How to Cancel SAT Scores

It happens after every test administration. Kids take the SAT test, then go home fraught with worry, anxiety, stress, and depression because they realize that they didnt do as well as they could have. Perhaps they didnt do one of the seven things they were supposed to do the night before the SAT, or maybe they just didnt get the right SAT prep materials to really knock their score out of the ballpark. Their question is, Can you cancel SAT scores? And much to their relief, the answer is a quick and easy, Yes! Should You Cancel SAT Scores? Before you decide to cancel, you must first realize that youll truly have no way of knowing how well youve done on the exam until you get your SAT scores back, and that always happens a few weeks after your test. So, if you choose to cancel your scores, youll be going on gut instinct alone, which isnt always a bad thing. But there are a few things to consider before you choose to cancel your scores. Dont cancel if†¦ youre being paranoid. Most people have a little bit of doubt surrounding their testing performance. Is your doubt without warrant, based only on your paranoia? Then perhaps you should keep your scores. Remember that with Score Choice, you get to choose to report the scores youd like to the schools to which youre applying. Cancel if†¦ there are extenuating circumstances that prevented you from doing your best. Perhaps you tossed and turned for two nights prior to the exam and woke up groggy and dim the day of the test. Or, maybe you woke up with the flu, but decided to test anyway because you didnt want to pay the SAT registration fee again. Or, maybe you were seated next to someone who distracted you in some way so you lost your place, miscalculated your time, and ended up having to erase half of your scantron. Things happen! You Can Cancel SAT Scores At the Test Center If you realize immediately after youve taken the test that your SAT score is not going to get you into one of your top choices because you skipped sections or miscalculated, then you can cancel your scores even before you leave the test center. First, ask the test supervisor for a Request to Cancel Test Scores form.Next, fill out the form and sign it right then and there.Finally, give the form to the test supervisor before you get in your car and leave the test center. You Can Cancel SAT Scores at Home Maybe youre not as enlightened to your poor performance on the SAT. The desire to cancel might not really hit you until youve gone home and had a few conversations with friends about a particular reading passage in one of the Critical Reading sections (that you cant remember at all). If this is you, theres still time if you act quickly—very quickly. The College Board must receive your score cancellation request in writing no later than 11:59 p.m. (Eastern Time) on the Wednesday after your test date. Thats not much time at all! If you want to cancel, heres what to do: First, immediately download and print the Request to Cancel SAT Scores form from the College Board website.Then youll need to fill it out, sign it, and either fax or overnight the request per these instructions:Fax: (610) 290-8978Overnight delivery via U.S. Postal Service Express Mail (U.S. only): SAT Score Cancellation, P.O. Box 6228, Princeton, NJ 08541-6228Other overnight mail service or courier (U.S. or international): SAT Score Cancellation, 1425 Lower Ferry Road, Ewing, NJ 08618, USA

