A Comparison of the Divine in Gilgamesh, the Old Testament of the Bible

The Divine in Gilgamesh, The Old Testament, and Metamorphoses       Along with different languages, customs and traditions, ancient Hebrews, Middle-easterners and Romans had very different beliefs about the divine. For example, Hebrews are monotheistic, while Middle-easterners and Greco-Romans of early time periods believe in many gods. Writings from the ancient time period sketch these differences, as well as the many similarities between religious beliefs. The Old Testament is an excellent reference depicting Hebrew beliefs, while Gilgamesh outlines many Middle-eastern beliefs, and The Metamorphoses shows readers many ancient Greco-Roman beliefs about the divine.    The Hebrew God as depicted in the Old Testament is omnipotent and omniscient. He creates perfect and harmonious order in the universe, as depicted in Genesis 1, "In the beginning God created the heaven and the earth. And the Earth was without form, and void; and darkness was upon the face of the deep. And the Spirit of God moved upon the face of the waters," (51) which was created by Him in six days (47), "Thus the heavens and the earth were finished, and all the host of them. And on the seventh day God ended his work which he had made" (52).    Though the Hebrew God is all-powerful, He creates human kind to have free will (47). This free will can be seen in the story of Adam and Eve. Gods warns both Adam and Eve that they can eat anywhere they want, except from the Tree of Knowledge, and they do anyway (53). Along with free will came disobedience (47). The story of Jonah shows this disobedience when the Lord told Jonah to go to Ninevah to tell its inhabitants that they would be punished for their wickedness. Instead, Jonah decides to flee from th... ...rough inspection, because there are also many differences in the religions, such as how many gods citizens may believe in and what their powers are. However similar or different, these texts provide readers with insight into the different cultures throughout the world and offer a basis for the religions that are popular throughout the world today.       Works Cited    The Bible: The Old Testament. The Norton Anthology of World Masterpieces. Ed. Sarah Lawall et al. Vol 1. 7th ed. New York: Norton, 1999. 47-97.    Gilgamesh. Trans. N.K. Sandars. The Norton Anthology of World Masterpieces. Ed. Sarah Lawall et al. Vol 1. 7th ed. New York: Norton, 1999. 16-47.    Ovid. Metamorphoses. Trans. J.P. Sullivan. The Norton Anthology of World Masterpieces. Ed Sarah Lawall et al. Vol 1. 7th ed. New York: Norton, 1999. 895-943.   

