Matching Items (85)
Filtering by
- Genre: Doctoral Dissertation
- Creators: Shen, Wei
Description
This document is intended to show the various kinds of stylistically appropriate melodic and rhythmic ornamentation that can be used in the improvisation of the Sarabandes by J.S. Bach. Traditional editions of Bach's and other Baroque-era keyboard works have reflected evolving historical trends. The historical performance movement and other attempts to "clean up" pre-1950s romanticized performances have greatly limited the freedom and experimentation that was the original intention of these dances. Prior to this study, few ornamented editions of these works have been published. Although traditional practices do not necessarily encourage classical improvisation in performance I argue that manipulation of the melodic and rhythmic layers over the established harmonic progressions will not only provide diversity within the individual dance movements, but also further engage the ears of the performer and listener which encourages further creative exploration. I will focus this study on the ornamentation of all six Sarabandes from J.S. Bach's French Suites and show how various types of melodic and rhythmic variation can provide aurally pleasing alternatives to the composed score without disrupting the harmonic fluency. The author intends this document to be used as a pedagogical tool and the fully ornamented Sarabandes from J.S. Bach's French Suites are included with this document.
ContributorsOakley, Ashley (Author) / Meir, Baruch (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Pagano, Caio (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2013
Description
About piano students who display disruptive behavior and perform far below reasonable expectations, teachers first conclude that they are lazy, rude, disinterested, and/or lacking intelligence or ability. Most dismiss such students from studios and advise parents to discontinue lessons. In truth, many of these students are both highly gifted and also have a learning disability. Examined literature shows that the incidence of dyslexia and other learning disabilities in the gifted learner population is several times that of the regular learner population. Although large volumes of research have been devoted to dyslexia, and more recently to dyslexia and music (in the classroom and some in individual instrumental instruction), there is no evidence of the same investigation in relation to the specific needs of highly gifted dyslexic students in learning to play the piano. This project examines characteristics of giftedness and dyslexia, gifted learners with learning disabilities, and the difficulties they encounter in learning to read music and play keyboard instruments. It includes historical summaries of author's experience with such students and description of their progress and success. They reveal some of practical strategies that evolved through several decades of teaching regular and gifted dyslexic students that helped them overcome the challenges and learn to play the piano. Informal conversations and experience exchanges with colleagues, as well as a recently completed pilot study also showed that most piano pedagogues had no formal opportunity to learn about this issue and to be empowered to teach these very special students. The author's hope is to offer personal insights, survey of current knowledge, and practical suggestions that will not only assist piano instructors to successfully teach highly gifted learners with dyslexia, but also inspire them to learn more about the topic.
ContributorsVladikovic, Jelena (Author) / Humphreys, Jere T. (Thesis advisor) / Meir, Baruch (Thesis advisor) / Norton, Kay (Committee member) / Hamilton, Robert (Committee member) / Arizona State University (Publisher)
Created2013
Description
In accordance with the Principal Agent Theory, Property Right Theory, Incentive Theory, and Human Capital Theory, firms face agency problems due to “separation of ownership and management”, which call for effective corporate governance. Ownership structure is a core element of the corporate governance. The differences in ownership structures thus may result in differential incentives in governance through the selection of senior management and in the design of senior management compensation system. This thesis investigates four firms with four different types of ownership structures: a public listed firm with the controlling interest by the state, a public listed firm with a non-state-owned controlling interest, a public listed firm a family-owned controlling interest, and a Sino-foreign joint venture firm. By using a case study approach, I focus on two dimensions of ownership structure characteristics – ownership diversification and differences in property rights so as to document whether there are systematic differences in governance participation and executive compensation design. Specifically, I focused on whether such differences are reflected in management selection (which is linked to adverse selection and moral hazard problems) and in compensation design (the choices of performance measurements, performance pay, and in stock option or restricted stock). The results are consistent with my expectation – the nature of ownership structure does affect senior management compensation design. Policy implications are discussed accordingly.
