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- Genre: Doctoral Dissertation
- Creators: Ryan, Russell
- Creators: Campbell, Andrew
- Creators: Shen, Wei
Description中国改革开放以来经济高速发展，一部分人群快速积累了大量财富，迫切需要专业机构对其财富进行有效管理，激发了中国私人银行市场的蓬勃发展。本文利用M银行全部私人银行网点的客户资产配置数据，以省级行政单位为划分，从核心公共资源供给角度出发，探究地区公共资源财政支出对私人银行客户数量增长和资产配置的影响。本文通过实证研究发现：（1）在人均公共安全财政支出较高、人均公共教育财政支出较低的地区，即公共安全资源相对匮乏、公共教育资源相对丰富的地区，私人银行客户规模增速较快；（2）在人均公共安全财政支出较高，即公共安全资源相对匮乏的地区，高净值人群会积极配置流动性良好的银行存款类产品和保险类产品，同时会减少配置高风险、高收益的理财类产品和基金类产品；（3）在人均公共医疗卫生财政支出较高，即公共医疗资源相对匮乏的地区，高净值人群会积极配置银行存款类产品，同时减少保险类产品和理财类产品的配置比例；（4）在人均公共教育财政支出较高，即公共教育资源相对匮乏的地区，高净值人群会积极配置银行保险类产品和理财类产品，同时减少存款类产品的配置比例。
ContributorsMa, Ying (Author) / Shen, Wei (Thesis advisor) / Wu, Fei (Thesis advisor) / Wang, Tan (Committee member) / Arizona State University (Publisher)
Created2021
Description
More and more Taiwanese composers have been internationally recognizednowadays. However, their works have received scarce attention compared to their Western counterparts, even within Taiwan. Ming-Hsiu Yen (b. 1980) is a perfect example of an active composer whose works have been awarded many international prizes and performed worldwide, and yet there are few published studies that promote deeper understanding of her compositional language.
This paper is the explanatory document for a lecture recital presented by the author. Four of Yen’s compositions for piano are examined, namely The Forgotten Corner (2005), “The Core” and “Frozen March” from Movements (2002-2005), and Fantasy Amour (2013). These works are discussed from both compositional and performance perspectives. After a brief biography of Yen and an overview of her piano compositions, the four works are given detailed description focusing on their coherence created by specific elements. Performance suggestions for each work are provided as well.
The discussion offers insight into the musical organization of these pieces and Yen’s unifying techniques. It is hoped that this information will be beneficial to pianists interested in this composer and the repertoire of contemporary Taiwanese piano music.
ContributorsChang, Wen-Huei (Author) / Pagano, Caio (Thesis advisor) / Holbrook, Amy (Thesis advisor) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2021
Description
ABSTRACT
As a composer, Chou Wen-Chung (1923-2019) was a learner and inheritor of Chinese traditional music culture and was committed to carrying it forward. As a native of China who had his primary musical training in the West, Chou Wen-Chung was one of the first Chinese composers to make his mark on Western music. He successfully combined Western elements and Chinese tradition in his music. Chou Wen-Chung was one of the few prominent East Asian composers known in the Western musical world, and his music therefore has had a strong influence on other Chinese composers.
In order to understand more clearly his music, I analyzed his chamber work: Yü Ko. This piece was composed in 1965 for 9 instruments: Violin, Alto Flute, English Horn, Bass Clarinet, 2 Trombones, 2 Percussion and Piano. Inspired by the ancient Chinese musical instrument the Qin (also called guqin, or “ancient qin”), which is a plucked seven-string instrument, Chou Wen-Chung composed Yü Ko. Literally meaning “fisherman’s song,” this work was composed originally for the Qin, based on a melody composed by Mao Min-Zhong who was a very noted scholar and Qin player of the late Southern Song dynasty (C.E.1127-1276).
This paper provides Chou Wen-Chung’s biography, compositional styles and developments. It lists and explains the most common Chinese traditional cultural elements which he used in his compositions. In particular, it introduces the Qin in detail from the external structure, performance techniques, sound characteristics, the tablature notation, and compositional methods.
This document also includes a detailed analysis of Yü Ko in terms of the orchestration, pitch, tonal material, structure and tempo, dynamic and musical materials, and explains Chou Wen-Chung’s imitation of the Qin as well as the influence of Western music shown in this piece.
