pressure on the CCR5 Delta 32 mutation was caused by smallpox instead of the bubonic plague.^[64]

Another example is Sickle cell disease, a blood disorder in which the body produces an abnormal type of the oxygen-carrying substance hemoglobin in the red blood cells. One-third of all indigenous inhabitants of Sub-Saharan Africa carry the gene,^[65] because in areas where malaria is common, there is a survival value in carrying only a single sickle-cell gene (sickle cell trait).^[66] Those with only one of the two alleles of the sickle-cell disease are more resistant to malaria, since the infestation of the malaria plasmodium is halted by the sickling of the cells which it infests.

Another research from Denmark concludes that blue-eyes are the mutated character of human eyes which were originally brown from around 6,000 to 10,000 years ago. The benign mutation actually effected the OAC2 gene which colorizes our hair and has other functions related to liver e.t.c. So all blue-eyed people share a common ancestor^[67]

Prion mutation[link]

Prions are proteins and do not contain genetic material. However, prion replication has been shown to be subject to mutation and natural selection just like other forms of replication.^[68]

Somatic mutation rate[link]

Cells with heterozygous mutations (one good copy of gene and one mutated copy) may function normally with the unmutated copy until the good copy has been spontaneously somatically mutated. This kind of mutation happens all the time in living organisms, but it is difficult to measure the rate. Measuring this rate is important in predicting the rate at which people may develop cancer.^[69]

Point mutations may arise from spontaneous mutations that occur during DNA replication. The rate of mutation may be increased by mutagens. Mutagens can be physical, such as radiation from UV rays, X-rays or extreme heat, or chemical (molecules that misplace base pairs or disrupt the helical shape of DNA). Mutagens associated with cancers are often studied to learn about cancer and its prevention.

See also[link]

References[link]

External links[link]

• "All About Mutations" from the Huntington's Disease Outreach Project for Education at Stanford
• Central Locus Specific Variation Database at the Institute of Genomics and Integrative Biology
• The mutations chapter of the WikiBooks General Biology textbook
• Examples of Beneficial Mutations
• BBC Radio 4 In Our Time – GENETIC MUTATION – with Steve Jones – streaming audio
• HGVS sequence variant nomenclature website
• Mutalyzer website

Samuel Barber, photographed by Carl Van Vechten, 1944

Samuel Osborne Barber II (March 9, 1910 – January 23, 1981) was an American composer of orchestral, opera, choral, and piano music. He is one of the most celebrated composers of the 20th century; music critic Donal Henahan stated that "Probably no other American composer has ever enjoyed such early, such persistent and such long-lasting acclaim."^[1] His Adagio for Strings (1936) has earned a permanent place in the concert repertory of orchestras. He was twice awarded the Pulitzer Prize for music, for his opera Vanessa (1956–57) and his Concerto for Piano and Orchestra (1962). Also widely performed is his Knoxville: Summer of 1915 (1947), a work for soprano and orchestra, which sets a prose text by James Agee. Unusual among contemporary composers, nearly all of his compositions have been recorded.^[1]

Biography[link]

Early years[link]

Boyhood home of Samuel Barber in West Chester, Pennsylvania

Barber was born in West Chester, Pennsylvania, the son of Marguerite McLeod (née Beatty) and Samuel Le Roy Barber.^[2] He was born into a comfortable, educated, social, and distinguished Irish-American^{[citation needed]} family. His father was a physician, and his mother was a pianist. His aunt, Louise Homer, was a leading contralto at the Metropolitan Opera and his uncle, Sidney Homer, was a composer of American art songs. Louise Homer is known to have influenced Barber's interest in voice. Through his aunt, Barber had access to many great singers and songs.

