Complexes of Group 2 dications with soft thioether- and selenoether-containing macrocycles

A new route to cationic complexes of Mg, Ca, Sr and Ba with 18-membered ring O4S2, O4Se2 and O2S4 donor macrocycles from metal acetonitrile complexes with weakly coordinating [BArF]? anions is described. The precursors used were [M(MeCN)x][BArF]2 (M = Mg, x = 6; M = Ca, x = 8) and [M?(acacH)(MeCN)5][BArF]2 (M? = Sr or Ba). Reaction of these with the heterocrowns, [18]aneO4S2 (1,4,10,13-tetraoxa-7,16-dithiacyclooctadecane), [18]aneO4Se2 (1,4,10,13-tetraoxa-7,16-diselenacyclooctadecane) or [18]aneO2S4 (1,10-dioxa-4,7,13,16-tetrathiacyclooctadecane) in anhydrous CH2Cl2 solution gave [M(heterocrown)(MeCN)2][BArF]2 for M = Mg, Ca or Sr, whilst the larger Ba forms [Ba(heterocrown)(acacH)(MeCN)][BArF]2. The complexes have been characterised by microanalysis, IR, 1H and 13C{1H} NMR spectroscopy. X-ray crystal structures are reported for [Ca([18]aneO2S4)(MeCN)2][BArF]2, [Ca([18]aneO4Se2)(MeCN)2][BArF]2, [Sr([18]aneO4S2)(MeCN)2][BArF]2, and [Sr([18]aneO4Se2)(MeCN)2][BArF]2 which contain 8-coordinate metal centres with trans-nitrile ligands and ?6-heterocrowns, and for the 9-coordinate [Ba([18]aneO4Se2)(acacH)(MeCN)][BArF]2. Adventitious hydrolysis of the magnesium complexes in solution results in six-coordinate complexes, [Mg(?3-[18]aneO4Se2)(OH2)2(MeCN)][BArF]2 and [Mg(?3-[18]aneO4S2)(OH2)2(MeCN)][BArF]2, whose structures were determined. X-ray crystal structures are also reported for [Mg(MeCN)6][BArF]2, [M(MeCN)8][BArF]2 (M = Ca, Sr) and [Ca(18-crown-6)(MeCN)2][BArF]

Comparing Notes: Recording and Criticism

This chapter charts the ways in which recording has changed the nature of music criticism. It both provides an overview of the history of recording and music criticism, from the advent of Edison’s Phonograph to the present day, and examines the issues arising from this new technology and the consequent transformation of critical thought and practice

Wider Still and Wider: British Music Criticism since the Second World War

This chapter provides the first historical examination of music criticism in Britain since the Second World War. In the process, it also challenges the simplistic prevailing view of this being a period of decline from a golden age in music criticism