Answer the question at the end by quoting:

Zhang Heng (Chinese: Zhang Heng ; AD 78-139), formerly romanized as Chang Heng, was a Han Chinese polymath from Nanyang who lived during the Han dynasty. Educated in the capital cities of Luoyang and Chang'an, he achieved success as an astronomer, mathematician, scientist, engineer, inventor, geographer, cartographer, artist, poet, statesman, and literary scholar. Zhang Heng began his career as a minor civil servant in Nanyang. Eventually, he became Chief Astronomer, Prefect of the Majors for Official Carriages, and then Palace Attendant at the imperial court.
Zhang Heng's mechanical inventions influenced later Chinese inventors such as Yi Xing, Zhang Sixun, Su Song, and Guo Shoujing. Su Song directly named Zhang's water-powered armillary sphere as the inspiration for his 11th-century clock tower. The cosmic model of nine points of Heaven corresponding with nine regions of earth conceived in the work of the scholar-official Chen Hongmou (1696-1771) followed in the tradition of Zhang's book Spiritual Constitution of the Universe. The seismologist John Milne, who created the modern seismograph in 1876 alongside Thomas Gray and James A. Ewing at the Imperial College of Engineering in Tokyo, commented in 1886 on Zhang Heng's contributions to seismology. The historian Joseph Needham emphasized his contributions to pre-modern Chinese technology, stating that Zhang was noted even in his day for being able to "make three wheels rotate as if they were one." More than one scholar has described Zhang as a polymath. However, some scholars also point out that Zhang's writing lacks concrete scientific theories. Comparing Zhang with his contemporary, Ptolemy (83-161) of Roman Egypt, Jin Guantao, Fan Hongye, and Liu Qingfeng state:  Based on the theories of his predecessors, Zhang Heng systematically developed the celestial sphere theory. An armillary constructed on the basis of his hypotheses bears a remarkable similarity to Ptolemy's earth-centered theory. However, Zhang Heng did not definitely propose a theoretical model like Ptolemy's earth-centered one. It is astonishing that the celestial model Zhang Heng constructed was almost a physical model of Ptolemy's earth-centered theory. Only a single step separates the celestial globe from the earth-centered theory, but Chinese astronomers never took that step.  Here we can see how important the exemplary function of the primitive scientific structure is. In order to use the Euclidean system of geometry as a model for the development of astronomical theory, Ptolemy first had to select hypotheses which could serve as axioms. He naturally regarded circular motion as fundamental and then used the circular motion of deferents and epicycles in his earth-centered theory. Although Zhang Heng understood that the sun, moon and planets move in circles, he lacked a model for a logically structured theory and so could not establish a corresponding astronomical theory. Chinese astronomy was most interested in extracting the algebraic features of planetary motion (that is, the length of the cyclic periods) to establish astronomical theories. Thus astronomy was reduced to arithmetic operations, extracting common multiples and divisors from the observed cyclic motions of the heavenly bodies.

how did the world react to this theory?

Only a single step separates the celestial globe from the earth-centered theory, but Chinese astronomers never took that step.

IN: Albert Ayler (; July 13, 1936 - November 25, 1970) was an American avant-garde jazz saxophonist, singer and composer. After early experience playing R&B and bebop, Ayler began recording music during the free jazz era of the 1960s. However, some critics argue that while Ayler's style is undeniably original and unorthodox, it does not adhere to the generally accepted critical understanding of free jazz. In fact, Ayler's style is difficult to categorize in any way, and it evoked incredibly strong and disparate reactions from critics and fans alike.

Ayler routinely showcased his highly untraditional personal saxophone style in very conventional musical contexts, including children's songs, march melodies, and gospel hymns. However, Ayler's wild energy and intense improvisations transformed them into something nearly unrecognizable. Ayler took a deconstructive approach to his music, which was characteristic of the free jazz era. Phil Hardy says that Ayler "dismantled" melody and harmony in order to more deeply explore "the physical properties" of his saxophone. Ayler wished to free himself and his bandmates to improvise, relate to one another, and relate to their instruments on a more raw, "primal" level.  The intensely spiritual aspect of Ayler's music was clearly aligned with the beliefs of jazz saxophonist John Coltrane, who was profoundly affected by the "otherworldly" sounds of Ayler's music. This effect is especially evident in Coltrane's albums Meditations and Stellar Regions. Coltrane served as a mentor throughout Ayler's life, providing financial and professional support. This intensity, the extremes to which Ayler took his tenor saxophone, is the most defining aspect of his sound. His style is characterized by timbre variations, including squeaks, honks, and improvisation in very high and very low registers. He possessed a deep blistering tone--achieved by using the stiff plastic Fibrecane no. 4 reeds on his tenor saxophone--and used a broad, pathos-filled vibrato.  Ayler experimented with microtonality in his improvisations, seeking to explore the sounds that fall between the notes in a traditional scale. This technique was best showcased when he played, as he often did, without a piano, backed only by bass and drums. Ayler also resisted the standard swing beat, and instead built momentum through the frenetic speed of his improvisatory lines, which he forcefully overblew from his saxophone. Jazz historian Ted Gioia describes Ayler as a "virtuoso of the coarse and anomalous," and claims that Ayler aimed to break away from the constraints of playing notes and instead to "enter into a new realm in which the saxophone created "sound"." Ayler undeniably succeeded in doing this; he produced sounds that were unlike any made by jazz saxophonists before him. However, while some found a powerful artistic voice, even musical genius, in these sounds, others found only noise.

What was his style of music?

OUT:
Ayler took a deconstructive approach to his music, which was characteristic of the free jazz era.