At a very early age, Barber became profoundly interested in music, and it was apparent that he had great musical talent and ability. He began studying the piano at the age of 6 and at age 7 composed his first work, Sadness, a 23 measure solo piano piece in C minor.^[1] At the age of nine he wrote to his mother:

Dear Mother: I have written this to tell you my worrying secret. Now don't cry when you read it because it is neither yours nor my fault. I suppose I will have to tell it now without any nonsense. To begin with I was not meant to be an athlet [sic]. I was meant to be a composer, and will be I'm sure. I'll ask you one more thing.—Don't ask me to try to forget this unpleasant thing and go play football.—Please—Sometimes I've been worrying about this so much that it makes me mad (not very).^[3]

Barber attempted to write his first opera, entitled The Rose Tree, at the age of 10. At the age of 12 he became an organist at a local church. When he was 14, he entered the Curtis Institute of Music in Philadelphia, where he studied piano with Isabelle Vengerova, composition with Rosario Scalero, and voice with Emilio de Gorgoza.^[1] He began composing seriously in his late teenage years. Around the same time, he met fellow Curtis schoolmate Gian Carlo Menotti , who became his partner in life as well as in their shared profession. At the Curtis Institute, Barber was a triple prodigy in composition, voice, and piano. He soon became a favorite of the conservatory's founder, Mary Louise Curtis Bok. It was through Mrs. Bok that Barber was introduced to his lifelong publisher, the Schirmer family. At the age of 18, Barber won the Joseph H. Bearns Prize from Columbia University for his violin sonata Fortune's Favorite Child (now lost or destroyed by the composer).^[1]

Middle years[link]

From his early to late twenties, Barber wrote a flurry of successful compositions, launching him into the spotlight of the classical music world. His first orchestral work, the overture to The School for Scandal, was composed in 1931 when he was 21 years old. It premiered successfully two years later in a performance given by the Philadelphia Orchestra under conductor Alexander Smallens.^[1] Many of his compositions were commissioned or first performed by such famous artists as Vladimir Horowitz, Eleanor Steber, Raya Garbousova, John Browning, Leontyne Price, Pierre Bernac, Francis Poulenc, and Dietrich Fischer-Dieskau. In 1935, at the age of 25, he was awarded the American Prix de Rome and was the recipient of a Pulitzer traveling scholarship which allowed him to study abroad in 1935-1936. He was later awarded a Guggenheim Fellowship in 1946.^[1]

When Barber was 28, his Adagio for Strings was performed by the NBC Symphony Orchestra under the direction of Arturo Toscanini in 1938, along with his first Essay for Orchestra. The Adagio had been arranged from the slow movement of Barber's String Quartet, Op. 11. Toscanini had only rarely performed music by American composers before (an exception was Howard Hanson's Second Symphony, which he conducted in 1933).^[4] At the end of the first rehearsal of the piece, Toscanini remarked, "Semplice e bella" (simple and beautiful).

Barber served in the Army Air Corps in World War II, where he was commissioned to write his Second Symphony, a work he later suppressed. (It was released in a Vox recording by the New Zealand Symphony Orchestra conducted by Andrew Schenck). Composed in 1943, the symphony was originally titled Symphony Dedicated to the Air Forces and was premiered in early 1944 by Serge Koussevitsky and the Boston Symphony Orchestra. Barber revised the symphony in 1947, which was published by G. Schirmer,^[5] and recorded the following year by the New Symphony Orchestra of London conducted by the composer,^[6] but Barber subsequently destroyed the score in 1964. It was reconstructed from the instrumental parts.^[7] According to another source, however, it was precisely the parts to the symphony that Barber had torn up.^[8] Hans Heinsheimer was an eyewitness, and reported that he accompanied Barber to the publisher's office where they collected all the music from the library and Barber "tore up all these beautifully and expensively copied materials with his own hands"^[9] Doubt has been cast on this story, however, on grounds that Heinsheimer, as an executive at G. Schirmer, would have allowed Barber into the Schirmer offices to watch him "rip apart the music that his company had invested money in publishing".^[10]

Barber won the Pulitzer Prize twice: in 1958 for his first opera Vanessa, and in 1963 for his Concerto for Piano and Orchestra.

Later years[link]

Barber spent many years in isolation after the harsh rejection of his third opera Antony and Cleopatra. He suffered from depression, and was also beset by alcoholism.^[11] The opera was written for and premiered at the opening of the new Metropolitan Opera House on September 16, 1966. After this setback, Barber continued to write music until he was almost 70 years old. Barber's music in his later years would be lauded as reflective and contemplative, but without the morbidity or unhappiness of other composers who knew they had a limited time to live. The Third Essay for Orchestra (1978) was his last major work.

