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The Covid-19 pandemic has made a significant impact on both the stock market and the<br/>global economy. The resulting volatility in stock prices has provided an opportunity to examine<br/>the Efficient Market Hypothesis. This study aims to gain insights into the efficiency of markets<br/>based on stock price performance in the Covid era.

The Covid-19 pandemic has made a significant impact on both the stock market and the<br/>global economy. The resulting volatility in stock prices has provided an opportunity to examine<br/>the Efficient Market Hypothesis. This study aims to gain insights into the efficiency of markets<br/>based on stock price performance in the Covid era. Specifically, it investigates the market’s<br/>ability to anticipate significant events during the Covid-19 timeline beginning November 1, 2019<br/><br/>and ending March 31, 2021. To examine the efficiency of markets, our team created a Stay-at-<br/>Home Portfolio, experiencing economic tailwinds from the Covid lockdowns, and a Pandemic<br/><br/>Loser Portfolio, experiencing economic headwinds from the Covid lockdowns. Cumulative<br/>returns of each portfolio are benchmarked to the cumulative returns of the S&P 500. The results<br/>showed that the Efficient Market Hypothesis is likely to be valid, although a definitive<br/>conclusion cannot be made based on the scope of the analysis. There are recommendations for<br/>further research surrounding key events that may be able to draw a more direct conclusion.

ContributorsBrock, Matt Ian (Co-author) / Beneduce, Trevor (Co-author) / Craig, Nicko (Co-author) / Hertzel, Michael (Thesis director) / Mindlin, Jeff (Committee member) / Department of Finance (Contributor) / Economics Program in CLAS (Contributor) / WPC Graduate Programs (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description

The Covid-19 pandemic has made a significant impact on both the stock market and the <br/>global economy. The resulting volatility in stock prices has provided an opportunity to examine <br/>the Efficient Market Hypothesis. This study aims to gain insights into the efficiency of markets <br/>based on stock price performance in

The Covid-19 pandemic has made a significant impact on both the stock market and the <br/>global economy. The resulting volatility in stock prices has provided an opportunity to examine <br/>the Efficient Market Hypothesis. This study aims to gain insights into the efficiency of markets <br/>based on stock price performance in the Covid era. Specifically, it investigates the market’s <br/>ability to anticipate significant events during the Covid-19 timeline beginning November 1, 2019 <br/>and ending March 31, 2021. To examine the efficiency of markets, our team created a Stay-at-Home Portfolio, experiencing economic tailwinds from the Covid lockdowns, and a Pandemic <br/>Loser Portfolio, experiencing economic headwinds from the Covid lockdowns. Cumulative <br/>returns of each portfolio are benchmarked to the cumulative returns of the S&P 500. The results <br/>showed that the Efficient Market Hypothesis is likely to be valid, although a definitive <br/>conclusion cannot be made based on the scope of the analysis. There are recommendations for <br/>further research surrounding key events that may be able to draw a more direct conclusion.

ContributorsCraig, Nicholas (Co-author) / Beneduce, Trevor (Co-author) / Brock, Matt (Co-author) / Hertzel, Michael (Thesis director) / Mindlin, Jeffrey (Committee member) / Department of Finance (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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For our project, we explored the growth of the ASU BioDesign Clinical Testing Laboratory (ABCTL) from a standard university research lab to a COVID-19 testing facility through a business lens. The lab has pioneered the saliva-test in the Western United States. This thesis analyzes the laboratory from various business concepts

For our project, we explored the growth of the ASU BioDesign Clinical Testing Laboratory (ABCTL) from a standard university research lab to a COVID-19 testing facility through a business lens. The lab has pioneered the saliva-test in the Western United States. This thesis analyzes the laboratory from various business concepts and aspects. The business agility of the lab and it’s quickness to innovation has allowed the lab to enjoy great success. Looking into the future, the laboratory has a promising future and will need to answer many questions to remain the premier COVID-19 testing institution in Arizona.