Music Education

Key Curriculum ElementsI believe teaching individuals about singing, playing instruments, moving, composing and listening is incredibly important, ranging from infants through to adults, but starting in early childhood would be most beneficial for long term benefits. These key elements contribute significantly in developing their music skills and knowledge; contributing to their education on a more broad scale (Broad, 2007 pg23); and/or assisting the student’s emotional/mental development. The difficulties that could be expected in the classroom when integrating the music curriculum into lessons could be students lack of wanting to participate (I can’t do it, I’m not good at music) due to fear of failure and/or embarrassment from low self esteem; participation levels of extroverted students in comparison to introverted students; or even a lack of concentration and maturity to handle situations. Other difficulties that might be a challenge may perhaps be the lack of funding to offer reasonable resources; insufficient time allocation to allow reasonable attention to the music curriculum; teachers/students having high expectations of their abilities and those expectations not being met; and there being a lack of space for students to move and experiment.Some potential solutions I can think of, to the difficulties I have stated above might be: ï  ¶ providing a safe and encouraging environment so students do not feel if they attempt something and it does not go as well as they wanted or they might think they have failed. Instead they receive encouragement and  reassurance that they haven’t failed or let anyone down, what they have now done is create something new and/or something they can learn from, lots of positive feedback from the teacher and other students; ï  ¶ encouraging small groups of 2-4 would help introverted students participate more.By having each child required to have a specific task in all group work, so each child can have the same participation level might help introverted students have more participation and extroverted students still have participation, yet not over-whelming the introverted students; ï  ¶ constantly evolving activities used in class to stimulate students learning and encourage active learning, encouraging lack of boredom.Scaffold information and skills starting from basics to attempt to develop a more mature level of understanding and knowledge base for students to be more comfortable; ï  ¶ the lack of funding to offer reasonable resources does not always have to be seen as a negative, it allows students to use their imagination and creativity to find alternate resources to complete the same task or similar tasks; ï  ¶ insufficient time allocation to allow reasonable attention to the music curriculum is always going to be a sad situation, but integrating the music curriculum into other KLA’s allows the students to be able to enjoy music and appreciate that mus ic can be incorporated into any situation in their lives; ï  ¶ unfortunately teachers/students will always have high expectations of their abilities and those expectations will not always be met.The best teachers can do is to not allow students to see when the students have not meet the expectations they had and when students do not meet their own expectations, the teacher needs to encourage the student to try again and learn from their previous experience; ï  ¶ a lack of space for students to move and experiment is a shame but, a classroom is not the only place that students can learn to create, they can do the basic or the foundation type work in a classroom and then move out into the playground or a hall. One of the best things about music is that it can be created; played; movement; and listened to anywhere there is a desire to enjoy/appreciate it.Some of the things I would hope to achieve in the classroom through the integration of the music curriculum are encouragement of the appreciation of music; knowledge of music and how it can impact ones life; how music can be integrated into everyday life; and no matter who you are you can sing, play instruments, move (dance), compose and listen to  music.Integrating Music into the CurriculumHSIE: This Is Me! (Early Stage 1)Activity 1 – Puppet Joe teaching the students a poem and some rhythm ‘The End’ with Puppet Joe, this will be explained in Lesson Plan 1 Activity 2 – Mirroring each other’s movements to musicThe students are paired off and allocated their own space in the room, standing up, they are facing each other. They will then listen to ‘What I Am’ by Will.I.Am. As they listen to the song, it will speed up and slow down. The students will need to adapt their movement to follow the tempo of the music, for example faster movements as the music speeds or slower movements when the music slows. Once they are able to adapt to different tempos, the music will c hange dynamics via getting louder and softer. The students will need to adapt their movement to follow the dynamics of the music for example larger movements when the music is louder or smaller movements when the music is softer.The students will take turns in leading the movements through each change. Once the song has played through, the students will have a few minutes to talk and create movements together for the tempo and dynamic sections of the song. The song is run through a second time and the students will move together to the music showing the movements they had worked on together. The students are then encouraged to talk through what they found was the best representation of the music when it would change dynamic and tempo. Did the music have repetition, a constant beat, similarities and differences? Time Allocation: 45 minutes HSIE: Celebrations (Stage 1)Activity 3 – Song – ListeningThe class is allocated into groups of 4-5 in their own spaces. Each group c hooses a cultural celebration from a box on the teacher’s desk (each cultural celebration is celebrated by one or more of the students in the class at home).Once they have all picked the activity, they are given a kit (which has been put together by the students prior to this lesson as part of the Celebrations unit they are studying). They will listen to the song that is part of the kit and discuss as a group the beat, pitch, tone colour,  duration, dynamics, tempo and structure of the song. They discuss what features appealed to them or those that did not. Time allocation: 45 minutes Activity 4 – Mirroring each other through rhythm and movement Mirror Me, this will be explained in Lesson Plan 2HSIE: Global Environments: Rainforests (Stage 3) Activity 5 – Visualising the MusicStudents are advised that they are required to produce a visual representation of the music they are about to hear. The class will talk about sounds and how they can represent their music visualisation. The students can, if they choose to, have different sections of the painting for different aspects they visualise with the music. For example, they can have 1 whole painting, 2 halves or 4 quarters, so they can show up to 4 different aspects of the music they are hearing. The class talks about what they are going to produce, it is not a vague impression rather a visualisation of what they believe that Rainforest looks like. Students will listen to a 2 minute excerpt from ‘Relaxing Mix’ by Calmsound.The excerpt of the song will be repeated 4 times with 4 minutes between each repetition and the students have 10 minutes after to complete their painting. After the allocated time, the class will have a discussion on the different aspects they visualised and what aspect of the music created that specific image, tone colour, pitch, tempo, dynamic? The paintings will be put aside once dry to be used in another activity on another day. Time Allocation: 60 minutes Activity 6 – Group composition of a soundscape from a rainforest painting Rainforest Soundscapes, this will be explained in Lesson Plan 3HSIE – ‘The End’ with Puppet Joe Lesson Plan 1 Activity 1 – Puppet Joe teaching the students a poem and some rhythm 1. Level: Early Stage 1 2. Goals: Students will learn the poem ‘The End’ by A. A. Milne. Students will be able to follow a beat/rhythm and accomplish co-ordinated movement. 3. Teaching materials 1. Puppet Joe 2. 