As a composer, Chou Wen-Chung (1923-2019) was a learner and inheritor of Chinese traditional music culture and was committed to carrying it forward. As a native of China who had his primary musical training in the West, Chou Wen-Chung was one of the first Chinese composers to make his mark on Western music. He successfully combined Western elements and Chinese tradition in his music. Chou Wen-Chung was one of the few prominent East Asian composers known in the Western musical world, and his music therefore has had a strong influence on other Chinese composers.
In order to understand more clearly his music, I analyzed his chamber work: Yü Ko. This piece was composed in 1965 for 9 instruments: Violin, Alto Flute, English Horn, Bass Clarinet, 2 Trombones, 2 Percussion and Piano. Inspired by the ancient Chinese musical instrument the Qin (also called guqin, or “ancient qin”), which is a plucked seven-string instrument, Chou Wen-Chung composed Yü Ko. Literally meaning “fisherman’s song,” this work was composed originally for the Qin, based on a melody composed by Mao Min-Zhong who was a very noted scholar and Qin player of the late Southern Song dynasty (C.E.1127-1276).
This paper provides Chou Wen-Chung’s biography, compositional styles and developments. It lists and explains the most common Chinese traditional cultural elements which he used in his compositions. In particular, it introduces the Qin in detail from the external structure, performance techniques, sound characteristics, the tablature notation, and compositional methods.
This document also includes a detailed analysis of Yü Ko in terms of the orchestration, pitch, tonal material, structure and tempo, dynamic and musical materials, and explains Chou Wen-Chung’s imitation of the Qin as well as the influence of Western music shown in this piece.
ContributorsSong, Yiqian (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Solís, Ted (Committee member) / Arizona State University (Publisher)
Created2020
Description
Pulitzer Prize-winning composer Michael Colgrass wrote Tales of power: A Musical Drama for Solo Piano on the Writings of Carlos Castaneda in 1980. However, since the work’s premiere it has been overlooked, receiving little attention from pianists. This neglect is perhaps due, in part, to the absence of circulated recordings and writings. The present study includes the author’s recorded performance, found online at https://youtu.be/GqzMjgaSIDc. Because Tales of Power is a programmatic work about Carlos Castaneda’s study with Don Juan, an Indian sorcerer from Mexico, the author has inserted the score’s written program indications in the recording so that listeners may follow the narrative. This performance guide includes a concise biography of Colgrass, a review of the composer’s major works and general compositional styles, observations on the program and structure, insights regarding thematic transformation and recurring motives, and performance recommendations for accommodating troublesome sections. The author hopes that Tales of Power can be revived in concert performance and become part of the programmatic piano repertoire in the near future.
ContributorsLi, Aoshuang (Author) / Hamilton, Robert (Thesis advisor) / Rockmaker, Jody Rockmaker (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2021
Description
The introduction of a new instrumental piece—specifically Taiwanese—into the cello repertoire is as exciting as it is important. Currently, the majority of works for cello and piano include predominantly Western compositions that is repeatedly taught and performed. Reflections, by Taiwanese composer Ming-Hsiu Yen (Ms. Yen) is a response to this saturation. It is a piece that is both demanding for the performers and entertaining for the audience. Brilliantly written by a composer who has intimate familiarity with both the cello and piano, it is highly suitable for scholarly study and performance.
This document details ensemble issues, interpretative suggestions for both cellist and pianist, and general concepts about the music. The composer further adds to these concepts and suggestions.
Reflections is a programmatic work comprised of four movements, each with a descriptive title: “Gear,” “Tears of the Angel,” “Spintop,” and “Transformation.” Because the composer’s intentions were driven by pictorial ideas and not by a formal harmonic structure, this paper concentrates on ensemble issues and interpretation less than harmonic analysis.
Secondly, the project includes the premiere recording of Reflections, as performer by Yu-Ting Tseng, cellist, and Dr. Jeremy Peterman, pianist. This audio documentation provides other cellists and pianists the opportunity of hearing the piece as originally conceived by the composer, as an aid to their own future preparation of this work. This recording, combined with the interpretative analysis, will assist in bringing Reflections into the cello repertoire and public eye.
This document details ensemble issues, interpretative suggestions for both cellist and pianist, and general concepts about the music. The composer further adds to these concepts and suggestions.
Reflections is a programmatic work comprised of four movements, each with a descriptive title: “Gear,” “Tears of the Angel,” “Spintop,” and “Transformation.” Because the composer’s intentions were driven by pictorial ideas and not by a formal harmonic structure, this paper concentrates on ensemble issues and interpretation less than harmonic analysis.