A Brief History of Chinese Opera

Since the time of the Tang Dynastys Emperor Xuanzong from 712 to 755—who created the first national opera troupe called the Pear Garden—Chinese opera has been one of the most popular forms of entertainment in the country, but it actually started nearly a millennium before in the Yellow River Valley during the Qin Dynasty.   Now, more than a millennium after Xuanzongs death, it is enjoyed by political leaders and commoners alike in many fascinating and innovative ways, and Chinese opera performers are still referred to as Disciples of the Pear Garden, continuing to perform an astonishing 368 different forms of Chinese opera. Early Development Many of the features that characterize modern Chinese opera developed in northern China, particularly in the Shanxi and Gansu Provinces, including the use of certain set characters like Sheng (the man), Dan (the woman), Hua (the painted face) and Chou (the clown). In Yuan Dynasty times—from 1279 to 1368—opera performers began to use the vernacular language of the common people rather than Classical Chinese. During the Ming Dynasty—from 1368 to 1644—and the Qing Dynasty—from 1644 to 1911—the northern traditional singing and drama style from Shanxi was combined with melodies from a southern form of Chinese opera called Kunqu. This form was created in the Wu region, along the Yangtze River. Kunqu Opera revolves around the Kunshan melody, created in the coastal city of Kunshan. Many of the most famous operas that are still performed today are from the Kunqu repertoire, including The Peony Pavilion, The Peach Blossom Fan, and adaptations of the older Romance of the Three Kingdoms and Journey to the West. However, the stories have been rendered into various local dialects, including Mandarin for audiences in Beijing and other northern cities. The acting and singing techniques, as well as costumes and makeup conventions, also owe much to the northern Qinqiang or Shanxi tradition. Hundred Flowers Campaign This rich operatic heritage was almost lost during Chinas dark days in the mid-twentieth century. The Communist regime of the Peoples Republic of China—from 1949 to present—initially encouraged the production and performance of operas old and new. During the Hundred Flowers Campaign in 1956 and 57—in which the authorities under Mao encouraged intellectualism, the arts and even criticism of the government—Chinese opera blossomed anew. However, the Hundred Flowers Campaign may have been a trap. Beginning in July of 1957, the intellectuals and artists who had put themselves forward during Hundred Flowers period were purged. By December of that same year, a stunning 300,000 people had been  labeled  rightists and were subjected to punishments from informal criticism to internment in labor camps or even execution. This was a preview of the horrors of the Cultural Revolution of 1966 through 1976, which would imperil the very existence of Chinese opera and other traditional arts. Cultural Revolution The Cultural Revolution was the regimes attempt to destroy old ways of thinking by outlawing such traditions as fortune telling, paper-making, traditional Chinese dress and the study of classic literature and arts. An attack on one Beijing opera piece and its composer signaled the start of the Cultural Revolution. In 1960, Maos government had commissioned Professor Wu Han to write an opera about Hai Rui, a minister of the Ming Dynasty who was fired for criticizing the Emperor to his face. Audiences saw the play as a critique of the Emperor—and thus Mao—rather than of Hai Rui representing disgraced Minister of Defense Peng Dehuai. In reaction, Mao performed an about-face in 1965, publishing harsh criticism of the opera and of composer Wu Han, who was eventually fired. This was the opening salvo of the Cultural Revolution. For the next decade, opera troupes were disbanded, other composers and scriptwriters were purged and performances were banned. Until the fall of the Gang of Four in 1976, only eight model operas were allowed. These model operas were personally vetted by Madame Jiang Qing and were entirely politically innocuous. In essence, Chinese opera was dead. Modern Chinese Opera After 1976, Beijing opera and the other forms were revived, and once more placed within the national repertoire. Older performers who had survived the purges were allowed to pass on their knowledge to new students again. Traditional operas have been freely performed since 1976, though some newer works have been censored and new composers criticized as the political winds have shifted over the intervening decades. Chinese opera makeup is particularly fascinating and rich in meaning. A character with mostly red makeup or a red mask is brave and loyal. Black symbolizes boldness and impartiality. Yellow denotes ambition, while pink stands for sophistication and cool-headedness. Characters with primarily blue faces are fierce and far-seeing, while green faces show wild and impulsive behaviors. Those with white faces are treacherous and cunning—the villains of the show. Finally, an actor with only a small section of makeup in the center of the face, connecting the eyes and nose, is a clown. This is called xiaohualian, or the little  painted  face. Today, more than thirty forms of Chinese opera continue to be performed regularly throughout the country. Some of the most prominent of which are the Peking opera of Beijing, Huju opera of Shanghai, the Qinqiang of Shanxi, and Cantonese opera.   Beijing (Peking) Opera The dramatic art form known as Beijing opera—or Peking opera—has been a staple of Chinese entertainment for more than two centuries. It was founded in  1790 when the Four Great Anhui Troupes went to Beijing to perform for the Imperial Court. Some 40 years later, well-known opera troupes from Hubei joined the Anhui performers, melding their regional styles. Both the Hubei and Anhui opera troupes used two primary melodies adapted from the Shanxi musical tradition: Xipi and Erhuang. From this amalgam of local styles, the new Peking or Beijing opera developed. Today, Beijing Opera is considered  Chinas  national art form. Beijing Opera is famous for convoluted plots, vivid makeup, beautiful costumes and sets and the unique vocal style used by performers. Many of the 1,000 plots—perhaps not surprisingly—revolve around political and military strife, rather than romance. The basic stories are often hundreds or even thousands of years old involving historic and even supernatural beings.   