2 x taping sticks for the beat 3. 1 copy of ‘The End’ poem by A. A. Milne (see appendix 1) 4. White board 5. White board marker 6. Coloured magnets for the white board 4. Learning outcomes: Musical activity Performing Singing (y) Playing Instruments (n) Moving (y) Organising Sound (n) Listening (y) Musical Concepts Duration (rhythm) (y) Pitch (y) Dynamics (y) Tone Colour (n) Structure (y) 5. Procedure1. Clear an area in the middle of the room and have students sit on the floor in their own space. 2. Teacher introduces Puppet Joe (a kookaburra puppet) and explains that Joe will help them learn a new poem called ‘The End’ by A. A. Milne (see appendix 1). 3. Start with Joe saying the first verse and then repeating the verse using his taping sticks he creates a beat (ti-ti ta ta, ti-ti ta ti-ti). The students then sing through the verse while tapping their knees or clapping their hands with the beat/rhythm. 4. Teacher writes the poem on the white board under bars and talks through the beats/rhythm and words, placing different coloured magnets for the ti-ti’s and ta’s.5. Each verse is then taught the same way, until the last 2 verses when the beat/rhythm is different (ti-ti ta ti-ti, ta ta ti-ti ta ta ta), ‘The End’ sheet music see appendix 2. Once the class has learnt the poem and the beat/rhythm, they then sing through the poem together. 6. The class then picks out a number from a box and the number allocate s the student to their group. In the group the students talk through what movement they think would be good for their verse and if they should use loud, soft, fast or slow speech/singing.7. The class sings through the poem together and then each group sings their own verse with their chosen movement. Then the class sings their section of the poem loud, soft, fast, slow or using a different voice without their movement. Then again mixing the movement and their chosen musical concept. 8. Ask the class if they have any suggestions about the structure, if they think it could be changed. Pick a couple of the suggestions and try them out, see if the class thinks they make the composition better or worse. As a class the student talk through the actions chosen by the groups and the musical concepts, whether they were applicable or not to their verse? Whether there was repetition in the beat/rhythm? What similarities and differences there was in the beat/rhythm?6. AssessmentSee appendix 3 fo r the assessment sheet. 7. Links to other subjects HSIE, Mathematics, English and PDHPE.HSIE – Mirror Me Lesson Plan 2 Activity 4 – Mirroring each other through rhythm and movement 1. Level: Stage 1 2. Goals: Students will understand how rhythm works and identify how the music changes resulting in their movements changing. Students will perform a number of rhythms and patterns in movement focusing on rhythmic correctness and co-ordinated movement. 3. Teaching materials1. IPod dock 2. IPod with Creation by Descendance Aboriginal & Tsi Dance Theatre on it 4. Learning outcomes: Musical activity Performing Singing (n) Playing Instruments (n) Moving (y) Organising Sound (n) Listening (y) Musical Concepts Duration (rhythm) (y) Pitch (y) Dynamics (y) Tone Colour (y) Structure (y) 5. Procedure1. Clear an area in the middle of the room. For this activity the students could even go into the school hall if it is available, to allow for extra space. 2. Have the student’s pa ir up and stand in 2 lines. Allocate the lines names – trees and grass. Have the students move away to their own area in the room/hall and face each other. 3. Talk to the class and advise that when a name (trees or grass) is called out the other student in the pair has to follow the other student. That students need to try movements they think would suit the music, fast, slow, loud and soft. What types of movements would best suit. If the students wanted to they could even represent Australian animals. 4. Start playing the song and prompt the students to listen at first. Then call out trees, as the students are comfortable in following (no less than 60 seconds), the teacher calls out grass. Alternating between the leader gets faster as the students learn to adapt faster.5. The teacher then increases the volume and decreases the volume to encourage alternate responses in the music. 6. At the end the teacher prompts the students to talk about what movements went best with which types of music? What types of movements did they use for the tempo, pitch, dynamics, tone colour? Did they prefer certain parts of the song more than others and why? Those students who represented animals, did they find it hard to choose movements and keep in character for the lesson? Was it easy for students to follow the leader? Was it easy to lead? Which did students prefer to follow or lead?6. AssessmentSee appendix 4 for the assessment sheet. 7. Links to other subjects HSIE, Mathematics, English and Science and Technology.HSIE – Rainforest Soundscapes Lesson Plan 3 Activity 6 – Group composition of a soundscape from a rainforest painting 1. Level: Stage 3 2. Goals: Students will create and perform a soundscape with the use of instruments, voice and movements from a painting of a rainforest. They will demonstrate their rhythmic abilities, co-ordination with movements, their ability to work in groups and ability to create a composition. 3. Teaching materials1. Pain tings from previous music lesson 2. Cardboard box 3. 5 x numbers 1-6 4. White board 5. White board marker 6. Coloured magnets for the white board 7. 6 x A3 sheets of paper with a blank grid on it. 8. Coloured pencils 9. Instruments – chimes, drums, triangles, xylophone, tambourines, etc 4. Learning outcomes: Musical activity Performing Singing (y) Playing Instruments (y) Moving (y) Organising Sound (y) Listening (y) Musical Concepts Duration (rhythm) (y) Pitch (y) Dynamics (y) Tone Colour (y) Structure (y) 5. Procedure1. Each student picks out a number (1-6) from a box and that shows which group the student is assigned to. On the white board the list of effects (see appendix 5) is written. Depending on which number the group is, depends on what the effect they will need to introduce into their soundscape. The rainforest pictures have been painted prior to this lesson from an alternate music activity. Each group chooses their favourite painting to create the soundscape from (o n condition that none of the students in the group painted it).2. The class has a discussion on what a soundscape is (a quick refresher) and what they need to cover when preparing for it (dynamics, tempo, pitch, tone colour, etc). The students are encouraged to create a story to at least start and finish the soundscape, they are welcome to have the story throughout the soundscape, eg the effect with the men with axes, they could have them laughing and talking, whistling, etc.The students are also encouraged to include movements if they can see it fits with their soundscape, eg in the gorilla congregation, they can have one or two students sitting like gorillas and making gorilla noises. 3. Each group receives an A3 sheet of paper with a blank grid (see appendix 6) on it and coloured pencils. The students choose the instruments they believe will get the best result for their soundscape and work on their composition which needs to include the allocated effect for their rainforest soun dscape. 4. Once the students have spent the allotted time creating the soundscape on the grid paper (see appendix 7) and practicing it.They will then perform as a group in-front of the class and demonstrate their soundscape. 5. Once all groups have finished performing for the class, there is a class discussion on the musical concepts used by each group and how they felt they related to the painting and soundscape? Did they find that each group included rhythm, tempo, pitch, structure, dynamics, tone colour and if they felt that the groups incorporated the assigned effect successfully? Did the groups that used storytelling as part of their soundscape find it easier/harder to follow the story being told? Did any of the soundscapes sound like they came from any particular cultures? 6. AssessmentSee appendix 8 for the assessment sheet. 7. Links to other subjects HSIE, English and Science and Technology.