Secondly, the project includes the premiere recording of Reflections, as performer by Yu-Ting Tseng, cellist, and Dr. Jeremy Peterman, pianist. This audio documentation provides other cellists and pianists the opportunity of hearing the piece as originally conceived by the composer, as an aid to their own future preparation of this work. This recording, combined with the interpretative analysis, will assist in bringing Reflections into the cello repertoire and public eye.
ContributorsTseng, Yu-Ting (Author) / Landschoot, Thomas (Committee member) / Rogers, Rodney (Committee member) / Rotaru, Catalin (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2016
Description
The concert vocalise, a dazzling wordless vocal etude intended for performance, is largely a phenomenon of the twentieth century. Made famous by composers such as Sergei Rachmaninoff and Maurice Ravel, the concert vocalise is generally a short, non-programmatic work with a relatively simple form. In contrast, Nikolai Medtner’s two monumental Op. 41 vocalises, the Sonata-Vocalise mit einem Motto “Geweihter Platz and the Suite Vocalise, are staggering in their length and formal complexity. They are also programmatically conceived, sharing the Goethe poem “Geweihter Platz” as their inspiration.
The innovation of adding a textual element to a traditionally textless genre introduces a tantalizing new layer of complexity that demands further research and exploration. However, as with any innovation, it also offers new challenges to performers wishing to program either or both works. Current scholarship has yet to offer any kind of in-depth analysis of either work, leaving questions as to the structural and motivic elements which bind these large works together, not to mention questions related to exactly how Medtner addresses the challenge of linking specific parts of Goethe’s text to the textless portions of music. Furthermore, neither work is considered standard repertoire, and recordings and performances are limited, leaving aspiring performers in something of an informational desert.
In this paper, I endeavor to fill this informational gap for performers and scholars alike by providing them with a brief biography of Medtner, an outline of the development of the concert vocalise genre, and the background of the Goethe poem that inspired Medtner. Then my in-depth analyses reveal underlying structural, motivic, and programmatic links both within and between the works. Finally, my performer’s guide, based on the analyses and my experience performing both works, offers suggestions regarding the interpretational, ensemble, and technical challenges presented by these great works.
The innovation of adding a textual element to a traditionally textless genre introduces a tantalizing new layer of complexity that demands further research and exploration. However, as with any innovation, it also offers new challenges to performers wishing to program either or both works. Current scholarship has yet to offer any kind of in-depth analysis of either work, leaving questions as to the structural and motivic elements which bind these large works together, not to mention questions related to exactly how Medtner addresses the challenge of linking specific parts of Goethe’s text to the textless portions of music. Furthermore, neither work is considered standard repertoire, and recordings and performances are limited, leaving aspiring performers in something of an informational desert.
In this paper, I endeavor to fill this informational gap for performers and scholars alike by providing them with a brief biography of Medtner, an outline of the development of the concert vocalise genre, and the background of the Goethe poem that inspired Medtner. Then my in-depth analyses reveal underlying structural, motivic, and programmatic links both within and between the works. Finally, my performer’s guide, based on the analyses and my experience performing both works, offers suggestions regarding the interpretational, ensemble, and technical challenges presented by these great works.
ContributorsUhl, Nathan Leonard (Author) / Campbell, Andrew (Thesis advisor) / Carpenter, Ellon (Thesis advisor) / FitzPatrick, Carole (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2017
Description
This thesis aims to investigate the impacts of foreign banks’ management model on their degree of localization and operating efficiency. I decompose their management model into five major factors, including two formative factors and three reflective factors. The two formative factors are (1) strategic orientation and (2) target customers, and the three reflective factors are (1) top management team composition, (2) organizational structure, and (3) managerial authority and incentives. I propose that the formative factors influence foreign banks’ degree of localization, as demonstrated by the reflective factors, which subsequently influence foreign banks’ operating efficiency in China.
To test the above proposition, I conduct the empirical analysis in three steps. In the first step, I investigate foreign banks’ management model by surveying 13 major foreign banks locally incorporated in Mainland China. The results suggest that these 13 foreign banks can be categorized into three distinct groups based on their management model: intergrators, customer-followers, and parent-followers. The results also indicate that intergrators have the highest level of localization while parent-followers have the lowest level of localization.
In the second step, I conduct DEA (Data Envelope Analysis) and CAMEL (Capital Adequacy, Asset Quality, Management, Earnings, Liquidity Analysis) to assess the operating efficiency of these 13 foreign banks. The assessment is conducted in two ways: 1) the inter-group comparison between foreign banks and local Chinese banks; 2) the intra-group comparison between the three distinct groups of foreign banks identified in the first step. The results indicates that the principal factor driving the operating efficiency of both local Chinese banks and foreign banks is the comprehensive technical efficiency, which includes both the quality of management and the quality of technical elements. I also find the uptrend of technical efficiency of the integrators is more stable than that of the other two groups of foreign banks.