ContributorsQian, Michael (Co-author) / Cosgrove, Samuel (Co-author) / English, Corinne (Co-author) / Agee, Claire (Co-author) / Mattson, Kyle (Co-author) / Compton, Carolyn (Thesis director) / Schneller, Eugene (Committee member) / School of Accountancy (Contributor) / Department of Finance (Contributor) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description

Music streaming services have affected the music industry from both a financial and legal standpoint. Their current business model affects stakeholders such as artists, users, and investors. These services have been scrutinized recently for their imperfect royalty distribution model. Covid-19 has made these discussions even more relevant as touring income

Music streaming services have affected the music industry from both a financial and legal standpoint. Their current business model affects stakeholders such as artists, users, and investors. These services have been scrutinized recently for their imperfect royalty distribution model. Covid-19 has made these discussions even more relevant as touring income has come to a halt for musicians and the live entertainment industry. <br/>Under the current per-stream model, it is becoming exceedingly hard for artists to make a living off of streams. This forces artists to tour heavily as well as cut corners to create what is essentially “disposable art”. Rapidly releasing multiple projects a year has become the norm for many modern artists. This paper will examine the licensing framework, royalty payout issues, and propose a solution.

ContributorsKoudssi, Zakaria Corley (Author) / Sadusky, Brian (Thesis director) / Koretz, Lora (Committee member) / Dean, W.P. Carey School of Business (Contributor) / Department of Finance (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description

The COVID-19 pandemic has and will continue to radically shift the workplace. An increasing percentage of the workforce desires flexible working options and, as such, firms are likely to require less office space going forward. Additionally, the economic downturn caused by the pandemic provides an opportunity for companies to secure

The COVID-19 pandemic has and will continue to radically shift the workplace. An increasing percentage of the workforce desires flexible working options and, as such, firms are likely to require less office space going forward. Additionally, the economic downturn caused by the pandemic provides an opportunity for companies to secure favorable rent rates on new lease agreements. This project aims to evaluate and measure Company X’s potential cost savings from terminating current leases and downsizing office space in five selected cities. Along with city-specific real estate market research and forecasts, we employ a four-stage model of Company X’s real estate negotiation process to analyze whether existing lease agreements in these cities should be renewed or terminated.

ContributorsHegardt, Brandon Michael (Co-author) / Saker, Logan (Co-author) / Patterson, Jack (Co-author) / Ries, Sarah (Co-author) / Simonson, Mark (Thesis director) / Hertzel, Michael (Committee member) / Department of Finance (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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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

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
Owen Middleton (b. 1941) enjoys an established and growing reputation as a composer of classical guitar music, but his works for piano are comparatively little known. The close investigation offered here of Middleton's works for piano reveals the same impressive craftsmanship, compelling character, and innovative spirit found in his works

Owen Middleton (b. 1941) enjoys an established and growing reputation as a composer of classical guitar music, but his works for piano are comparatively little known. The close investigation offered here of Middleton's works for piano reveals the same impressive craftsmanship, compelling character, and innovative spirit found in his works for guitar. Indeed, the only significant thing Middleton's piano music currently lacks is the well-deserved attention of professional players and a wider audience. Middleton's piano music needs to be heard, not just discussed, so one of this document's purposes is to provide a recorded sample of his piano works. While the overall repertoire for solo piano is vast, and new works become established in that repertoire with increasing difficulty, Middleton's piano works have a significant potential to find their way into the concert hall as well as the private teaching studio. His solo piano music is highly effective, well suited to the instrument, and, perhaps most importantly, fresh sounding and truly original. His pedagogical works are of equal value. Middleton's piano music offers something for everyone: there one finds daring virtuosity, effusions of passion, intellectual force, colorful imagery, poetry, humor, and even a degree of idiomatic innovation. This study aims to reveal key aspects of the composer's musical style, especially his style of piano writing, and to provide pianists with helpful analytical, technical, and interpretive insights. These descriptions of the music are supported with recorded examples, selected from the works for solo piano written between 1962 and 1993: Sonata for Piano, Childhood Scenes, Katie's Collection, and Toccata for Piano. The complete scores of the recorded works are included in the appendix. A chapter briefly describing the piano pieces since 1993 concludes the study and invites the reader to further investigations of this unique and important body of work.
ContributorsMoreau, Barton Andrew (Author) / Hamilton, Robert (Thesis advisor) / Holbrook, Amy (Committee member) / Campbell, Andrew (Committee member) / Spring, Robert (Committee member) / Gardner, Joshua (Committee member) / Arizona State University (Publisher)
Created2011
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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