Full Time Job Narrative Essay

I had just graduated from high school; a typical Santa Barbara local, with ambitions of attending SBCC. I always did fairly well in school, but was definitely more concerned with how the waves were breaking, instead how of my grades were. That all changed on June 15th. I got a call from a family friend asking if I would be interested in a summer job at a shipping warehouse in Carpinteria. My parents had been nagging me day in and day out to get a summer job, so this seemed so perfect. I accepted the job and my friend let me know I should show up at 7:30 Monday morning for my first day of work. That Monday morning, I woke up late and stumbled out of bed, threw on some clothes and was out the door with no time for breakfast. I will never forget that car ride down to Carpinteria, and the anxious feelings I felt in my stomach. My mind was racing in a million different directions and I really had no idea what I was in for. Pulling up to the warehouse, I remember the cold wind blowing across my face, the distinct smell of ocean heavy in the air, and the flapping of the State Park flags in the distance. The job description my friend gave me over the phone didn’t really stress how labor intensive it would be, so my first day I was in for quite a surprise. All day I was packing and carrying 60-70 lbs packages and not a minute went by where I didn’t regret taking my new job offer. Much to my surprise, my coworkers were all much older than me, and it was somewhat depressing to see people my parents and grandparents age doing such laborious work. One of my coworkers was an older woman named Maria, who sort of acted like the â€Å"mother† around facility. She didn’t speak the best of English, but despite that, we quickly became friends, and shortly thereafter Maria began giving me all sorts of advice and pointers she thought would benefit me in life. Once she found out how old I was, she asked what my plans for school were. I let her know school wasn’t something I was too worried about but that I would be attending City College in the fall. The look on her face was unforgettable. She looked back at me and said â€Å"Sammy, School is the most important thing in your life†. Maria went on to say â€Å"look around you; all these people have sad expressions on their faces. They didn’t have the opportunity you are blessed with. You need to realize school will lead you to a more successful and happy life. â€Å"That day on the drive home I looked out at the ocean and thought how nice it would be to have zero obligations anymore and just be able to hangout at the beach. It was at that moment that I actually realized that any dream is completely unachievable without vision, determination and hard work. After my three months were up, my mindset towards school had completely changed. Maria’s words burned into my head that -I no longer thought of myself as a lazy surfer who just wanted the bare minimum, but rather as a determined young student. School used to seem like an inevitable obstacle you had to endure, but now I truly see the importance and value of an education. While I admired the work ethic of the people I worked with in the warehouse, I know that through higher education, there is better future for me.

