Matching Items (1,249)
Filtering by

Clear all filters

ContributorsDaval, Charles (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-26
152605-Thumbnail Image.png
Description
In 1997, developmental biologist Michael Richardson compared his research team's embryo photographs to Ernst Haeckel's 1874 embryo drawings and called Haeckel's work noncredible.Science soon published <“>Haeckel's Embryos: Fraud Rediscovered,<”> and Richardson's comments further reinvigorated criticism of Haeckel by others with articles in The American Biology Teacher, <“>Haeckel's Embryos and Evolution:

In 1997, developmental biologist Michael Richardson compared his research team's embryo photographs to Ernst Haeckel's 1874 embryo drawings and called Haeckel's work noncredible.Science soon published <“>Haeckel's Embryos: Fraud Rediscovered,<”> and Richardson's comments further reinvigorated criticism of Haeckel by others with articles in The American Biology Teacher, <“>Haeckel's Embryos and Evolution: Setting the Record Straight <”> and the New York Times, <“>Biology Text Illustrations more Fiction than Fact.<”> Meanwhile, others emphatically stated that the goal of comparative embryology was not to resurrect Haeckel's work. At the center of the controversy was Haeckel's no-longer-accepted idea of recapitulation. Haeckel believed that the development of an embryo revealed the adult stages of the organism's ancestors. Haeckel represented this idea with drawings of vertebrate embryos at similar developmental stages. This is Haeckel's embryo grid, the most common of all illustrations in biology textbooks. Yet, Haeckel's embryo grids are much more complex than any textbook explanation. I examined 240 high school biology textbooks, from 1907 to 2010, for embryo grids. I coded and categorized the grids according to accompanying discussion of (a) embryonic similarities (b) recapitulation, (c) common ancestors, and (d) evolution. The textbooks show changing narratives. Embryo grids gained prominence in the 1940s, and the trend continued until criticisms of Haeckel reemerged in the late 1990s, resulting in (a) grids with fewer organisms and developmental stages or (b) no grid at all. Discussion about embryos and evolution dropped significantly.
ContributorsWellner, Karen L (Author) / Maienschein, Jane (Thesis advisor) / Ellison, Karin D. (Committee member) / Creath, Richard (Committee member) / Robert, Jason S. (Committee member) / Laubichler, Manfred D. (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsChang, Ruihong (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-29
152521-Thumbnail Image.png
DescriptionThe purpose of this project is to explore the influence of folk music in guitar compositions by Manuel Ponce from 1923 to 1932. It focuses on his Tres canciones populares mexicanas and Tropico and Rumba.
ContributorsGarcia Santos, Arnoldo (Author) / Koonce, Frank (Thesis advisor) / Rogers, Rodney (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2014
153808-Thumbnail Image.png
Description
Four Souvenirs for Violin and Piano was composed by Paul Schoenfeld (b.1947) in 1990 as a showpiece, spotlighting the virtuosity of both the violin and piano in equal measure. Each movement is a modern interpretation of a folk or popular genre, re- envisioned over intricate jazz harmonies and rhythms. The

Four Souvenirs for Violin and Piano was composed by Paul Schoenfeld (b.1947) in 1990 as a showpiece, spotlighting the virtuosity of both the violin and piano in equal measure. Each movement is a modern interpretation of a folk or popular genre, re- envisioned over intricate jazz harmonies and rhythms. The work was commissioned by violinist Lev Polyakin, who specifically requested some short pieces that could be performed in a local jazz establishment named Night Town in Cleveland, Ohio. The result is a work that is approximately fifteen minutes in length. Schoenfeld is a respected composer in the contemporary classical music community, whose Café Music (1986) for piano trio has recently become a staple of the standard chamber music repertoire. Many of his other works, however, remain in relative obscurity. It is the focus of this document to shed light on at least one other notable composition; Four Souvenirs for Violin and Piano. Among the topics to be discussed regarding this piece are a brief history behind the genesis of this composition, a structural summary of the entire work and each of its movements, and an appended practice guide based on interview and coaching sessions with the composer himself. With this project, I hope to provide a better understanding and appreciation of this work.
ContributorsJanczyk, Kristie Annette (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2015
ContributorsKotronakis, Dimitris (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-01
ContributorsASU Library. Music Library (Publisher)
Created2018-02-23
ContributorsWhite, Aaron (Performer) / Kim, Olga (Performer) / Hammond, Marinne (Performer) / Shaner, Hayden (Performer) / Yoo, Katie (Performer) / Shoemake, Crista (Performer) / Gebe, Vladimir, 1987- (Performer) / Wills, Grace (Performer) / McKinch, Riley (Performer) / Freshmen Four (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-27
ContributorsRosenfeld, Albor (Performer) / Pagano, Caio, 1940- (Performer) / ASU Library. Music Library (Publisher)
Created2018-10-03
ContributorsASU Library. Music Library (Publisher)
Created2018-10-04