Barber died of cancer in 1981 in New York City at the age of 70. He was buried in Oaklands Cemetery in his hometown of West Chester, Pennsylvania.^[12]

Achievements and awards[link]

Barber was the recipient of numerous awards and prizes including the Rome Prize (the American version of the Prix de Rome), two Pulitzers, and election to the American Academy of Arts and Letters. He was elected a Fellow of the American Academy of Arts and Sciences in 1961.^[13]

Barber was initiated, as a full collegiate member, into the Zeta Iota chapter of Phi Mu Alpha Sinfonia music fraternity at Howard University in 1952.

In addition to composing, Barber was active in organizations that sought to help musicians and promote music. He was president of the International Music Council of UNESCO, where he did much to bring into focus and ameliorate the conditions facing musicians and musical organizations worldwide. He was one of the first American composers to visit Russia (then part of the Soviet Union). Barber was also influential in the successful campaign by composers against ASCAP, the goal of which was to increase royalties paid to composers.

Music[link]

Orchestral music[link]

Barber played and studied the music of Johann Sebastian Bach and was an adherent of Johannes Brahms, from whom he learned how to compress profound emotions into small modules of highly charged musical expression (Cello Sonata, 1932).^{[citation needed]}

In 1933, after reading the poem "Prometheus Unbound" by Percy Bysshe Shelley, Barber composed the tone poem Music for a Scene from Shelley, Op. 7. In 1935, when the work was premiered at Carnegie Hall, it was the first time the composer heard one of his orchestral works performed publicly.^{[citation needed]}

Barber's compositional style has been lauded^{[by whom?]} for its musical logic, sense of architectural design, effortless melodic gift, and direct emotional appeal. This was evident in the Overture to The School for Scandal (1931) and Music for a Scene from Shelley (1933). These were characteristics of his music throughout his lifetime.^{[citation needed]}

Through the success of his Overture to The School for Scandal (1931), Music for a Scene from Shelley (1933), Adagio for Strings (1938); (First) Symphony in One Movement (1936), (First) Essay for Orchestra (1937) and Violin Concerto (1939), Barber garnered performances by the world's leading conductors such as Artur Rodziński, Eugene Ormandy, Dimitri Mitropoulos, Bruno Walter, Charles Münch, George Szell, Leopold Stokowski, and Thomas Schippers.

His compositions later included polytonality (Second Symphony, 1944); atonality (Medea, 1946, Prayers of Kierkegaard, 1954); Twelve-tone technique (Nocturne, 1959 and the Piano Sonata, 1949); and jazz (Excursions, 1944; and A Hand of Bridge, 1959).^{[citation needed]}

Among his finest works^{[citation needed]} are his four concertos, one each for Violin (1939), Cello (1945) and Piano (1962), and also the neoclassical Capricorn Concerto for flute, oboe, trumpet and string orchestra. All of these works are rewarding for the soloists and public alike, as all contain both highly virtuosic and beautiful writing, often simultaneously. The latter three have been unfairly neglected until recent years, when there has been a reawakening of interest in the expressive possibilities of these masterpieces.^{[citation needed]}

Barber's final opus was the Canzonetta for oboe and string orchestra (1979/1981).

Piano[link]

The four piano "bagatelles" Excursions, Op. 20 (1942–44), was his first and only venture into Americana music. Its elements of boogie-woogie, blues, theme and variations on a cowboy song, and hoedown are not typical of Barber's generally more classical style.^{[citation needed]} In 1949, Barber wrote his Piano Sonata, which has maintained a prominent position in the concert repertoire since its premiere.^{[citation needed]} The Nocturne for Piano (Homage to John Field), Op. 33, is another respected piece which he composed for the instrument.

Opera[link]

Barber's life partner Gian Carlo Menotti, whom he had met at Curtis, supplied the libretto (text) for Barber's opera, Vanessa. Using his vocal training, in 1956 Barber played and sang the score to the Metropolitan Opera's General Manager, Rudolf Bing, who accepted the work. It premiered in January 1958. The title role was written for Sena Jurinac but she cancelled six weeks before the opening, to be replaced by Eleanor Steber, with whom the role has become closely identified.^{[citation needed]} Vanessa won the 1958 Pulitzer Prize and gained acclaim as the first American grand opera.

