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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
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)
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)
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).
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.
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.