Finally, I integrate the results from step one and step two to assess the relevance between foreign banks’ localization level and operating efficiency. I find that foreign banks that score higher in localization tend to have a higher level of operating efficiency. Although this finding is not conclusive about the causal relationship between localization and operating efficiency, it nevertheless suggests that the management model of the higher performing integrators can serve as references for the other foreign banks attempting to enhance their localization and operating efficiency. I also discuss the future trends of development in the banking industry in China and what foreign banks can learn from local Chinese banks to improve their market positions.
To test the above proposition, I conduct the empirical analysis in three steps. In the first step, I investigate foreign banks’ management model by surveying 13 major foreign banks locally incorporated in Mainland China. The results suggest that these 13 foreign banks can be categorized into three distinct groups based on their management model: intergrators, customer-followers, and parent-followers. The results also indicate that intergrators have the highest level of localization while parent-followers have the lowest level of localization.
In the second step, I conduct DEA (Data Envelope Analysis) and CAMEL (Capital Adequacy, Asset Quality, Management, Earnings, Liquidity Analysis) to assess the operating efficiency of these 13 foreign banks. The assessment is conducted in two ways: 1) the inter-group comparison between foreign banks and local Chinese banks; 2) the intra-group comparison between the three distinct groups of foreign banks identified in the first step. The results indicates that the principal factor driving the operating efficiency of both local Chinese banks and foreign banks is the comprehensive technical efficiency, which includes both the quality of management and the quality of technical elements. I also find the uptrend of technical efficiency of the integrators is more stable than that of the other two groups of foreign banks.
Finally, I integrate the results from step one and step two to assess the relevance between foreign banks’ localization level and operating efficiency. I find that foreign banks that score higher in localization tend to have a higher level of operating efficiency. Although this finding is not conclusive about the causal relationship between localization and operating efficiency, it nevertheless suggests that the management model of the higher performing integrators can serve as references for the other foreign banks attempting to enhance their localization and operating efficiency. I also discuss the future trends of development in the banking industry in China and what foreign banks can learn from local Chinese banks to improve their market positions.
ContributorsSun, Minjie (Author) / Shen, Wei (Thesis advisor) / Qian, Jun (Thesis advisor) / Pei, Ker-Wei (Committee member) / Arizona State University (Publisher)
Created2016
Description
The Sonata for Cello and Piano (1915) was one of the last three sonatas written by Claude Debussy (1862–1918). When Debussy composed the sonata, France was involved in World War I and Debussy was influenced by political dogmas that sought to advance nationalism as well as the use of French traditions in musical compositions. By discussing the political impact of World War I on French music, this paper will place the Sonata in a context that strengthens the understanding of the work.
Debussy, who participated in the political project of seeking out tradition as the protector of French culture, also presents his understanding of what French tradition is in this sonata. An analytical description of the structure, thematic materials, harmonies and intervallic relationships of the Sonata reveals Debussy’s approach of combining the elements that he observed from his French predecessors, as well as his own innovations in the work as he negotiated musical world that was controlled by political dogma
Debussy, who participated in the political project of seeking out tradition as the protector of French culture, also presents his understanding of what French tradition is in this sonata. An analytical description of the structure, thematic materials, harmonies and intervallic relationships of the Sonata reveals Debussy’s approach of combining the elements that he observed from his French predecessors, as well as his own innovations in the work as he negotiated musical world that was controlled by political dogma
ContributorsSong, Peipei (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Feisst, Sabine (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2016
Description
The current study combines field study, survey study, and public financial reports, and conducts an in-depths comprehensive study of the cost of the global tire industry. By comparing the price and the total cost structure of standardized tire products, we investigate Chinese tire industry’s global competitiveness, especially in light of China’s fast increasing labor cost. By constructing a comprehensive cost index (CCI), this dissertation estimates the evolution and forecasts the trend of global tire industry’s cost structure. Based on our empirical analysis, we provide various recommendations for Chinese tire manufacturers, other manufacturing industries, and foreign trade policy makers.
ContributorsZhang, Ning (Author) / Zhu, Ning (Thesis advisor) / Shen, Wei (Thesis advisor) / Chen, Hong (Committee member) / Arizona State University (Publisher)
Created2015