Thesis (M.M.)--Eastern Illinois University, 2008. / Includes bibliographical references (v. 1, leaf 48).

Thesis (M.A.)--University of Wisconsin--Madison, 1961. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (1 leaf at end).

Essay 1 Abstract Prior research indicates that equity markets assign a higher valuation to firms that sustain a string of earnings increases (earnings string) and a string of meeting or beating analysts’ earnings expectations (MBE string). However, to date, there is little evidence on the response of debt investors when firms sustain a long string of meeting/beating earnings benchmarks. This study fills the gap in the literature by analyzing the impact of sustaining an earnings string/MBE string on the cost of debt. I find evidence of a positive (negative) association between the length of the earnings string/MBE string and the bond yield spreads (credit ratings). These results suggest that debt holders assess a higher risk to firms that sustain a string of earnings benchmarks and require a higher risk premium, contrary to equity holders, who reward firms that sustain a string of earnings benchmarks. Additional analyses indicate that this discrepancy is attributable to the different investor compositions between debt and equity markets. Essay 2 Abstract This study extends the existing literature by investigating the impact of sustaining a string of earnings increases (earnings string) on stock returns using the time-series asset pricing approach. Using both Fama-French (1993) three-factor and Carhart (1997) four-factor models, I find that the average abnormal return of a zero investment arbitrage portfolio that longs the highest earnings string portfolio and shorts the lowest earnings string portfolio is approximately negative 65 (75) basis points per month. These results provide further insight into the existing literature by demonstrating that earnings string firms initially experience higher stock returns. However, as earnings strings become longer, the market reaction becomes weaker.

The three movements of this piece are related proportionally in that movements one and two represent three-fifths of the length of the whole. Movement three represents two-fifths of the length of the whole. Another proportional relationship exists between movements one and two. Movement one represents two-fifths of the length of the first two movements, while movement two represents three-fifths of the length of the two. An additional link between the three movements is pitch content. Movements one and two have little in common in this regard, but movement three combines elements of the first two. The duration of the entire piece is approximately fifteen minutes.

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This study explores the evolution of jazz string education, integrating both theoretical and practical perspectives to underscore the crucial role of improvisation-focused curricula in enhancing music education quality. Through a comprehensive review of improvisation education, traditional jazz teaching methods, and jazz string programs in public universities, the study provides a nuanced understanding of these components' intersection. Special attention is given to the challenges faced by classical string students transitioning to jazz improvisation and the need for a shift away from generic teaching methodologies. The paper proposes the introduction of specialized improvisation classes for string students to bridge this gap. Practical case studies, including exploration of the University of North Texas's Jazz String program and insights from teaching fellow experiences, foster a deeper comprehension of the impact of such programs on students from diverse backgrounds. The research also delves into cognitive aspects of music, highlighting the significance of material selection, bowing techniques, automation, and structure planning in fostering musical creativity and communication skills. This study serves as a guide for educators, research bodies, and academic institutions striving to enrich music curricula, bridging the gap between classical tradition and jazz improvisation, and addressing the unique needs of string students transitioning between these styles.

In my years as a composer, I’ve had a great fascination with the concept of juxtaposition and superimposition of various moods and styles of music. Although I’d written many pieces before thesis, I had yet to examine the results of this polarization in music. Thus, the purpose of this present composition was to explore contrasting musical elements while combining them in a coherent, competent manner. To begin, I chose two differing instrumentations of which to amalgamate: strings and percussion. música dramática exploits the different timbres and colors of the instruments and presents them by a uniform method. Musical elements of the piece such as style, mood, harmony, melody, rhythm, tempo, register, and dynamics all work together in order to conform to a single composition no matter how jarring the differences may be. Altogether, the various elements of this single movement work for string orchestra and percussion were fused to create a well-balanced, well-proportioned piece of music. The results were spectacular: regardless of the extreme differences in the many factors of music, one coherent composition was formed. In música dramática, this single idea is brought to fruition. / text

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