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ContributorsShi, Ge (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
ContributorsShatuho, Kristina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-27
ContributorsCarlisi, Daniel (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
Description
Yannis Constantinidis was the last of the handful of composers referred to collectively as the Greek National School. The members of this group strove to create a distinctive national style for Greece, founded upon a synthesis of Western compositional idioms with melodic, rhyhmic, and modal features of their local folk traditions. Constantinidis particularly looked to the folk melodies of his native Asia Minor and the nearby Dodecanese Islands. His musical output includes operettas, musical comedies, orchestral works, chamber and vocal music, and much piano music, all of which draws upon folk repertories for thematic material. The present essay examines how he incorporates this thematic material in his piano compositions, written between 1943 and 1971, with a special focus on the 22 Songs and Dances from the Dodecanese. In general, Constantinidis's pianistic style is expressed through miniature pieces in which the folk tunes are presented mostly intact, but embedded in accompaniment based in early twentieth-century modal harmony. Following the dictates of the founding members of the Greek National School, Manolis Kalomiris and Georgios Lambelet, the modal basis of his harmonic vocabulary is firmly rooted in the characteristics of the most common modes of Greek folk music. A close study of his 22 Songs and Dances from the Dodecanese not only offers a valuable insight into his harmonic imagination, but also demonstrates how he subtly adapts his source melodies. This work also reveals his care in creating a musical expression of the words of the original folk songs, even in purely instrumental compositon.
ContributorsSavvidou, Dina (Author) / Hamilton, Robert (Thesis advisor) / Little, Bliss (Committee member) / Meir, Baruch (Committee member) / Thompson, Janice M (Committee member) / Arizona State University (Publisher)
Created2011
Description
This paper describes six representative works by twentieth-century Chinese composers: Jian-Zhong Wang, Er-Yao Lin, Yi-Qiang Sun, Pei-Xun Chen, Ying-Hai Li, and Yi Chen, which are recorded by the author on the CD. The six pieces selected for the CD all exemplify traits of Nationalism, with or without Western influences. Of the six works on the CD, two are transcriptions of the Han Chinese folk-like songs, one is a composition in the style of the Uyghur folk music, two are transcriptions of traditional Chinese instrumental music dating back to the eighteenth century, and one is an original composition in a contemporary style using folk materials. Two of the composers, who studied in the United States, were strongly influenced by Western compositional style. The other four, who did not study abroad, retained traditional Chinese style in their compositions. The pianistic level of difficulty in these six pieces varies from intermediate to advanced level. This paper includes biographical information for the six composers, background information on the compositions, and a brief analysis of each work. The author was exposed to these six pieces growing up, always believing that they are beautiful and deserve to be appreciated. When the author came to the United States for her studies, she realized that Chinese compositions, including these six pieces, were not sufficiently known to her peers. This recording and paper are offered in the hopes of promoting a wider familiarity with Chinese music and culture.
ContributorsLuo, Yali, D.M.A (Author) / Hamilton, Robert (Thesis advisor) / Campbell, Andrew (Committee member) / Pagano, Caio (Committee member) / Cosand, Walter (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
The purpose of this project was to examine the lives and solo piano works of four members of the early generation of female composers in Taiwan. These four women were born between 1950 and 1960, began to appear on the Taiwanese musical scene after 1980, and were still active as composers at the time of this study. They include Fan-Ling Su (b. 1955), Hwei-Lee Chang (b. 1956), Shyh-Ji Pan-Chew (b. 1957), and Kwang-I Ying (b. 1960). Detailed biographical information on the four composers is presented and discussed. In addition, the musical form and features of all solo piano works at all levels by the four composers are analyzed, and the musical characteristics of each composer's work are discussed. The biography of a fifth composer, Wei-Ho Dai (b. 1950), is also discussed but is placed in the Appendices because her piano music could not be located. This research paper is presented in six chapters: (1) Prologue; the life and music of (2) Fan-Ling Su, (3) Hwei-Lee Chang, (4) Shyh-Ji Pan-Chew, and (5) Kwang-I Ying; and (6) Conclusion. The Prologue provides an overview of the development of Western classical music in Taiwan, a review of extant literature on the selected composers and their music, and the development of piano music in Taiwan. The Conclusion is comprised of comparisons of the four composers' music, including their personal interests and preferences as exhibited in their music. For example, all of the composers have used atonality in their music. Two of the composers, Fan-Ling Su and Kwang-I Ying, openly apply Chinese elements in their piano works, while Hwei-Lee Chang tries to avoid direct use of the Chinese pentatonic scale. The piano works of Hwei-Lee Chang and Shyh-Ji Pan-Chew are chromatic and atonal, and show an economical usage of material. Biographical information on Wei-Ho Dai and an overview of Taiwanese history are presented in the Appendices.