Menotti also contributed the libretto for Barber's chamber opera A Hand of Bridge. Barber's Antony and Cleopatra was commissioned to open the new Metropolitan Opera House at Lincoln Center in 1966. The elaborate production designed by Franco Zeffirelli was plagued with technical disasters; it also overwhelmed and obscured Barber's music, which most critics derided as uncharacteristically weak and unoriginal. The critical rejection of music that Barber considered to be among his best sent him into a deep depression. In recent years, a revised version of Antony and Cleopatra, for which Menotti provided collaborative assistance, has enjoyed some success.^[15][16]

Vocal[link]

Barber's background, deeply rooted in singing (including studies with Emilio de Gogorza), his love of poetry, and his intimate knowledge and appreciation of the human voice, inspired his vocal writing. Barber's most famous vocal compositions, Knoxville: Summer of 1915 (to words by James Agee) and Dover Beach (to the poem by Matthew Arnold), were greatly successful. Their critical acclaim has made a powerful case for Barber as one of the twentieth century's most accomplished composers for the voice.^{[citation needed]}

In honor of Barber's influence on American music, on October 19, 1974, he was awarded the prestigious University of Pennsylvania Glee Club Award of Merit.^[17] This award was established in 1964 "to bring a declaration of appreciation to an individual each year who has made a significant contribution to the world of music and helped to create a climate in which our talents may find valid expression."

In September 1992, soprano Cheryl Studer, baritone Thomas Hampson, the preeminent Samuel Barber pianist John Browning and the Emerson String Quartet recorded the complete songs of Samuel Barber (with the exception of Knoxville: Summer of 1915) at the Brahms-Saal of the famous Musikverein in Vienna, Austria. The Deutsche Grammophon (catalogue 435 867–2) set has become a classic of American song on record.^{[citation needed]}

Violin[link]

In 1939 Philadelphia industrialist Samuel Simeon Fels commissioned Barber to write a violin concerto for Fels' ward, Iso Briselli, a graduate from the Curtis Institute of Music the same year as Barber, 1934.^[18] The Barber biographies written by Nathan Broder (1954) and Barbara B. Heyman (1992) discuss the genesis of the concerto during the period of the violin concerto's commission and subsequent year leading up to the first performance. Heyman interviewed Briselli and others familiar with the history in her publication. In late 2010, previously unpublished letters written by Fels, Barber, and Albert Meiff (Briselli's violin coach in that period) from the Samuel Simeon Fels Papers archived at the Historical Society of Pennsylvania became available to the public.^[19]

Notable compositions[link]

• Dover Beach (Medium voice and string quartet) (Op. 3, 1931)
• The School for Scandal (Overture) (Op. 5, 1931)
• Cello Sonata (Op. 6, 1932)
• Music for a Scene from Shelley (Op. 7, 1933)
• (First) Symphony in One Movement (Op. 9, 1936)
• Adagio for Strings (arr. of String Quartet, movement 2) (Op. 11, 1938)
• Essay for Orchestra (Op. 12, 1937)
• Violin Concerto (Op. 14, 1939)
• Reincarnations for mixed chorus, (Op. 16, 1939–1940); words by Antoine Ó Raifteiri in translation by James Stephens
• Second Essay for Orchestra (Op. 17, 1942)
• Excursions (Op. 20, 1942–44)
• Capricorn Concerto (Op. 21, 1944)
• Cello Concerto (Op. 22, 1945)
• Medea (ballet) (Op. 23, 1946)
• Knoxville: Summer of 1915 (Soprano & Orchestra) (Op. 24, 1948)
• Sonata for Piano (Op. 26, 1949)
• Hermit Songs (Op. 29, 1953)
• Prayers of Kierkegaard (Soprano, Choir & Orchestra) (Op. 30, 1954)
• Summer Music for Wind Quintet (Op. 31, 1956)
• Vanessa (opera) (Op. 32, 1957)
• A Hand of Bridge (Chamber opera) (Op. 35, 1959)
• Toccata Festiva (Organ and Orchestra) (Op. 36, 1960)
• Piano Concerto (Op. 38, 1962)
• Antony and Cleopatra (Op. 40, opera, 1966, rev. 1974)

Notes[link]

References and further reading[link]