How to Make and Use Homemade Ant Bait Traps

How to Make and Use Homemade Ant Bait Traps To get rid of ants for good, you need to use a treatment that kills the entire colony, including the queen back in the nest. Dont waste your time squishing the ants on your counters because as long as the colony is actively nesting nearby, more ants will appear. Ant baits, whether homemade or commercial, are the treatment of choice for eliminating kitchen infestations. Ant-killing bait combines a desirable ant food with a pesticide. Worker ants carry the food back to the nest, where the pesticide works on the entire colony. You can make an effective ant killer using boric acid, a low toxicity pesticide available in hardware stores and pharmacies. Identify the Ants Before you make and use homemade ant bait, youll need to confirm which type of ants you have. Ants that youd find in your kitchen usually fall into one of two groups: sugar ants or grease ants.   From an entomological perspective, theres really no such thing as sugar ants. People use the term sugar ants to describe any number of ants that happen to like sweets. Depending on where you live, your sugar ants may actually be Argentine ants, odorous house ants, pavement ants, or some other kind of ants. Grease ants, also referred to as protein-loving ants, prefer proteins or fats over sugars. This doesnt mean they wont eat sweets, but theyre more interested in food with some protein content in it. Grease ants include little black ants, big-headed ants, and pavement ants, among others. To determine which kind of ants you have, do a taste test. Put a teaspoon of jelly and a teaspoon of peanut butter  in the area where you see the most ant traffic. Tape down a piece of waxed paper, or use a paper plate, and apply the bait on the paper or plate to avoid smearing jelly or peanut butter onto your counters or floor. Next, determine which type of baits the ants prefer. If they went for jelly, make a sugar ant bait. Ants that prefer peanut butter will respond to a protein-based bait. Now youre ready to make your homemade ant bait. Ingredients: Break Out the Borax Whether you have sugar or grease ants, boric acid is an effective, minimally toxic pesticide that you can use to create effective ant-killing bate. Both boric acid and sodium borate salts are derived from the element boron, which occurs naturally in soil, water, and rocks. Boric acid is a low-toxicity pesticide, but that does not mean its nontoxic. Virtually any substance can be harmful or fatal if used improperly. Read the label carefully, and follow any directions or cautionary information on the boric acid package. You can purchase boric acid at your local pharmacy or hardware store. Its commonly used as an antiseptic or mixed with water for use as an eyewash. To create a homemade ant killer, youll need to purchase borax in a powder or granule form. How to Make Homemade Ant Killer Use either of the following methods, depending on what kind of ants you have: Sugar ant bait recipe:  Mix 2 tablespoons of mint jelly with about  ¼ teaspoon of boric acid powder. Research suggests that mint jelly is the best sugar ant lure, but you can also try another jelly flavor if you dont have mint jelly in your fridge. Grease ant bait recipe:  Mix 2 tablespoons of peanut butter, 2 tablespoons of honey, and about  ½ teaspoon of boric acid powder. Protein-loving ants respond best to a bait made of both protein and sugar. Use and Application Place your ant bait in an area where you see ants the most. You want the bait to be somewhere along their regular travel path. Use masking tape to secure a square of waxed paper or cardboard, and place the ant-killing mixture on it. If you chose a good location and prepared the right kind of bait, youll probably find ants swarming around the bait within a few hours. If you dont, try moving the bait to a different location. How It Works Boric acid works primarily as a stomach toxin on ants. The worker ants will carry the bait food, loaded with boric acid, back to the nest. There, the ants in the colony will ingest it and die. The boric acid seems to interfere with the ants metabolism, although scientists arent exactly sure how it does so. Sodium borate salts affect an insects exoskeleton, causing the insect to desiccate. Tips and Warnings Keep children and pets away from the ant bait mixture. Although boric acid has low toxicity, you dont want your dog or cat licking up the bait, nor should you allow children to come in contact with it. Store the boric acid and any extra bait mixture where children and pets cannot access it. You will need to replace the bait regularly with a fresh batch, as the ants wont be interested in jelly or peanut butter once it dries up. Continue putting out bait until you no longer see ants. Sources Ant Baits: A Least Toxic Control, University of Nebraska-Lincoln, accessed May 1, 2012Boric Acid (Technical Fact Sheet), National Pesticide Information CenterMaking Your Own Ant Bait, Michigan State University Extension (General Fact Sheet)Boric Acid, National Pesticide Information Center (PDF)Sugar Ants, Washington State University Extension

