Matching Items (13)
Filtering by
- Genre: Instructional and educational works
- Genre: Biographies
- Genre: Music--Instruction and study--Korea.
Description
The purpose of this study was to examine the effects of an after-school music program on music underachievers' musical achievement, social development and self-esteem. A true-experimental pretest-posttest design was used and included 14 hours of treatment time. The subjects (N = 66), fifth-grade students were randomly selected from the lowest quartile of scores on Colwell's Music Achievement Test (MAT), which was administered to all fifth-grade students (N = 494) in three Korean elementary schools. The treatment group (n =33) experienced a movement-based after-school music program (MAMP); the control group (n = 33) did not receive the after-school music program. Measurements included sections of Colwell's Music Achievement Test (MAT), Kim's Social Development Scale (SDS), and Hare's Self-Esteem Scale (HSS). The researcher and music teachers of each school administered all measurements. Fourteen treatment lessons occurred over fourteen weeks. One-way analyses of covariance tests were used to test for post-test differences between groups. A significant difference was found in music achievement total scores of the MAT with the treatment group scoring higher scores than the control group. There were no significant differences for interval and meter discrimination tests of MAT. There were no significant differences between treatment and control groups in the post-test scores of the Social Development Scale (SDS) and the Self-Esteem Scale (HSS). However, for both tests, mean scores increased for the treatment group and decreased for the control group. Results from this study suggest that a movement-based after-school music program promotes music underachievers' musical growth and may also support music underachievers' social development and self-esteem.
ContributorsYun, Gwan Ki (Author) / Stauffer, Sandra L (Thesis advisor) / Bush, Jeffrey B (Committee member) / Schmidt, Margaret T (Committee member) / Sullivan, Jill M (Committee member) / Tobias, Evan (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsChen, Albert (Author)
Created2022
Description
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
ContributorsHinde, Katie (Author) / Nickley, William (Author) / Light, Jessica (Author) / Nuñez-de la Mora, Alejandra (Author) / Kissel, Jenna (Author) / Hecht, Ian (Author) / Gabrys, Jennifer (Author) / Brunstrum, Jeff (Author) / Schuttler, Stephanie (Author) / Chestnut, Tara (Author) / Mahmoud, Marwa (Author)
Created2022
Description
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)
ContributorsHinde, Katie (Author) / Schuttler, Stephanie (Author) / Henning, Charon (Illustrator) / Nuñez-de la Mora, Alejandra (Translator) / Kissel, Jenna (Author) / Nickley, William (Artist)
Created2021-02
Description
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)
ContributorsHinde, Katie (Author) / Schuttler, Stephanie (Author) / Henning, Charon (Illustrator) / Nuñez-de la Mora, Alejandra (Translator)
Created2020
Description
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.
ContributorsChen, Albert (Author)
Created2024-03-29
Description
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).
ContributorsChestnut, Tara (Creator) / Connors, Patrice K. (Creator) / Desari, Mauna (Creator) / Hilborn, Anne W. (Creator) / Hinde, Katie (Creator) / Light, Jessica (Creator)
Description
Miguel de Cervantes Saavedra created the character of Don Quixote in his book El ingenioso hidalgo Don Quijote de la Mancha, published in 1605. Since its creation, stories from the book have been reimagined in art, in literature and in music. Frequently, Cervantes – the man and author – and Quixote – the novel’s protagonist and hero – have been inextricably linked in character. Subsequent adaptors of the novel have been influenced by this connection: composers Jules Massenet (1842-1912), Jacques Ibert (1890-1962) and Mitch Leigh (1928-2014) all wrote their own versions of the Quixote saga. Though their approaches to the story are varied, the basic characteristics of it remain: Love, Life and Dreams. Those themes are reflected in the old knight’s death scene in each of their respective works. Here, the lives of the adaptors are briefly discussed and a dramatic and musical (Schenkerian), analysis of Quixote’s last hours are presented.
ContributorsKim, Se Hoon (Author) / Britton, David (Thesis advisor) / Reber, William (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2016
Description
How fast is evolution? In this dissertation I document a profound change that occurred around the middle of the 20th century in the way that ecologists conceptualized the temporal and spatial scales of adaptive evolution, through the lens of British plant ecologist Anthony David Bradshaw (1926–2008). In the early 1960s, one prominent ecologist distinguished what he called “ecological time”—around ten generations—from “evolutionary time”— around half of a million years. For most ecologists working in the first half of the 20th century, evolution by natural selection was indeed a slow and plodding process, tangible in its products but not in its processes, and inconsequential for explaining most ecological phenomena. During the 1960s, however, many ecologists began to see evolution as potentially rapid and observable. Natural selection moved from the distant past—a remote explanans for both extant biological diversity and paleontological phenomena—to a measurable, quantifiable mechanism molding populations in real time.
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.
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.
ContributorsPeirson, Bruce Richard Erick (Author) / Laubichler, Manfred D (Thesis advisor) / Maienschein, Jane (Thesis advisor) / Creath, Richard (Committee member) / Collins, James (Committee member) / Arizona State University (Publisher)
Created2015
Description
As one of the composers living in an era filled with innovations, Anatol Konstantinovich Lyadov (1855-1914) has been relatively ignored by scholars and pianists to date. He is an unusual composer with multiple characteristics: solitary but expressive, talented but indolent. His compositional style never lacked critics—especially with respect to his persistent preference of miniatures. Nonetheless, his piano works embody the breathtaking beauty of the composer’s independent musical ideas and colorful musical language. Compared with the flourishing, dazzling, and nationalized music from other composers living in the same era, these light, flowing musical pieces from Lyadov have irreplaceable value.
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.
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.
ContributorsZhang, Xiaoyu (Author) / Hamilton, Robert (Thesis advisor) / Creviston, Hannah (Committee member) / DeMars, James (Committee member) / Meir, Baruch (Committee member) / Arizona State University (Publisher)
Created2018