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A. To act on your beliefs, should you buy or should you sell December corn futures? (Futures are contracts to
buy or sell at a future date at a price established now.)
B. If a substantial number of knowledgeable people come to share your opinion about the size of this summer’s
crop, what will happen to the price of December corn futures?
C. What information will this change in the price of corn futures convey to current holders and users of corn?
D. How will this information affect their decisions about holding corn for future sale or use?
E. How will these decisions, based on the information provided by the change in the price of December corn
futures, affect June consumption?
F. Can speculators carry a bumper crop backward in time from a period of lesser to a period of greater
scarcity?
2. The text argues that if an activity is known to be profitable, more people will go into that activity and the
profits will disappear. Does that apply to the selling of cocaine?
A. The costs of selling cocaine include the risk of being arrested and imprisoned. Why is a ten-year sentence
not twice as strong a deterrent as a five-year sentence? Why does one chance in five of being imprisoned for
10 years translate into less than two years’ imprisonment? Is a cocaine seller likely to use a high or a low
discount rate in deciding on the subjective cost of possible imprisonment? Why is the threat of imprisonment
more effective in deterring some people than others?
B. Another cost of selling is the risk of being killed by competitors. This cost will be much lower for some
people than for others. Characterize a person for whom this cost will be relatively low.
C. For whom is the selling of cocaine profitable?
3. Use Figure 8-7 on page 199 of the textbook for this question.
Have you ever wondered why otherwise identical books usually sell for so much more in hardcover than in
softcover editions? Surely it doesn’t cost that much more to attach a hard cover when it’s all being done on an
assembly-line basis! This question tries to construct a plausible explanation, and to give you practice in
working with the concepts of marginal cost and marginal revenue. Some potential purchasers of a new book
will be eager to obtain it as soon as it’s published and will be willing to pay a high price to do so.
Those who want to give the book as a present may be willing to pay a high price to demonstrate their
generosity, and may appreciate having a hard cover on the book as a sign of its quality. Still other potential
purchasers—libraries are the clearest example—want hardcover books because they stand up better to heavy
use; these purchasers are willing to pay a substantially higher price for a book to avoid the considerable
expense of having to bind it themselves between hard covers. Libraries also will want to purchase a popular
book right after it has been published in order to satisfy their eager patrons. There are also many potential
purchasers, however, who want to read the book, would be willing to buy a copy if the price isn’t too high, and
who don’t very much care whether it is in hard-cover or soft. The demand curve on the left-hand graph in
Figure 8–7 portrays the kind of demand for the book that might emerge in such circumstances. The top
segment of the demand curve is created by those willing to pay a premium to obtain the book quickly, or to get
it between hard covers. Once the price falls below $20, “general readers” also become willing to purchase a 
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copy. (The demand curve would not have such a sharp kink, but straight lines are easier to work with than
curves.) Assume throughout that the marginal cost to the publisher of printing and shipping one more book is
$4.
A. What would be the most profitable price for the publisher to set for the book? The marginal-revenue curves
that correspond to each segment of the demand curve have been drawn for you, using the gimmick explained
in Figure 8–3.
B. The most profitable price is the price that enables the publisher to sell all those copies, but only those copies
for which marginal revenue is greater than marginal cost. The problem in this case is that in order to sell the
units from 16,000 to 24,000, for which marginal revenue exceeds marginal cost, the publisher must also sell
the units between 12,000 and 16,000, for which marginal revenue is less than marginal cost. Which is the more
profitable place to stop? Should the publisher set the price at $28 and sell 12,000, or set the price at $16 and
sell 24,000?
C. Suppose the publisher puts a hard cover on the book when it’s first published, then waits six or eight months
before bringing the book out in a paperback edition at a lower price. What prices should it set for each edition?
A reasonable approach would be to assume that all prospective purchasers at prices above $20 either are not
willing to wait or want the hardcover edition, while those below $20 are willing to wait and to accept the
paperback edition. To calculate the prices to set for each edition, you must first separate the two demand
curves. Cut the lower section of the demand curve from the upper section and drag it to the left so that it begins
at the price axis; it will then show the quantity of softcover books that will be demanded at various prices when
the paperback edition is published. This has been done for you on the right-hand graph in Figure 8–7. Draw the
marginal-revenue curve for each demand curve, find out where marginal revenue crosses marginal cost in
each market, and set the appropriate prices.
4. How should NASA, (manufacturing a new supersonic commercial airliner), take account of the plane’s
development costs in determining the prices to charge airline companies? Should they suspend production if
they can’t obtain a price that will cover development costs? Or do development costs have no bearing on what
travelers are willing to pay? Explain.

 

Sample Solution

Parts of this symphony were composed during the actual siege during air raids and attacks.   During the first few weeks of the siege, Shostakovich refused to evacuate and continued writing.  He hoped that he would create a piece that would boost the morale of the Russian people. The Leningrad Symphony as a whole, while sharing some similarities with its earlier counterpart, is stylistically quite different and shows a slightly different side to Shostakovich’s writing. The Fifth Symphony contains melodies that are lush and flowing. It reflects Shostakovich’s transformation as a good Soviet composer. The overall mood of the Seventh Symphony can be viewed as more nationalistic, reflecting what was occurring at this time in Soviet history.  There are fewer flowing melodic lines, and he also plays with meter much more in this symphony, experimenting with more inconsistent meters like 7/4. Each movement of the symphony also contains a number of what can be described as battle scenes, no doubt reflecting the environment in which Shostakovich was composing at the time.  For example, in the first movement the music becomes more and more frantic until the trumpets loudly introduce the arrival of the Germans with scales that ascend and descend consecutively.  As the tempo increases the brass imitate the air raid sirens.  In addition, the repetition of themes and ostinatos in the first movement seem to represent the stupidity of war according to Sheinberg.    The statement of the first theme, which makes numerous appearances in various forms throughout the work, makes it clear that this is going to be a work representative of the Russian people as a whole: strong, resilient and united. The theme itself contains several rhythmic ideas that are quite similar to those in the main theme from the Fifth Symphony (marked in the score). The first movement is essentially shaped like one large crescendo. After the first theme is stated, the fanfare fades off into a very passionate melody. The quiet section is a transition into what is often called the invasion theme.  At the measure marking 19, a snare drum ostinato enters and establishes a new tempo. The presence of the snare drum in and of itself is a very important motive throughout, returning just before each battle or the arrival of each battle. This section can be described as the march to war or the battle about to ensue.  In this section, snippets and alterations of other selections are subtly heard.  The second movement begins with a scherzo-like theme in the string section but later in the movement the winds interrupt with a raucous theme reminiscent of the siege and battle.   The movement starts with a string trio and expands outward from there. Stylistically, it sounds like a neo-classical dance, scherzo, and a lyric intermezzo.  Initially, a light, lilting theme is introduced by the strings. The classical elements appear as clear phrases and cadences at first, but the dance seems almost broken as various other instruments seem to be playing their

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