Many fans of Beijing Opera are worried about the fate of this art form. The traditional plays make reference to many facts of pre-Cultural Revolution  life and history that are unfamiliar to young people. Furthermore, many of the stylized movements have particular meanings that can be lost on uninitiated audiences. Most troubling of all, operas must now compete with films, TV shows, computer games, and the internet for attention. The Chinese government is using grants and contests to encourage young artists to participate in Beijing Opera. Shanghai (Huju) Opera Shanghai opera (Huju) originated at about the same time as Beijing opera, around 200 years ago. However, the Shanghai version of opera is based on local folk-songs of the Huangpu River region rather than deriving from Anhui and Shanxi.  Huju  is performed in the Shanghainese dialect of Wu Chinese, which is not mutually intelligible with  Mandarin. In other words, a person from Beijing would not understand the lyrics of a  Huju  piece. Due to the relatively recent nature of the stories and songs that make up  Huju, the costumes and makeup are comparatively simple and modern. Shanghai opera performers wear costumes that resemble the street clothing of ordinary people from the pre-communist era. Their makeup is not much more elaborate than that worn by western stage actors, in stark contrast to the heavy and significant grease-paint used in the other Chinese Opera forms. Huju  had its heyday in the 1920s and 1930s. Many of the stories and songs of the Shanghai region show a definite western influence. This is not surprising, given that the major European powers maintained trading concessions and consular offices in the thriving port city, prior to World War II. Like many of the other regional opera styles,  Huju  is in danger of disappearing forever. Few young actors take up the art form since there is much greater fame and fortune to be had in movies, TV, or even Beijing Opera. Unlike Beijing Opera, which is now considered a national art form, Shanghai Opera is performed in a local dialect and thus does not translate well to other provinces. Nevertheless, the city of Shanghai has millions of residents, with tens of millions more in the near vicinity. If a concerted effort is made to introduce younger audiences to this interesting art form,  Huju  may survive to delight theater-goers for centuries to come. Shanxi Opera (Qinqiang) Most forms of Chinese opera owe their singing and acting styles, some of their melodies, and their plot-lines to the musically fertile Shanxi province, with its thousand-year-old Qinqiang  or  Luantan  folk melodies. This ancient form of art first appeared in the  Yellow River  Valley during the  Qin Dynasty  from B.C. 221 to 206 and was popularized at the Imperial Court at modern-day  Xian during the  Tang Era, which spanned from 618 to 907 A.D. The repertoire and symbolic movements continued to develop in Shanxi Province throughout the  Yuan Era  (1271-1368) and the Ming Era (1368-1644). During the Qing Dynasty (1644-1911), Shanxi Opera was introduced to the court at Beijing. The Imperial audiences so enjoyed Shanxi singing that the form was incorporated into Beijing Opera, which is now a national artistic style. At one time, the repertoire of Qinqiang included over 10,000 operas; today, only about 4,700 of them are remembered. The  arias  in Qinqiang Opera are divided into two types:  huan  yin, or joyous tune, and  ku  yin, or sorrowful tune. Plots in Shanxi Opera often deal with fighting oppression, wars against the northern barbarians, and issues of loyalty. Some Shanxi Opera productions include special effects such as fire-breathing or acrobatic twirling, in addition to the standard operatic acting and singing. Cantonese Opera Cantonese Opera, based in southern China and overseas ethnic Chinese communities, is a very formalized operatic form that emphasizes gymnastic and martial arts skills. This form of Chinese Opera predominates in Guangdong,  Hong Kong, Macau,  Singapore,  Malaysia, and in Chinese-influenced areas in western countries. Cantonese Opera was first performed during the reign of the Ming Dynasty Jiajing Emperor from 152 to 1567. Originally based on the older forms of Chinese Opera, Cantonese Opera began to add local folk melodies, Cantonese instrumentation, and eventually even Western popular tunes. In addition to traditional Chinese instruments such as the  pipa,  erhu, and percussion, modern Cantonese Opera productions may include such Western instruments as the violin, cello, or even saxophone. Two different types of plays make up the Cantonese Opera repertoire—Mo, meaning martial arts, and  Mun, or intellectual—wherein the melodies are entirely secondary to the lyrics.  Mo performances are fast-paced, involving stories of warfare,  bravery  and betrayal. The actors often carry weapons as props, and the elaborate costumes may be as heavy as actual armor. Mun, on the other hand, tends to be a slower, more polite art form. The actors use their vocal tones, facial expressions, and long flowing water sleeves to express complex emotions. Most of the Mun stories are romances, morality tales, ghost stories, or famous Chinese classic tales or myths. One notable feature of Cantonese Opera is the makeup. It is among the most elaborate makeup systems in all of Chinese Opera, with different shades of color and shapes, particularly on the forehead, indicating the mental state, trustworthiness, and physical health of the characters. For example, sickly characters have a thin red line drawn between the eyebrows, while comic or clownish characters have a large white spot  on  the bridge of the nose. Some Cantonese Operas also involve actors in open face makeup, which is so intricate and complicated that it resembles a painted mask more than a living face. Today, Hong Kong is at the center of efforts to keep Cantonese Opera alive and thriving. The Hong Kong Academy for the Performing Arts offers two-year degrees in Cantonese Opera performance, and the Arts Development Council sponsors opera classes for the citys children. Through such concerted effort, this unique and intricate form of Chinese Opera may continue to find an audience for decades to come.

