“provides student viewpoints and expert advice ... After reading this book students will be aware of the realities of college life and be better prepared to shape their own unique college experience." ―Journal of College Orientation and Transition “The perfect send-off present for the student who is college bound. The book manages to be hilarious and helpful. As an added bonus, it’s refreshingly free of sanctimony.” ―The Post and Courier (Charleston, SC) How to Survive Your Freshman Year (6th edition) is the perfect send-off gift for college-bound high school graduates. This revamped edition of America's #1 college advice guide includes new advice from hundreds of college students from around the country, alongside the best timeless advice from earlier editions. This ultimate “insider’s guide” to college life helps entering freshmen navigate the challenging transition to college life. The book also features expert advice from college advisers and administrators, mental health professionals and others.
How to Survive Your Freshman Year offers incoming college freshmen the experience, advice, and wisdom of their peers: hundreds of other students who have survived their first year of college and have something interesting to say about it. Based on interviews with hundreds of college students at every type of higher-learning institution across the country, this book has insights on every aspect of college life, including, what to take to the dorm, living with roommates, Facebook and other social networks, extracurricular activities, choosing classes, studying, going abroad, finances, food, the social scene, doing laundry, staying in touch with friends and family, and much more. Highly readable, much of the book consists of short snippets with some interesting insight and advice from the college students interviewed. The book also includes expert input from college advisors and officers.
For centuries, the augmented sixth sonority has fascinated composers and intrigued music analysts. Here, Dr Mark Ellis presents a series of musical examples illustrating the 'evolution' of the augmented sixth and the changing contexts in which it can be found. Surprisingly, the sonority emerged from one of the last remnants of modal counterpoint to survive into the tonal era: the Phrygian Cadence. In the Baroque period, the 'terrible dissonance' was nearly always associated with negative textual imagery. Charpentier described the augmented sixth as 'poignantly expressive'. J. S. Bach considered an occurrence of the chord in one of his forebear's motets 'remarkably bold'. During Bach's composing lifetime, the augmented sixth evolved from a relatively rare chromaticism to an almost commonplace element within the tonal spectrum; the chord reflects particular chronological and stylistic strata in his music. Theorists began cautiously to accept the chord, but its inversional possibilities proved particularly contentious, as commentaries by writers as diverse as Muffat, Marpurg and Rousseau reveal. During the eighteenth century, the augmented sixth became increasingly significant in instrumental repertoires - it was perhaps Vivaldi who first liberated the chord from its negative textual associations. By the later eighteenth century, the chord began to function almost as a 'signpost' to indicate important structural boundaries within sonata form. The chord did not, however, entirely lose its darker undertone: it signifies, for example, the theme of revenge in Mozart's Don Giovanni. Romantic composers uncovered far-reaching tonal ambiguities inherent in the augmented sixth. Chopin's Nocturnes often seem beguilingly simple, but the surface tranquillity masks the composer's strikingly original harmonic experiments. Wagner's much-analyzed 'Tristan Chord' resolves (according to some theorists) on an augmented sixth. In Tristan und Isolde, the chord's mercurial
This volume situates the work of American poet Charles Olson (1910-1970) at the centre of the early post-war American avant-garde. It shows Olson to have been one of the major advocates and theorists of American modernism in the late 1940s and early 1950s; a poet who responded fully and variously to the political, ethical, and aesthetic urgencies driving innovation across contemporary American art. Reading Olson's work alongside that of contemporaries associated with the New York Schools of painting and music (as well as the exiled Frankfurt School), the book draws on Olson's published and unpublished writings to establish an original account of early post-war American modernism. The development of Olson's work is seen to illustrate two primary drivers of formal innovation in the period: the evolution of a new model of political action pivoting around the radical individual and, relatedly, a powerful new critique of instrumental reason and the Enlightenment tradition. Drawing on extensive archival research and featuring readings of a wide range of artists including, prominently, Barnett Newman, Mark Rothko, David Smith, Wolfgang Paalen, and John Cage, Charles Olson and American Modernism offers a new reading of a major American poet and an original account of the emergence of post-war American modernism.
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