• Brévignon, Pierre. 2011. Samuel Barber, un nostalgique entre deux mondes. Paris: Editions Hermann. ISBN 9782705681869.
• Broder, Nathan. 1954. Samuel Barber. New York: G. Schirmer. Reprinted Westport, CT: Greenwood Press, 1985. ISBN 0-313-24984-9.
• Heinsheimer, Hans W. 1968. "The Composing Composer: Samuel Barber". ASCAP Today 2:7.
• Henahan, Donal. 1975. "Juilliard Rehabilitating 'Antony and Cleopatra'". New York Times (February 8).
• Heyman, Barbara B. 1992. Samuel Barber: The Composer and His Music. New York and Oxford: Oxford University Press. ISBN 978-0-19-509058-1.
• Károlyi, Ottó. 1996. Modern American Music: From Charles Ives to the Minimalists. London: Cygnus Arts; Madison [N.J.]: Fairleigh Dickinson University Press. ISBN 978-0-8386-3725-8 (cloth); ISBN 978-1-900541-00-8 (pbk).
• Lee, Douglas A. 2002. Masterworks of 20th-Century Music: The Modern Repertory Of The Symphony Orchestra. New York: Routledge. ISBN 0-415-93846-5
• Mostovoy, Marc. 2010. "Iso Briselli, Samuel Barber, and thbe Violin Concerto, op. 14: Facts and Fiction". Iso Briselli website. (Accessed December 6, 2010)
• Schenck, Andrew. 1988. Booklet notes. Samuel Barber: Symphony No. 2; Music for a Scene from Shelley; Overture to The School for Scandal; First Essay; Adagio for Strings. The New Zealand Symphony Orchestra, Andrew Schenck, cond. CD recording. Stradivari Classics SCD 8012. Hackensack, NJ: Special Music Company.
• Simmons, Walter. 2004. Voices in the Wilderness: Six American Neo-Romantic Composers. Lanham, Md.: Scarecrow Press. ISBN 0-8108-4884-8. Paperback reprint edition, Lanham, Md.: Scarecrow Press, 2006. ISBN 0-8108-5728-6.
• Smith, Patricia Juliana. 2002. "Barber, Samuel". glbtq: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture, edited by Claude J. Summers. Chicago: glbtq, Inc.
• Staubrand, Jens. 2009. Kierkegaard International Bibliography: Music Works and Plays: Appendix: About The Seducers Diary and the Illness and Death of Søren Kierkegaard, new edition. Copenhagen: Eget Forlag; i kommission hos Forlaget Underskoven. ISBN 978-87-92259-91-2.
• Valente, Erasmo. 1983. "A Spoleto rinasce Cleopatra". L'unità (June 27).
• Wade, Graham. 2003. A Concise Guide to Understanding Music. Pacific, MO: Mel Bay Publications. ISBN 978-0-7866-4981-5.
• Warrack, John Hamilton, and Ewan West. 1992. The Oxford Dictionary of Opera. Oxford and New York: Oxford University Press ISBN 0-19-869164-5
• Wright, Jeffrey Marsh II. 2010. "The Enlisted Composer: Samuel Barber's Career 1942–1945". PhD diss. Chapel Hill: University of North Carolina at Chapel Hill.

External links[link]

Wikimedia Commons has media related to: Samuel Barber

Biography[link]

• Heyman, Barbara B (1992). Samuel Barber: The Composer and His Music. New York: Oxford University Press. ISBN 0-19-509058-6
• Wittke, Paul. Samuel Barber. G. Schirmer Inc.
• Brévignon, Pierre. 2011. Samuel Barber, un nostalgique entre deux mondes. Paris: Editions Hermann. ISBN 2782705681869.
• Homepage of Capricorn, the French Samuel Barber Society. (In English and French)
• Article "Barber, A Composer Between Two Worlds", by the Capricorn Society on American Center France
• Samuel Osborne Barber. IHAS. PBS.
• Smith, Patricia. Barber, Samuel. glbtq.com
• (French) A biography of Samuel Barber, from IRCAM's website.
• "Samuel Barber", Fyne Times

Other[link]

• Frédéric Chopin and Samuel Barber – ArtsEditor.com opinion article, 2010.

Audio and Video[link]

• Anne Akiko Meyers performs the Barber Violin Concerto
• Art of the States: Samuel Barber
• Erika's aria (piano and voice) from Vanessa, "Must the Winter Come So Soon?", sung by Mary Gayle Greene on YouTube
• In the BBC Discovering Music: Listening Library