While China possesses one of the world's richest musical heritages, it remained unaffected by Western music until early in this century. Subsequently, there was a movement of nationalism in music approximately three decades after the introduction of Western music. This movement, aimed at utilizing Western compositional techniques to create musical works that still would be uniquely Chinese, continues even today. Huang's piano concerto was written in 1982, just a few years after the Cultural Revolution. At the time, most Chinese composers were "handicapped" by their lack of knowledge of Western contemporary music and by their limited study of both Western and Chinese traditional forms. Huang Anlun, a composer-in-residence at the Central Opera House in Beijing, traveled to North America to study at the University of Toronto and Yale University. Subsequently his music is widely performed and well received around the world. After presenting background information on Western music in China and an introduction to basic Chinese music theory, this study has analyzed Huang's piano concerto, with a particular focus on identifying, comparing, and analyzing elements of Western and Chinese music. After a survey of the formal structure of the concerto, this study has discussed Chinese modality and Western harmony--the two …

This study demonstrated that the piano, a typical Western instrument, became the Chinese composer's tool for expressing the sound ideals and tone qualities that are intrinsic to Chinese music. A new musical idiom was created in these piano compositions, an idiom that combined Western compositional techniques and traditionally-based Chinese ideals.

This study focuses on the relationship between Western transnational broadcasters and East Asian media. It analyzes 1) the processes through which Western media players are localized and 2) the impact of media globalization on local broadcasters in East Asia. Recent developments in the People's Republic of China are the primary focus in the discussion of local media.

The United States has pressed China over the past several years to improve its protection of U.S. intellectual property rights (IPR) and to afford greater market access to intellectual property-related products, such as computer software, compact disks (CDs), and audio-visual products. U.S. threats of trade sanctions against Chinese products helped produce trade agreements in January 1992 and February 1995 that pledged China to improve its IPR enforcement regime and expand market access for IPR-related products. However, despite these agreements, U.S. and IPR industry officials have charged that IPR piracy in China remains rampant and is costing U.S. firms $2.3 billion in lost trade annually. On May 15, 1996, the U.S. Trade Representative (USTR) threatened to impose approximately $2 billion in trade sanctions against China for failing to abide by the February 1995 IPR agreement. This report outlines the history of the U.S.-Chinese IPR dispute and examines its ramifications for future U.S.-Chinese economic relations.

Interview with Duane Cleere, a Navy veteran, concerning his experiences aboard the submarine USS Hoe in the Pacific Theater during World War II.

The United States has pressed China over the past several years to improve its enforcement of U.S. intellectual property rights (IPR) in China and to provide greater market access to intellectual property-related products, such as computer software, CDs, and audio-visual products. Trade tensions over these issues nearly led the United States to impose trade sanctions against China in 1992 and 1995. In March 1995, the United States and China signed a new and detailed IPR trade agreement, which pledges China to substantially reform its IPR enforcement regime and improve market access. This report examines the U.S.-Chinese IPR dispute and analyzes the implications of the new IPR agreement on future U.S.-Chinese trade relations

Interview with Navy veteran Melvin R. "Pancho" Baird. It includes a combination of interviewing and reading from Baird's personal correspondence about his pre-World War II experiences with the U.S. Asiatic Fleet and his later experiences in the Pacific Theater during World War II. Baird talks about his stationing aboard the destroyer USS Alden as a radioman, the grounding of the SS President Hoover off of Hoishito Island, the Sino-Japanese War, liberty ashore various Asian port cities, events on the South China Patrol, civilian activities after his discharge, activities as a radio technician on Blue Beach during the Okinawan Campaign, kamikaze actions on Okinawa, and typical shipboard routine.

Interview with Warren Amy, a Navy veteran, concerning his experiences aboard the submarine USS Chub in the Pacific Theater during World War II. Amy discusses Submarine School in New London, Connecticut (1943-1944), his assignment to the Chub (1944), his responsibilities as an electrician's mate, and various patrols in the North China Sea, the Java Sea, and off the Philippines.

Interview with Nick Sanchez, a Army Air Force WWII veteran from Laredo, Texas. Sanchez discusses working in radio when the war began, becoming a radio technician in the Army Air Force, deployment to India and operations there, going missing in China after surviving a plane crash, and the end of the war. In appendix are an autobiographical sketch of Sanchez's service, a copy of a diary recording his experience "bailing-out," and his official military statement of the event.