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
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Description
Bohuslav Martinù (1890-1959) was a prolific composer who wrote nearly 100 works for piano. His highly imaginative and eclectic style blends elements of the Baroque, Impressionism, Twentieth-century idioms and Czech folk music. His music is fresh and appealing to the listener, yet it remains intriguing as to how all the

Bohuslav Martinù (1890-1959) was a prolific composer who wrote nearly 100 works for piano. His highly imaginative and eclectic style blends elements of the Baroque, Impressionism, Twentieth-century idioms and Czech folk music. His music is fresh and appealing to the listener, yet it remains intriguing as to how all the elements are combined in a cohesive manner. Martinù himself provides clues to his compositional process. He believed in pure musical expression and the intensity of the musical idea, without the need for extra-musical or programmatic connotations. He espoused holistic and organic views toward musical perception and composition, at times referring to a work as an "organism." This study examines Martinù's piano style in light of his many diverse influences and personal philosophy. The first portion of this paper discusses Martinù's overall style through several piano miniatures written throughout his career. It takes into consideration the composer's personal background, musical influences and aesthetic convictions. The second portion focuses specifically on Martinù's first large-scale work for piano, the Fantasie et Toccata, H. 281. Written during a time in which Martinù was black-listed by the Nazis and forced to flee Europe, this piece bears witness to the chaotic events of WWII through its complexity and intensity of character. The discussion and analysis of the Fantasie et Toccata intends to serve as a guide to interpretation for the performer or listener and also seeks to promote the piano music of Bohuslav Martinù to a wider audience.
ContributorsCrane-Waleczek, Jennifer (Author) / Hamilton, Robert (Thesis advisor) / Hackbarth, Glenn (Committee member) / Meyer Thompson, Janice (Committee member) / Norton, Kay (Committee member) / Campbell, Andrew (Committee member) / Arizona State University (Publisher)
Created2011
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Description
Despite a quickly growing repertoire list for the brass quintet, the music of the early Argentine tango has remained relatively neglected by brass quintet arrangers and performers. With the goal of bringing a neglected art form to the brass quintet repertoire, three arrangements based on early twentieth century Argentine tango

Despite a quickly growing repertoire list for the brass quintet, the music of the early Argentine tango has remained relatively neglected by brass quintet arrangers and performers. With the goal of bringing a neglected art form to the brass quintet repertoire, three arrangements based on early twentieth century Argentine tango songs are presented here: "Elegante Papirusa" by Tito Roccatagliata, "A La Gran Muñeca" by Jesús Ventura, and "La Cotorrita" by Samuel Castriota. The arrangements follow the style of three early recordings produced by The Victor Talking Machine in 1920 and 1922, as performed by two authentic Argentine orquesta típicas: Orquesta Típica Select and Orquesta Típica Fresedo. A brief history of the style and instrumental evolution of tango music from its influences and origins up until 1920 is discussed, followed by a detailed account of the musicians and circumstances involved in the three early recordings. An explanation of the issues encountered by the author in adapting the early tango style to the brass quintet setting is discussed, along with the solutions realized in order to make the project successful and practical for a moderately advanced brass quintet. The full brass quintet scores are provided as part of the Appendix.
ContributorsCamacho, Gustavo (Musician) (Author) / Ericson, John Q (Thesis advisor) / Pilafian, Samuel (Committee member) / Schuring, Martin (Committee member) / Campbell, Andrew (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2011