ContributorsGao, Shenghua (Author) / Pei, Ker-Wei (Thesis advisor) / Li, Feng (Committee member) / Shen, Wei (Committee member) / Arizona State University (Publisher)
Created2015
Description
Geirr Tveitt (1908-1981) was a central figure of the national movement in Norwegian cultural life during the 1930s. He studied composition with masters such as Arthur Honegger, Heitor Villa-Lobos, and Nadia Boulanger, achieving international acclaim for many of his works. However, his native Norway was slow to follow this praise, as post-World War II intellectuals disregarded anything that resembled nationalism. Tveitt's music was considered obsolete. He became isolated and withdrawn and died in 1981 after a house fire destroyed the manuscripts of nearly three hundred opuses, leaving only a handful of works, some of which were not yet published. Tveitt was raised in a remote part of Norway where the folk tradition was strong. Because of his close ties with the Hardanger community, he was able to bring to light many undiscovered folk tunes and exceptional practices. Tveitt utilizes this first-hand knowledge in his works for solo piano, and successfully combines them with his roots in both Germanic and Nordic traditions, eventually becoming a well-known and respected composer to the Norwegian people. However, he remains virtually unknown to the rest of the world. All of his music was deeply influenced by folk traditions and instruments. Techniques such as planing, drones, modal scales and passages, ornamentation, and simple melodies are pervasive in each piece, and are often the building blocks of main themes and motives. Because of the ambiguity of the status of many works, this paper examines only his published works for solo piano. Discussions of each piece will focus on folk influences within each work, including basic form, texture, and pianistic concerns.
ContributorsHunter, Karali (Author) / Meir, Baruch (Thesis advisor) / Carpenter, Ellon (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2014
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
The theme for this work is the development of fast numerical algorithms for sparse optimization as well as their applications in medical imaging and source localization using sensor array processing. Due to the recently proposed theory of Compressive Sensing (CS), the $\ell_1$ minimization problem attracts more attention for its ability to exploit sparsity. Traditional interior point methods encounter difficulties in computation for solving the CS applications. In the first part of this work, a fast algorithm based on the augmented Lagrangian method for solving the large-scale TV-$\ell_1$ regularized inverse problem is proposed. Specifically, by taking advantage of the separable structure, the original problem can be approximated via the sum of a series of simple functions with closed form solutions. A preconditioner for solving the block Toeplitz with Toeplitz block (BTTB) linear system is proposed to accelerate the computation. An in-depth discussion on the rate of convergence and the optimal parameter selection criteria is given. Numerical experiments are used to test the performance and the robustness of the proposed algorithm to a wide range of parameter values. Applications of the algorithm in magnetic resonance (MR) imaging and a comparison with other existing methods are included. The second part of this work is the application of the TV-$\ell_1$ model in source localization using sensor arrays. The array output is reformulated into a sparse waveform via an over-complete basis and study the $\ell_p$-norm properties in detecting the sparsity. An algorithm is proposed for minimizing a non-convex problem. According to the results of numerical experiments, the proposed algorithm with the aid of the $\ell_p$-norm can resolve closely distributed sources with higher accuracy than other existing methods.
ContributorsShen, Wei (Author) / Mittlemann, Hans D (Thesis advisor) / Renaut, Rosemary A. (Committee member) / Jackiewicz, Zdzislaw (Committee member) / Gelb, Anne (Committee member) / Ringhofer, Christian (Committee member) / Arizona State University (Publisher)
Created2011
Description
This study treats in some depth a contemporary solo piano work, "Arirang Variations" (2006) by Edward "Teddy" Niedermaier (b. 1983). Though Niedermaier is an American composer and pianist, he derives his inspiration for that work from four types of Korean arirang: "Arirang," "Raengsanmopan Older Babe Arirang," "Gangwondo Arirang" and "Kin Arirang." The analysis of "Arirang Variations" focuses primarily on how the composer adapts arirang in each variation and develops them into his own musical language. A salient feature of Niedermaier's composition is his combination of certain contradictions: traditional and contemporary styles, and Western and Eastern musical styles. In order to discuss in detail the musical elements of arirang used in "Arirang Variations," scores of all the arirang Niedermaier references are included with the discussion of each. Unfortunately, sources concerning three of these were limited to a single book by Yon-gap Kim, Pukhan Arirang Yongu (A Study of North Korean Arirang), because "Raengsanmopan Older Babe Arirang," "Gangwondo Arirang" and "Kin Arirang"are North Korean versions of arirang. Since arirang are the most important Korean folk song genre, basic information concerning such features of Korean traditional musical elements as scales, vocal techniques, rhythms and types of folk songs are provided along with an overview of the history and origins of arirang. Given that each arirang has distinctive characteristics that vary by region, the four best-known types of arirang are introduced to demonstrate these differences.
