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- Genre: Instructional and educational works
- Genre: Biographies
- Genre: Music--France--19th century--History and criticism.
![163464-Thumbnail Image.png](https://d1rbsgppyrdqq4.cloudfront.net/s3fs-public/styles/width_400/public/2022-02/163464-thumbnail-image.png?versionId=hMBb9eTNi5PxU1NSB1Hn_m0_lhCph_jR&X-Amz-Content-Sha256=UNSIGNED-PAYLOAD&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIASBVQ3ZQ42ZLA5CUJ/20240613/us-west-2/s3/aws4_request&X-Amz-Date=20240613T103239Z&X-Amz-SignedHeaders=host&X-Amz-Expires=120&X-Amz-Signature=548e32a5986818a46819e219587d30ea68dcc5d123bd2e571ae256044ffef2b1&itok=09t5sWVw)
This item includes:
1) The official bracket files for the 2022 MMM tournament
2) A screen-reader enabled bracket file
3) 2022 March Mammal Madness Educational Materials Packet – in English
4) 2022 March Mammal Madness Educational Materials Packet – in Spanish
5) March Mammal Madness, Middle School Lesson Plan : Ecosystems & National Parks
6) March Mammal Madness, High School Lesson Plan : Ecosystems & National Parks
![2021 March Mammal Madness Educational Materials](https://d1rbsgppyrdqq4.cloudfront.net/s3fs-public/styles/width_400/public/2021-02/screen-shot-2021-02-25-at-8.39.03-pm.png?versionId=SAxNHlAHX.71vgd.QdaWdKouB1lxgtxd&X-Amz-Content-Sha256=UNSIGNED-PAYLOAD&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIASBVQ3ZQ42ZLA5CUJ/20240613/us-west-2/s3/aws4_request&X-Amz-Date=20240613T132909Z&X-Amz-SignedHeaders=host&X-Amz-Expires=120&X-Amz-Signature=c913470866b2bf20c237f1c2c1ee651b1aa548e778b06af6a75e7f85dd3130a9&itok=KUEvwZfC)
This packet includes:
2021 Bracket Common Name
2021 Bracket Latin Binomial
Bracket FAQ (English)
Pre-Tournament Research Lesson Plan (English)
Tournament Lesson Plan & Worksheets (English)
Visual Arts Lesson Plan (English)
Language Arts Lesson Plan (English)
Guide for Youngest Players (English)
JUMBO Bracket for Youngest Players (English)
2021 Bracket Common Name (Spanish)
Pre-Tournament Research Lesson Plan (Spanish)
Tournament Lesson Plan & Worksheets (Spanish)
Visual Arts Lesson Plan (Spanish)
Language Arts Lesson Plan (Spanish)
JUMBO Bracket for Youngest Players (Spanish)
![Open Educational Resources from 2020 March Mammal Madness Tournament](https://d1rbsgppyrdqq4.cloudfront.net/s3fs-public/styles/width_400/public/2021-02/screen-shot-2021-02-17-at-6.37.04-pm.png?versionId=oi9L96Zh9AR.2uzwGUPrCX3paL2je.0z&X-Amz-Content-Sha256=UNSIGNED-PAYLOAD&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIASBVQ3ZQ42ZLA5CUJ/20240613/us-west-2/s3/aws4_request&X-Amz-Date=20240613T132909Z&X-Amz-SignedHeaders=host&X-Amz-Expires=120&X-Amz-Signature=6e1ada19f1f916df3aa684f31217c32f0721ec9788097f01d0b59f1f331ed464&itok=XRPuD3l2)
This packet includes:
2020 Bracket Common Name
2020 Bracket Latin Binomial
Pre-Tournament Research Lesson Plan (English)
Tournament Lesson Plan & Worksheets (English)
Visual Arts Lesson Plan (English)
Language Arts Lesson Plan (English)
2020 Bracket Common Name (Spanish)
Pre-Tournament Research Lesson Plan (Spanish)
Tournament Lesson Plan & Worksheets (Spanish)
![Phylogeny of March Mammal Madness Contestants: 2013-2024](https://d1rbsgppyrdqq4.cloudfront.net/s3fs-public/styles/width_400/public/2024-04/screenshot-2024-04-01-at-1.52.45-pm_1.jpg?versionId=cskopcjH4k3_RjjUFTWIGu.0hvXmeptH&X-Amz-Content-Sha256=UNSIGNED-PAYLOAD&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIASBVQ3ZQ42ZLA5CUJ/20240611/us-west-2/s3/aws4_request&X-Amz-Date=20240611T131657Z&X-Amz-SignedHeaders=host&X-Amz-Expires=120&X-Amz-Signature=b7bf15af6aff70b9e098d46043b515d1d81e2c305eb63bee84b8a119f1b7687d&itok=g2be2cxW)
This phylogeny poster displays the relationships of all the combatants in the March Mammal Madness tournament 2013-2024. Included are:
- The PDF version of the poster
- The PNG version of the poster
- A list of references consulted for generating the poster.