Critical Analysis Of The Literary Underground Of The Old...

Critical Analysis of the Literary Underground of the Old Regime Robert Darnton wrote, â€Å"The literary underground of the old regime† with many goals in mind. He wanted to elucidate the history of literature or printed books as they are known today. Politics may also have motivated the author because he reveals the countercultural elements of the French Revolution. It is also clear from the book that the Enlightenment was not as it seems. Darnton did a remarkable job of combing out the hidden facets of the Enlightenment era; contrary to popular opinion, it was a dark time of censorship, elite domination of literature and radical underground expressionism. Analysis Present day readers presume that the Enlightenment era was a period of equality and intellectual liberty. They also acknowledge a countercultural element in which society rejected orthodox religion for a more personal faith. However, few contemporary audiences know about the struggles of Enlightenment writers. 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Week 5 Inf 325 - 1361 Words

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Organizational polices are needed to establish general guidance in such areas as: The use of e-mail to conduct official business The use of e-mail for personal business Use software that follows Internet e-mail protocols and conventions religiously. Every time an online service gateways its proprietary e-mail system to the Internet, there are howls of protest because of the flood of error messages that result from the online services misbehaving e-mail servers. Compares Policy Differences Between Users Who Work Remotely or Use Wireless The Ethernet lines run from the network switch, sometimes through a patch panel, out of the communication room and connect to the VoIP phones and other IP devices. Adding PoE enables devices to be powered over the same Cat 5 cabling infrastructure, providing the most cost-effective solution. Allows users too freely and safely mix legacy and PoE-compatible devices on their network. 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New Management for Business Growth in a Demanding Economy Text  © The McGraw−Hill Companies, 2004 1 C H A 1 P T E R NEWRead MoreGame Theory and Economic Analyst83847 Words   |  336 PagesANN DIMAND 2 Rupture versus continuity in game theory: Nash versus Von Neumann and Morgenstern CHRISTIAN SCHMIDT PART II Theoretical content 3 Bluï ¬â‚¬ and reputation SYLVAIN SORIN 4 An appraisal of cooperative game theory HERVÉ MOULIN 5 The coalition concept in game theory SÉBASTIEN COCHINARD 6 Do Von Neumann and Morgenstern have heterodox followers? CHRISTIAN SCHMIDT  © 1995 Éditions Dalloz English edition: editorial matter and selection  © 2002 Christian Schmidt; individual

