As a project management professional, it is important for you to be able to review numbers and report on what they are saying. It is also important for you to be able to use software that helps you keep timelines and keep the project running on time and smoothly. This assignment will continue to help prepare you for your responsibilities.
Respond to the Following Problems
Reference pages 527-539 in the textbook: Data Analysis -Earned Value Analysis
You are a project manager on a project that uses earned value management. The project has the following budget and status:
Project Duration (months):
Current Reporting Period (month):
% of the project completed through the reporting period:
Estimate to Complete:
Based on this information, determine the following:
Schedule Variance (SV)
Schedule Performance Index (SPI)
Cost Variance (CV)
Cost Performance Index (CPI)
Based on your calculations in Question 1 above, respond to the following:
What is the status of project accomplishment performance through the current reporting period? Why?
What is the status of project cost performance through the current reporting period? Why?
Is the project projected to complete over- or underbudget? Why?
Interpret the TCPI metric.
Based on your calculations in Question 1 above, an inexperienced and arrogant project analyst from the project management office has computed an additional metric: Cost Schedule Index, which equals SPI * CPI. He wants you to report this metric to the customer, instead of SPI and CPI separately. What should you do and why?
The Program Manager doubts your numbers. In particular, he does not believe your EAC number and requests that you calculate the EAC NOT assuming future performance will behave like past performance.
Compute EAC when cost performance is negative and schedule dates must be met: EAC = AC + [(BAC – EV) / (CPI × SPI)]
Compute EAC using actual costs to date and assuming ETC uses budgeted rate: EAC = AC + (BAC – EV)
Interpret the results of the EAC in a.
Interpret the results of the EAC in b.
Based on items a-d above, what do you think the Program Manager will request from you regarding the bottom-up EAC?
You are having a hallway conversation with the same project analyst from Question 3 who is realizing that he may not know as much about earned value management as he thought when he joined the company. Still, he is convinced that the following statements below are correct. How would you respond to him based on each statement (i.e., formulate a specific response and supporting rationale for each statement below)?
EAC becomes Cumulative AC at project completion.
Cumulative EV can be greater than BAC at project completion.
EAC can be smaller than BAC at project completion.
ETC can be greater than 0 at project completion.
It has regularly been expressed that 1943 was a watershed in the advancing universe of melodic theater. Talk about this assertion and analyze the collection and class of pre-1943 with post-1943 melodic theater. It has been asserted by numerous that 1943 was a watershed in the advancing universe of melodic theater. There is a predominance of proof to recommend that this is genuine that will be examined inside this exposition. One of the primary ways this change can be seen is through the changing manners by which ladies were spoken to and their part inside the melodic entertainment business world. Actually, woman's rights and the changing perspectives on ladies' part in theater was both a compelling element of this defining moment and a result of the advancement made. It very well may be contended that 1943 was a defining moment for melodic theater as a result of the portrayal of ladies as instructed, working citizenry, the open doors given to ladies of shading, and the stage it given to ladies in the business, for example, chiefs and choreographers (Van Aken, 2006, p.18). Prior to 1943, the melodic entertainment business world was overflowing with severe mentalities towards ladies which can be seen in famous shows of the time, for example, in Follies, Sally (1920), and The Gingham Girl (1922), (Barnes, 2015, P.14). Probably the greatest wellspring of chance ladies had in the mid twentieth century tagged along as Ziegfeld's Follies. In any case, the rules to be utilized as an entertainer in the Follies was very exacting, in a statement from Ziegfeld he records the particular ways the young ladies should glance to be recruited, completing his assertion with 'The eyes ought to be huge and expressive. A standard profile is a chosen resource… The legs must be shapely… the extents of the figure must be great.' (Kantor and Andrews, 2004, n/a). This statement shows the unreachably exclusive requirements men had for ladies during the 20s and the externalization of them in the functions of melody young ladies. This is significant in light of the fact that it shows that ladies weren't profoundly regarded before the 1940s. It could in all likelihood be contended that the arrangement of Ziegfeld's recruiting cycle and the glorification of those picked to perform 'set up for current sexual typification' (Norman, 2018, para.1). This can be additionally exemplified in depictions of the Follies exhibitions. The ladies are portrayed as 'extremely obscene', (Mates, 1987, p.129), demonstrating the degree of the consideration on their bodies. Truth be told, Ziegfeld's shows simply demonstrated to get more provocative every year, 'He went from the intriguing to the express over the long haul anyway never entirely going too far to full bareness.' (Legacy.com, 2018, para.7). This adds extra proof to show the differentiation of how ladies were spoken to before 1943. Then again, it very well may be contended that Follies gave ladies an ability to be self aware certainty that they clutched for the remainder of their carries on with, (Norman, 2018, para.3). That is reasonable for those ladies, however what sort of message did this ship off the young ladies not picked to be in the shows? It gave the basic ramifications that without having a 'awesome' body, they were not deserving of the consideration given in any case. This assists with indicating the differentiation between the manner in which ladies were treated in the mid twentieth century contrasted with after the 40s support up the possibility that 1943 was a defining moment. This thought proceeded for a long time is still around today in specific territories of execution, for example, Moulin Rouge entertainers. Today, the females are needed to be a base stature of 5'9 and have 'A thin effortless figure' (Moulin Rouge (Site Officiel), 2019, n/a). This bears similitudes to Follies, which is justifiable as it is hard to totally