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ContributorsKierum, Caitlin (Contributor) / Novak, Gail (Pianist) (Performer) / Liang, Jack (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-11
ContributorsLougheed, Julia (Performer) / Novak, Gail (Pianist) (Performer) / Bayer, Elizabeth Kennedy (Performer) / Clifton-Armenta, Tyler (Performer) / Park, Julie (Performer) / Javier de Alba, Francisco (Performer) / Vientos Dulces (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
ContributorsCoffey, Brennan (Performer) / Novak, Gail (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2021-04-26
ContributorsHolly, Sean (Performer) / Wright, Aaron (Performer) / Novak, Gail (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2021-04-29
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Description
Previous studies have demonstrated that cranial base anatomy is influenced primarily by three different characteristics: brain shape, positional behavior, and facial growth (Lieberman et al. 2000). Although the timing of cranial base growth is not fully understood, features of the cranial base are frequently used to interpret the hominin fossil

Previous studies have demonstrated that cranial base anatomy is influenced primarily by three different characteristics: brain shape, positional behavior, and facial growth (Lieberman et al. 2000). Although the timing of cranial base growth is not fully understood, features of the cranial base are frequently used to interpret the hominin fossil record (Guy et al. 2005; White et al. 1994; Brunet et al. 2002). While specific aspects of cranial base morphology may be species-specific, there is sparse information on the developmental mechanisms driving these adult morphologies. The aim of this study is to 1) examine changes in the human cranial base form throughout ontogeny and 2) determine their relationship to the development of positional behavior and brain growth. This research asks: to what extent does human cranial base morphology vary before and after adult positional behavior is acquired? The null hypothesis is that there is no relationship between features of the cranial base and the development of positional behavior. Data are collected using 3D landmarks on n=35 human crania and analyzed with both Morphologika (O'Higgins and Jones 1999) and MorphoJ (Klingenberg 2011) to identify age related changes in shape. Results of this study demonstrate that most of the changes in cranial base form occur between dental eruption stages N and NJ1 between 0 and 2 years of age. These changes consist of a relative shortening of the anterior-posterior cranial base length, a more posterior positioning of the foramen magnum, and a more anterior position of the occipital condyles and separate the N and NJ1 dental development groups from other groups. This change coincides with the transition to upright posture in human children (Abitbol 1993), a significant period of brain growth (Neubauer 2009) and has implications for reconstructing positional behavior in fossil hominins. Despite new insights into the development of cranial base morphology, the utility of the cranial base in assigning hominin taxonomy remains inconclusive.
ContributorsMcgechie, Faye Rachele (Author) / Kimbel, William (Thesis director) / Schwartz, Gary (Committee member) / Hill, Cheryl (Committee member) / Barrett, The Honors College (Contributor) / School of Human Evolution and Social Change (Contributor)
Created2015-05
ContributorsBreeden, Katherine (Performer) / German, Lindsey (Performer) / Novak, Gail (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-13
Description
ABSTRACT Many musicians, both amateur and professional alike, are continuously seeking to expand and explore their performance literature and repertory. Introducing new works into the standard repertory is an exciting endeavor for any active musician. Establishing connections, commissioning new works, and collaborating on performances can all work

ABSTRACT Many musicians, both amateur and professional alike, are continuously seeking to expand and explore their performance literature and repertory. Introducing new works into the standard repertory is an exciting endeavor for any active musician. Establishing connections, commissioning new works, and collaborating on performances can all work together toward the acceptance and success of a composer's music within an instrument community. For the flute, one such composer is Daniel Dorff (b. 1956). Dorff, a Philadelphia-based composer, has written for symphony orchestra, clarinet, contrabassoon, and others; however, his award-winning works for flute and piccolo are earning him much recognition. He has written works for such illustrious flutists as Mimi Stillman, Walfrid Kujala, and Gary Schocker; his flute works have been recorded by Laurel Zucker, Pamela Youngblood and Lois Bliss Herbine; and his pieces have been performed and premiered at each of the National Flute Association Conventions from 2004 to 2009. Despite this success, little has been written about Dorff's life, compositional style, and contributions to the flute repertory. In order to further promote the flute works of Daniel Dorff, the primary focus of this study is the creation of a compact disc recording of Dorff's most prominent works for flute: April Whirlwind, 9 Walks Down 7th Avenue, both for flute and piano, and Nocturne Caprice for solo flute. In support of this recording, the study also provides biographical information regarding Daniel Dorff, discusses his compositional methods and ideology, and presents background information, description, and performance notes for each piece. Interviews with Daniel Dorff regarding biographical and compositional details serve as the primary source for this document. Suggestions for the performance of the three flute works were gathered through interviews with prominent flutists who have studied and performed Dorff's pieces. Additional performance suggestions for Nocturne Caprice were gathered through a coaching session between the author and the composer. This project is meant to promote the flute works of Daniel Dorff and to help establish their role in the standard flute repertory.
ContributorsRich, Angela Marie (Contributor) / Novak, Gail (Pianist) (Performer) / Buck, Elizabeth Y (Thesis advisor) / Hill, Gary W. (Committee member) / Holbrook, Amy (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2010
ContributorsBroome-Robinson, Julia (Performer) / Novak, Gail (Pianist) (Performer) / Glick, Philip (Performer) / Lynch, Paul (Performer) / Ryall, Blake (Performer) / ASU Library. Music Library (Publisher)
Created2018-10-19
ContributorsCrimminger, Jordan (Performer) / Novak, Gail (Pianist) (Performer) / Hong, Dylan (Performer) / Larson, Ben (Performer) / Russell, Liam (Performer) / Raschko, Hannah (Performer) / ASU Library. Music Library (Publisher)
Created2017-10-22
ContributorsStrickland, Kiefer (Performer) / Novak, Gail (Pianist) (Performer) / McKinch, Riley (Performer) / Hoeckley, Stephanie (Performer) / Bates-Kennard, Sarah (Performer) / Moonitz, Olivia (Performer) / Lovelady, Alexis (Performer) / ASU Library. Music Library (Publisher)
Created2017-10-31