ContributorsWang, Jinding (Author) / Pagano, Caio (Thesis advisor) / Campbell, Andrew (Committee member) / Humphreys, Jere T. (Committee member) / Meyer-Thompson, Janice (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsShi, Zhan (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-26
ContributorsLee, Eunhwa (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-17
ContributorsSuk, Mykola (Performer) / ASU Library. Music Library (Contributor)
Created2018-03-12
Description随着中国经济过去30多年的高速发展，出现了一大批的高收入人群，他们更注重生活的品质，如追求自然、简约、低调的休闲生活方式，更看重健康生活、自身的身心修养，和提高自身修养的内涵式生活，以及注重子女的内涵气质教育。
同时，具有很强烈地获得心理认同的需求，参加各种以消费和交往为媒介和主体活动的社群或“社交圈子”，在心理和情感上自我获得与其在财富、生活方式以及生活品位等诸方面都类似的群体间的身份认同感和归属感；更看着与其社会阶层相匹配的身份地位、社交人脉、兴趣爱好等。
因此，从运营的角度来看，如何增加上述这些高净值人群对高净值社群的归属感，进而提高其对高净值社群的忠诚度，是高净值社群进一步可持续经营和发展的基石。本研究以上海嘉庭俱乐部为例，在对问卷调查的基础上，通过实证研究，探讨影响高净值社群归属感与忠诚度的关键因素，高净值社群中会员的归属感与忠诚度的关系，会员生活型态的差异使得归属感与忠诚度的影响关系呈现显著的不同。
实证研究表明，“时尚流行”会员较为理性，其更注重休闲风尚；而“优雅休闲与享受尊荣”的会员则偏感性，其相当注重心灵感受与宁静舒适的感觉，强调全家共享以及纯封闭式的会员享受，能够更多地认识到与个人品味和品位相同的人，如对生活品质的追求、价值观、子女教育等；内心更开放、所接受教育程度更高的家庭，在嘉庭会感受到的归属感意识更高、其忠诚度也更高。
同时，具有很强烈地获得心理认同的需求，参加各种以消费和交往为媒介和主体活动的社群或“社交圈子”，在心理和情感上自我获得与其在财富、生活方式以及生活品位等诸方面都类似的群体间的身份认同感和归属感；更看着与其社会阶层相匹配的身份地位、社交人脉、兴趣爱好等。
因此，从运营的角度来看，如何增加上述这些高净值人群对高净值社群的归属感，进而提高其对高净值社群的忠诚度，是高净值社群进一步可持续经营和发展的基石。本研究以上海嘉庭俱乐部为例，在对问卷调查的基础上，通过实证研究，探讨影响高净值社群归属感与忠诚度的关键因素，高净值社群中会员的归属感与忠诚度的关系，会员生活型态的差异使得归属感与忠诚度的影响关系呈现显著的不同。
实证研究表明，“时尚流行”会员较为理性，其更注重休闲风尚；而“优雅休闲与享受尊荣”的会员则偏感性，其相当注重心灵感受与宁静舒适的感觉，强调全家共享以及纯封闭式的会员享受，能够更多地认识到与个人品味和品位相同的人，如对生活品质的追求、价值观、子女教育等；内心更开放、所接受教育程度更高的家庭，在嘉庭会感受到的归属感意识更高、其忠诚度也更高。
ContributorsLi, Hailin (Author) / Gu, Bin (Thesis advisor) / Chen, Xinlei (Thesis advisor) / Chang, Chun (Committee member) / Arizona State University (Publisher)
Created2019