destroy this sort of externalization. Nonetheless, it is less well known now, as melodic auditorium is less centered around introducing sexuality. Another of Ziegfeld's shows was Sally (1920), a melodic about a dishwasher who turns into a Follies star. This storyline was normal be that as it may, as this sort of 'poverty to newfound wealth story, otherwise called 'Cinderella musicals', turned out to be famous during the 20s. The normal plotline of these accounts would comprise of a youthful, generally poor, working young lady, who picks up the fondness of an attractive mogul. Despite the fact that much of the time she additionally increases a fruitful profession (The New York Public Library, 2018, para.19). This made the suggestion that ladies at the time required a more fruitful man to improve their lives and to get any sort of vocation. Hence, this shows that men were viewed as the more prevailing sex. An extra issue introduced by these storylines turning out to be so famous is featured in this statement, 'these early and mid-20th century Broadway musicals depicted courageous women conflicted between ladylike home life and expert independence' (Cantu, 2015, p.3). It recommends that there is an expense for not adjusting to the social builds of ladylike conduct at that point. Maybe, this was the start of musicals offering solid social and political expressions through addressing whether ladies ought to have more autonomy. In any case, one motivation behind why 'Cinderella musicals' were so refreshing at the time may have been that female crowds had the option to see the beginnings of the idea of ladies accomplishing effective professions and working during the 20s. During the second modern insurgency more positions opened up for ladies (Burnette, 2011, p.56). The expanded perceivability of ladies in the working environment was being reflected in these musicals. For example, Mary Thompson in The Gingham Girl (1922) 'who follows her beau to Manhattan, just to out-succeed him in business' (The New York Public Library, 2018, para.20). The subsequent universal war, 1939-1945, achieved a great deal of progress just as giving 'exceptional openings for work for ladies' (Colman, P. 1995, n/a). To intricate, because of men disappearing to war, ladies needed to turn out to be more dynamic in the workforce and the possibility of lady turned out to be all the more much of the time inseparable from working individuals, bringing the idea of the working lady. Since melodic theater consistently strived to reflect reality, it appeared well and good that this change offered an entirely different side to ladies which was utilized in melodic performance center as new intriguing parts to speak to the everchanging functions in the public eye. This can be found in the Rodgers and Hammerstein show Oklahoma (1943), when as opposed to seeing a gathering of theme young ladies opening the show, which was more normal in the revue where 'upwards of 280 chorale young ladies may be utilized;' (Mates, 1987, p.148), the window ornaments rose to uncover the straightforward scene of a lady stirring margarine, something that right now would be viewed as a typical assignment. As theater has consistently strived to speak to reality, as recently referenced, this shows how ladies were getting less observed as generalized amusement and more as persevering individuals. This thought of the working lady was furthermore exemplified by genuine ladies working in the entertainment biz industry. By and by utilizing Oklahoma for instance, we can take a gander at crafted by Agnes de Mille who was said to have upset the manner in which move was used in melodic theater. This was finished with her fantasy artful dance scene in which move was incorporated into the storyline of the melodic unexpectedly. It was said in the book 'America's Musical Stage' by Julian Mates, 'Agnes de Mille's fantasy grouping moves pushed the story ahead, to such an extent that no melodic with genuine assumptions could manage without a fantasy artful dance for quite a long time to come.' (Mates, 1987, p.190). This shows the quality of the effect de Milles work had on later shows and the manner in which move was utilized in melodic theater. Others saw the extent of accomplishment accomplished by this new style of movement and how it helped the movement of the storyline of the melodic itself, and through this understood that it was something that could and should be repeated through different works of melodic theater. This is apparent in crafted by different choreographers. Nonetheless, de Mille's work set the development of melodic venue move moving in that move began being utilized in a diegetic way instead of inside a fantasy. 'Jerome Robbins utilizes diegetic move numbers', (Symonds and Taylor, 2013, p.86). This implies that the characters realize they are moving, considering a more unadulterated incorporation of move into the melodic, it additionally gives the characters occasion to remark and notice (Symonds and Taylor, 2013, p.88). These acclaimed move numbers from musicals, for example, West Side Story (1957) and Gypsy (1959), were moved inside the conditions of the presentation. It very well may be contended that this shows how crafted by Agnes de Mille changed how move was utilized in the melodic entertainment business world after 1943. Another focal point to be examined, concerning the impact the war had on ladies' part in the melodic entertainment business world, would be that it opened up numerous open doors for ladies of shading at the time which was significant in this time paving the way to the social liberties period. It was said in Post-WWII African-American Musicals by Laurence Maslon: 'the quantity of dark entertainers in plays and musicals on Broadway in 1946 was in excess of multiple times the number before World War II started.' To summarize another statement from this source, the expanded open doors was an impression of the social changes during and after the second universal war (Maslon, 2018, para.3). This could be on the grounds that so many individuals of color, including ladies, joined the military in world war 2 and aided in the war exertion. It was said that they 'put forth significant commitments to the war attempt, and acquired high acclaims and honors for their battles and forfeits', (Historyplace.com, 2018, n/a), successfully changing numerous individuals' perspectives, and changing the essence of melodic auditorium during the 40s. This can be found in the numerous shows that came out at the time comprising of an all dark cast or an incorporated cast, for example, the shows Carmen Jones (1943) which was 'a specta>GET ANSWER