Matching Items (377)
Description
The end of the nineteenth century was an exhilarating and revolutionary era for the flute. This period is the Second Golden Age of the flute, when players and teachers associated with the Paris Conservatory developed what would be considered the birth of the modern flute school. In addition, the founding in 1871 of the Société Nationale de Musique by Camille Saint-Saëns (1835-1921) and Romain Bussine (1830-1899) made possible the promotion of contemporary French composers. The founding of the Société des Instruments à Vent by Paul Taffanel (1844-1908) in 1879 also invigorated a new era of chamber music for wind instruments. Within this groundbreaking environment, Mélanie Hélène Bonis (pen name Mel Bonis) entered the Paris Conservatory in 1876, under the tutelage of César Franck (1822-1890). Many flutists are dismayed by the scarcity of repertoire for the instrument in the Romantic and post-Romantic traditions; they make up for this absence by borrowing the violin sonatas of Gabriel Fauré (1845-1924) and Franck. The flute and piano works of Mel Bonis help to fill this void with music composed originally for flute. Bonis was a prolific composer with over 300 works to her credit, but her works for flute and piano have not been researched or professionally recorded in the United States before the present study. Although virtually unknown today in the American flute community, Bonis's music received much acclaim from her contemporaries and deserves a prominent place in the flutist's repertoire. After a brief biographical introduction, this document examines Mel Bonis's musical style and describes in detail her six works for flute and piano while also offering performance suggestions.
ContributorsDaum, Jenna Elyse (Author) / Buck, Elizabeth (Thesis advisor) / Holbrook, Amy (Committee member) / Micklich, Albie (Committee member) / Schuring, Martin (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2013
ContributorsMatthews, Eyona (Performer) / Yoo, Katie Jihye (Performer) / Roubison, Ryan (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
ContributorsHoeckley, Stephanie (Performer) / Lee, Juhyun (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-24
ContributorsMcClain, Katelyn (Performer) / Buringrud, Deanna (Contributor) / Lee, Juhyun (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-31
Description中国商品期货市场经历30年发展，已初备协调资源分配、对冲经营风险的功能。但受产业自身和期货市场发展的制约，各期货品种市场有效性参差不齐。随着我国经济从增量阶段过渡到存量阶段，期货作为企业的价格管理和风险控制工具的重要性日益凸显，因此研究我国商品期货市场有效性具有非常好的现实意义。
本文开创性的从期货的基本功能——资源配置的角度出发，提出有效市场是指其期货价格能够对本行业社会资源起到合理的调配作用的市场。在内容安排上，本文首先总结了现有国际成熟期货品种的特点并找出能够反映期货对资源配置能力的四个指标假说，分别为期现回归性、利润波动性、库存波动性以及现金流变化，然后通过数学模型证明指标数据和品种成熟度的关联，最后应用该套指标对我国商品市场有效性进行检验。数学方法上，本文先采用Bai-Perron内生多重结构突变模型对时间序列进行突变点检验，然后对断点时间序列分别进行多元回归，并在剔除季节性和周期性后，通过平稳性检验、ARCH效应检验结果来确定相应的Garch模型，并用Garch模型来描述时间序列的波动性。
通过数学验证，我们认为期现回归性、利润波动性、库存波动性以及现金流变化这四个指标可以作为反映期货成熟度的检验指标，用该套方法对国内部分活跃品种检验后发现大连豆粕期货已经具备成熟品种的特征，本文认为豆粕期货市场是有效的；PTA、玉米淀粉期货的四个检验指标在近年来表现出时间序列优化的特点，但因时间较短尚不稳定，可以认为是接近成熟的品种；而螺纹钢和铝期货在多数指标上表现不佳，表明他们对社会资源配置能力较差，因此本文认为螺纹钢和铝期货市场是活跃但非有效的。通过进一步分析，本文认为品种的期现回归性差是制约其资源配置能力发挥的关键因素，而交易标的不明确、
仓单制作难度大、产业参与度低以及期货设计中的其他限制因素又是导致期现回归性差的重要原因。
本文开创性的从期货的基本功能——资源配置的角度出发，提出有效市场是指其期货价格能够对本行业社会资源起到合理的调配作用的市场。在内容安排上，本文首先总结了现有国际成熟期货品种的特点并找出能够反映期货对资源配置能力的四个指标假说，分别为期现回归性、利润波动性、库存波动性以及现金流变化，然后通过数学模型证明指标数据和品种成熟度的关联，最后应用该套指标对我国商品市场有效性进行检验。数学方法上，本文先采用Bai-Perron内生多重结构突变模型对时间序列进行突变点检验，然后对断点时间序列分别进行多元回归，并在剔除季节性和周期性后，通过平稳性检验、ARCH效应检验结果来确定相应的Garch模型，并用Garch模型来描述时间序列的波动性。
通过数学验证，我们认为期现回归性、利润波动性、库存波动性以及现金流变化这四个指标可以作为反映期货成熟度的检验指标，用该套方法对国内部分活跃品种检验后发现大连豆粕期货已经具备成熟品种的特征，本文认为豆粕期货市场是有效的；PTA、玉米淀粉期货的四个检验指标在近年来表现出时间序列优化的特点，但因时间较短尚不稳定，可以认为是接近成熟的品种；而螺纹钢和铝期货在多数指标上表现不佳，表明他们对社会资源配置能力较差，因此本文认为螺纹钢和铝期货市场是活跃但非有效的。通过进一步分析，本文认为品种的期现回归性差是制约其资源配置能力发挥的关键因素，而交易标的不明确、
仓单制作难度大、产业参与度低以及期货设计中的其他限制因素又是导致期现回归性差的重要原因。
ContributorsWang, Ping (Author) / Gu, Bin (Thesis advisor) / Li, Feng (Thesis advisor) / Yan, Hong (Committee member) / Arizona State University (Publisher)
Created2019
ContributorsHur, Jiyoun (Performer) / Lee, Juhyun (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-01
ContributorsZaleski, Kimberly (Contributor) / Kazarian, Trevor (Performer) / Ryan, Russell (Performer) / IN2ATIVE (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-28
ContributorsDelaney, Erin (Performer) / Novak, Gail (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-18
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 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
ContributorsChen, Zuoquan (Performer) / Jiang, Zhou (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-02