Selected narrations, or Play by Plays, to illustrate how matches in the annual March Mammal Madness Tournament are conducted and communicated. Referenced in “March Mammal Madness and the Power of Narrative in Science Outreach” (full citation coming and will link to KEEP record once created).
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The early music revival in Paris, which came into full swing in the 1890s, had a defining impact on the composer Claude Debussy. Among the leaders of this movement were the Chanteurs de Saint Gervais under the direction of Charles Bordes and the Schola Cantorum, a school Bordes founded for the study and performance of early music in Paris. Debussy wrote admiringly of the performances of the Chanteurs and opera productions he saw at the Schola. He also spoke of the revelatory nature of performances of Renaissance masses that he heard in Italy after he won the Prix de Rome. Finally, he most likely visited Solesmes, important in the revival of plainchant. Hitherto unknown documents raise questions about the date of that visit, which most likely took place in 1892 or 1893.
A powerful manifestation of the influence of early music on Debussy’s compositional style is a melodic gesture that he referred to as “arabesque.” Debussy made many comments about the “divine arabesque,” which he related to the “primitives,” Palestrina, Victoria, and di Lasso. Further, Debussy connected those composers’ use of the arabesque to plainchant: “They found the basis of [the arabesque] in Gregorian chant, whose delicate tracery they supported with twining counterpoints.”
Debussy’s writings on early music provide a deeper context for understanding how plainchant, as well as music from the Renaissance, contributed to his compositional style, specifically in his use of modes and his notion of the arabesque. These influences are especially apparent in his only a cappella choral work, Trois chansons de Charles d’Orléans.
Until now, analysis of the Trois chansons has not sufficiently considered the importance of either plainchant or the arabesque and their influence on the style and character of this work. Viewing Debussy’s musical aesthetic through the lens of plainchant and the arabesque brings his music to life in a new and exciting way, resulting in a richer understanding and more informed performance practice, especially in the Trois chansons de Charles d’Orléans.
![154596-Thumbnail Image.png](https://d1rbsgppyrdqq4.cloudfront.net/s3fs-public/styles/width_400/public/2021-09/154596-Thumbnail%20Image.png?versionId=w_VlNIm76IxrtoIwwtKlBPNiEF5TdLpc&X-Amz-Content-Sha256=UNSIGNED-PAYLOAD&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIASBVQ3ZQ42ZLA5CUJ/20240613/us-west-2/s3/aws4_request&X-Amz-Date=20240613T124841Z&X-Amz-SignedHeaders=host&X-Amz-Expires=120&X-Amz-Signature=895a976c7e5bfe5de3ec8573ed60e061056d8aa62e8b986bfc033aa2523d7cae&itok=dmQCkylu)
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The idea that adaptive evolution could be rapid and highly localized was a significant enabling condition for the emergence of ecological genetics in the second half of the 20th century. Most of what historians know about that conceptual shift and the rise of ecological genetics centers on the work of Oxford zoologist E. B. Ford and his students on polymorphism in Lepidotera, especially industrial melanism in Biston betularia. I argue that ecological genetics in Britain was not the brainchild of an infamous patriarch (Ford), but rather the outgrowth of a long tradition of pastureland research at plant breeding stations in Scotland and Wales, part of a discipline known as “genecology” or “experimental taxonomy.” Bradshaw’s investigative activities between 1948 and 1968 were an outgrowth of the specific brand of plant genecology practiced at the Welsh and Scottish Plant Breeding stations. Bradshaw generated evidence that plant populations with negligible reproductive isolation—separated by just a few meters—could diverge and adapt to contrasting environmental conditions in just a few generations. In Bradshaw’s research one can observe the crystallization of a new concept of rapid adaptive evolution, and the methodological and conceptual transformation of genecology into ecological genetics.
![156165-Thumbnail Image.png](https://d1rbsgppyrdqq4.cloudfront.net/s3fs-public/styles/width_400/public/2021-08/156165-Thumbnail%20Image.png?versionId=xdiUFcG664ggB8p1Np5IDeiNeqwOtmHV&X-Amz-Content-Sha256=UNSIGNED-PAYLOAD&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIASBVQ3ZQ42ZLA5CUJ/20240613/us-west-2/s3/aws4_request&X-Amz-Date=20240613T124842Z&X-Amz-SignedHeaders=host&X-Amz-Expires=120&X-Amz-Signature=0a2b901c0efde903c50385963475182c4031a6e588d7e0b8921d0330d2b41bfa&itok=Fqb5hzuD)
Through the study of these small-scale piano works, one finds important connections with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19th-century Romanticism; however, his compositional style changed during his late period (after 1900), presenting a unique use of dissonance.
The scholarly research on Lyadov’s piano works remains limited. Most of the related resources can be found only in the Russian music literature. No in-depth study or dissertation on the complete piano works of Lyadov could be located, and therefore my research paper is intended to provide useful information to piano performers and teachers, hopefully encouraging more study and performance of Lyadov’s piano works. Despite their lyrical melodies and deep emotion, these works are thus far relatively unpopular and unknown, with only a few played occasionally as encore pieces.