ContributorsPark, Hyunjin (Author) / Meir, Baruch (Thesis advisor) / Campbell, Andrew (Committee member) / Levy, Benjamin (Committee member) / Thompson, Janice (Committee member) / Arizona State University (Publisher)
Created2011
Description
As one of the composers living in an era filled with innovations, Anatol Konstantinovich Lyadov (1855-1914) has been relatively ignored by scholars and pianists to date. He is an unusual composer with multiple characteristics: solitary but expressive, talented but indolent. His compositional style never lacked critics—especially with respect to his persistent preference of miniatures. Nonetheless, his piano works embody the breathtaking beauty of the composer’s independent musical ideas and colorful musical language. Compared with the flourishing, dazzling, and nationalized music from other composers living in the same era, these light, flowing musical pieces from Lyadov have irreplaceable value.
Through the study of these small-scale piano works, one finds important connections with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19th-century Romanticism; however, his compositional style changed during his late period (after 1900), presenting a unique use of dissonance.
The scholarly research on Lyadov’s piano works remains limited. Most of the related resources can be found only in the Russian music literature. No in-depth study or dissertation on the complete piano works of Lyadov could be located, and therefore my research paper is intended to provide useful information to piano performers and teachers, hopefully encouraging more study and performance of Lyadov’s piano works. Despite their lyrical melodies and deep emotion, these works are thus far relatively unpopular and unknown, with only a few played occasionally as encore pieces.
Through the study of these small-scale piano works, one finds important connections with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19th-century Romanticism; however, his compositional style changed during his late period (after 1900), presenting a unique use of dissonance.
The scholarly research on Lyadov’s piano works remains limited. Most of the related resources can be found only in the Russian music literature. No in-depth study or dissertation on the complete piano works of Lyadov could be located, and therefore my research paper is intended to provide useful information to piano performers and teachers, hopefully encouraging more study and performance of Lyadov’s piano works. Despite their lyrical melodies and deep emotion, these works are thus far relatively unpopular and unknown, with only a few played occasionally as encore pieces.
ContributorsZhang, Xiaoyu (Author) / Hamilton, Robert (Thesis advisor) / Creviston, Hannah (Committee member) / DeMars, James (Committee member) / Meir, Baruch (Committee member) / Arizona State University (Publisher)
Created2018
Description冷链物流主要是指食品在生产到消费者食用前始终处于适宜的温度环境，以保障食品品质、降低流通过程中的损耗。冷链物流相比于传统物流而言是一项更复杂的系统性工程，受到政策和市场需求的影响呈现迅猛发展态势。但是，冷链物流企业长期以来因规模小、固定资产少、服务范围窄、服务规范性弱而发展困难重重，核心问题是资金的问题。政府引导和鼓励打造冷链物流产业园，推动产业园投资和建设主体打造平台，实现对园区内冷链企业的聚集效应并通过金融服务解决企业发展的资金问题。通过产融结合助力冷链物流企业发展，成为目前冷链物流行业发展的主要方式和未来趋势。
本研究聚焦冷链物流产业园金融服务助力冷链物流企业发展问题，主要研究内容包括：第一，基于产融结合理论，梳理冷链物流企业与产业园之间关系，从供需两侧探索冷链物流企业和产业园的金融服务的范围、类型和特点。第二，基于平台理论，构建冷链物流企业采纳产业园金融服务的研究模型，探索金融服务影响冷链物流企业的经营因素，分析冷链物流企业采纳产业园金融服务的因素和途径。第三，基于信息不对称理论，关切信息技术支持和知识分享在冷链物流企业采纳产业园提供金融服务过程中的调节作用。同时，梳理产业园提供金融服务可能面临哪些风险，制订冷链物流企业入驻园区的标准，防范风险。
本文运用实证研究方法，通过对国内18家冷链物流相关的产业园、物流园、冷链物流、商贸流通、金融等企业实地考察和专家访谈基础上，拟定问卷并对268家企业进行调查收集数据，使用结构方程模型进行假设检验。研究发现：金融服务的有形性、可靠性、移情性、经济性对冷链物流企业采纳产业园金融服务影响显著，而响应性的影响不显著。同时