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Questions: 1. Based on what you have read, describe the purpose of Voter Id Laws, and explain the political this type of law has in connection with the two variables: elections and demographics. Make sure to include any/all evidence for any/all sources used to develop and support your response. 2. Based on the information from the first article, what would you predict to be the impact of voter id laws on the current levels of participation in this state? (i.e. will elections become more democratic, competitive, no effect. Etc.) and Explain Answers: 1. The laws relating to voter ID are a legal and sensible way of protecting the integrity of the elections (www.texastribune.org). It is such a law, which requires some form of identification for the purpose of voting or receiving a ballot for an election. Most of the laws that are passed or strengthened in the past years require the registered voters to show their ID before they are allowed to vote. The back and forth taking place over the constitutionality of the law had created concerns by some of the election officials that the voters might be baffled regarding whether they are required to carry a photo ID to cast their vote. The voter ID laws of the state that was passed in 2011 had come into effect much later. According to it, most of the citizens were required to show one of a handful of allowable photo ID cards before their votes can be considered. In Texas, the voter ID law has been put into practice already in the past three elections, and Ginsburg had defined them as low-p articipation elections. It had been argued that it was in the courts interest to avoid the enforcement of voter ID in the first federal general election of the state since Gov. Rick Perry had signed the law. It had also been argued by Ginsburg that the case of Texas was different from that of Ohio and North Carolina, both of which had new voter rules, which had been permitted by the Supreme Court to take effect (Katz). The voter ID law of Texas unlike the legal challenges in the two states was the subject of a full trial where the evidence of ballot-access discrimination by the State was apparent. According to the three justices, Elena Kagan, Sonia Sotomayor and Ruth Bader Ginsburg, the effect of the laws would disenfranchise more than 600000 registered Texas voters since they did not have a photo identity, which complied with the law. 2. The Texas Democrats had thought of winning some races by attracting the votes of people who do not at all vote or do it infrequently to the polls (www.texastribune.org). Contrary to their expectations, fewer votes were attracted in 2014 that it had been four years back when both the population of the state and the number of the registered voters were both comparatively smaller. The overall turnout had fallen by around 300000 from 2010 to 2014 (Wilson, Mallory). The reason behind this might be that the rigid voter ID laws reduce voter turnout especially among the black voters, poor voters, disabled voters, elderly voters, minority-language voters and voters who have changed their names. The strong adverse reactions to the voter ID laws might also be the reason for decreasing the number of the voters (Wilson). The voter ID laws were expected to bring positive results but it the outcomes were quite negative. There was a drastic fall in the number of registered voters from the year 20 10 to 201(Batheja, Aman). References Batheja, Aman. "U.S. Supreme Court: Texas Can Enforce Voter ID Law For Nov. 4 Election, By Aman Batheja". The Texas Tribune. N.p., 2016. Web. 25 Mar. 2016. Katz, Ellen D. "Dignity and Discriminatory Intent: What the Marriage Equality Cases Tell Us About Voter ID."University of Chicago Legal Forum, Forthcoming. 2015. Murphy, Ryan, and Ross Ramsey. "Map: How Democratic Turnout Tumbled Across Texas, By Ryan Murphy And Ross Ramsey". The Texas Tribune. N.p., 2016. Web. 25 Mar. 2016 Wilson, Mallory. "Voter Photo ID Laws: Using Primary Source Election Turnout Data and Foreign Examples to Identify the Proper Mechanisms for Implementation."Ind. Int'l Comp. L. Rev.25 (2015): 347.

Barry Harris Trio at Wpu free essay sample

I heard Barry Harris trio at William Paterson university yesterday. They mostly played standards from the great American songbook, but also played a few Theologies Monk compositions including Round Midnight and Off Minor. These songs In particular were played In a very tasteful manner. A lot of Plano players often try too hard to be or sound like Theologies Monk when playing Monks songs. As Harold Member once said in one of my ensembles at William Paterson (regarding what Im addressing) its like guys always want to out-Monk Monk.Thats why I dont play Monk tunes. Now this Is something that I dont particularly Like either, so, Its refreshing when a Plano player can play a Monk song and still be halls/herself while incorporating just the right amount of Monks style/concept. Barry Harris clearly displayed the difference between trying to out-Monk Monk and paying homage to Monk by playing his songs in an honest, genuine, unpretentious, relaxed way. We will write a custom essay sample on Barry Harris Trio at Wpu or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Parrys trio has been playing together for a long time so they play together In a very unified way.The hookup between the bass player(Ray Drummond), the drummer(Leroy Williams) and Barry was very solid but open or loose at the same time. Any of them could choose to play behind or on top of the beat, but were always aware of the flow and the overall tempo. Often when one member of a band tries to play behind or on top of the beat(especially with young and/or unseasoned musicians), the rest of the band or someone in the rhythm section may adjust to their time potentially causing the music to speed up or slow down.Parrys trio(all seasoned older Jazz musicians) had very minimal tempo fluctuations but had a tremendous amount of breath wealth the beats. Their maturity and experience In life and playing this music for such a long time has granted them with the utmost patience and composure which enables them to achieve what they do musically. Its a blessing and an honor to get to hear veteran musicians Like this play LIVE because they really know what theyre doing and a lot of them passed away before my generation was even born.Another thing a picked up from this concert and other concerts Ive heard in the sat featuring senior citizen Jazz veterans is that they often play so tastefully because they dont have the endurance or physical ablest to play extremely busy or fast. They already proved that they could be flashy when they were young. Now they Just give it their all and play music within the confines of there brain, body, and soul while being aware of their current technical abilities. All the members of this band still have the ability to play fast or busy, but they save their energy for the right moments ND dont chop out for n o reason.As result, no one seemed to step on anyones feet. Another interesting thing about this concert was that the band didnt seem to have any arrangements pre-rehearsed, but they clearly know so many of the classic arrangements of Jazz standards that other Plano trios have done In the past because heard them go into some of them: mainly Bud Powell endings, and other things that arrangement or part of one and the drummer and bass player would always know how to accompany/react. It was a very inspiring concert.