信息技术支持和知识共享的调节作用不显著。最后，针对产业园吸引冷链物流企业提供金融服务、冷链物流企业采纳产业园金融服务的风险，提出防范策略措施。
本研究聚焦冷链物流产业园金融服务助力冷链物流企业发展问题，主要研究内容包括：第一，基于产融结合理论，梳理冷链物流企业与产业园之间关系，从供需两侧探索冷链物流企业和产业园的金融服务的范围、类型和特点。第二，基于平台理论，构建冷链物流企业采纳产业园金融服务的研究模型，探索金融服务影响冷链物流企业的经营因素，分析冷链物流企业采纳产业园金融服务的因素和途径。第三，基于信息不对称理论，关切信息技术支持和知识分享在冷链物流企业采纳产业园提供金融服务过程中的调节作用。同时，梳理产业园提供金融服务可能面临哪些风险，制订冷链物流企业入驻园区的标准，防范风险。
本文运用实证研究方法，通过对国内18家冷链物流相关的产业园、物流园、冷链物流、商贸流通、金融等企业实地考察和专家访谈基础上，拟定问卷并对268家企业进行调查收集数据，使用结构方程模型进行假设检验。研究发现：金融服务的有形性、可靠性、移情性、经济性对冷链物流企业采纳产业园金融服务影响显著，而响应性的影响不显著。同时
信息技术支持和知识共享的调节作用不显著。最后，针对产业园吸引冷链物流企业提供金融服务、冷链物流企业采纳产业园金融服务的风险，提出防范策略措施。
ContributorsYang, Su (Author) / Shen, Wei (Thesis advisor) / Chen, Xinlei (Thesis advisor) / Gu, Bin (Committee member) / Arizona State University (Publisher)
Created2019
Description
Charles-Valentin Alkan’s Grande Sonate Op. 33 ‘Les quatre âges’ is a unique four-movement work for piano solo that programmatically represents a man’s life through four decades, passing from age 20 to 50, with each movement being progressively slower than the previous. Published in 1847, it was destined for obscurity until it was rediscovered and premiered in 1973 by English pianist Ronald Smith. Its absence from the public’s reach can be attributed to multiple reasons including the reclusive nature of the composer during the time of composition and the societal issues surrounding the French Revolution of 1848.
Much of Alkan’s music has a reputation for being nearly unplayable because of its complexity and the extremely high level of technical facility a pianist must possess in order to perform it convincingly. Aside from its performance length of nearly an hour, there are many technical issues that prevent Alkan’s Grande Sonate from being performed more frequently. This paper is an exploration of some of these performance and technical issues for consideration by pianists interested in solving the riddle of performing Alkan’s Grande Sonate.
The findings explored are based in part on the author’s experience in performing the complete Grande Sonate in recital, as well as on extant research into Alkan’s life and the interpretation and performance of his works. The paper concludes with an appendix and link to the author’s live performance of the work, another appendix renotating the fugato from Quasi-Faust, and a third appendix providing extensive fingering and voice redistribution for Les enfans [sic] from 40 ans.
Much of Alkan’s music has a reputation for being nearly unplayable because of its complexity and the extremely high level of technical facility a pianist must possess in order to perform it convincingly. Aside from its performance length of nearly an hour, there are many technical issues that prevent Alkan’s Grande Sonate from being performed more frequently. This paper is an exploration of some of these performance and technical issues for consideration by pianists interested in solving the riddle of performing Alkan’s Grande Sonate.
The findings explored are based in part on the author’s experience in performing the complete Grande Sonate in recital, as well as on extant research into Alkan’s life and the interpretation and performance of his works. The paper concludes with an appendix and link to the author’s live performance of the work, another appendix renotating the fugato from Quasi-Faust, and a third appendix providing extensive fingering and voice redistribution for Les enfans [sic] from 40 ans.
ContributorsHillmann, Joshua Lester (Author) / Meir, Baruch (Thesis advisor) / Pagano, Caio (Committee member) / Hamilton, Robert (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2018