AS Biology Coursework

AS Biology Coursework AS Biology Coursework Below is a short excerpt from an AS biology coursework written on the topic of biological species. The topic is rather broad and serves as an introduction to a narrowed research. Reading the following biology coursework sample, pay special attention to the sentence structure, use of terms, and format. writers are online 24/7 to help you with your coursework writing assignments. Moreover, our free writing blog is full of excellent sample essays and papers. If you need an expertmotivation coursework just follow this link: Species represents a biological balance, and an individual is also a balance or system in equilibrium. Within a species itself, individuals are similar but not identical. The differences are called variations, and when numbers of individuals exhibit the same variation they form a variety. A variety is distinguished from a race because the latter has greater constancy, whereas the former fluctuates in general and tends to disappear, whilst individuals showing such variation engender a line which continues over a larger or smaller number of generations and becomes approximated to the specific type. This is what Galton in 1889 termed "filial regression." Specific characters do exist representing a middle term, and on one side or the other of this average, we find variations which arithmetically follow Gauss's Law, or the Law of Mean Errors of the Calculus of Probabilities. This can be confirmed by taking the more distinctive characters. Thus height, weight, colour of eyes, basic intensity of metabolism, pulse, blood pressure, and so on. In species other than the human we can take for instance the weight of certain seeds, the height of a plant, the number of vertebrae in certain fish, and so forth. The graph showing such variations quantitatively is called a "Galton's curve," and demonstrates that individuals showing typical average characters of the species are the most numerous, whilst divergencies above and below such average diminish in proportion to the degree of variation of the character from the average type. Thus, for instance, the height of individuals: there is an average height, a distinctive feature for each species and t his will be the height of the majority of specimens. There are taller individuals and shorter ones, and the numbers of these outsiders decreases as their height differs more and more from the standard. There is furthermore, as we have repeatedly mentioned, a tendency to revert to the specific standard. Short parents and tall usually have offspring whose height is different from their own and more or less in accordance with the variance of the parents from the average standard. In all of these cases the tendency for "reversion to type," to "balance" in the species, is evident. There may well exist primitive species with a certain degree of stability, fairly constant in form, such as those distinguished by Jordan in 1848 as between the plants and the midpoint of the limits of a Linnaean species. Thus, for instance, in Viola tricolor, Jordan distinguished several dozen various species, independent and stable as regards the transmission of their characters through the seeds: with large, small and middling blossoms respectively identifiable through particular features of the component parts of the blossoms, seeds, and so on. AS Biology Coursework Writing Service AS biology coursework can be a pleasure for some students while it is a real nightmare for the rest. As a result, thousands of students turn to professional coursework writing service offered at our site to get help with their challenging assignments. Our biology writers are able to write customized (written from scratch) coursework on a wide array of topics. We guarantee no plagiarism and no copy/paste! Only original writing! Read also: Expository Essay Essay Writing Tips English Essay Writing Outline Conclusion Writing Cold War History Essay

Average SAT Scores Over Time 1972 - 2018

Average SAT Scores Over Time 1972 - 2018 SAT / ACT Prep Online Guides and Tips SAT scores for the past few years have shown a marked decline, particularly since 2006, which can be attributed to various causes. In this article, we provide you with some charts showing the average SAT trends from 1972 to 2018 as well as the variation in SAT scores by ethnicity. Average SAT Scores for Past Years: 1972-2018 First off, here is a chart of the SAT averagesfrom 1972 to 2018 so that you can see the overall trends in SAT scores throughout the years. All data is taken from the 2016 College Board Total Group Profile Report, the 2017 report, and the 2018 report. Year Math Critical Reading Writing Year Math Critical Reading Writing 1972 509 530 - 1996 508 505 - 1973 506 523 - 1997 5 505 - 1974 505 521 - 1998 512 505 - 1975 498 512 - 1999 5 505 - 1976 497 509 - 2000 514 505 - 1977 496 507 - 2001 514 506 - 1978 494 507 - 2002 516 504 - 1979 493 505 - 2003 519 507 - 1980 492 502 - 2004 518 508 - 1981 492 502 - 2005 520 508 - 1982 493 504 - 2006 518 503 497 1983 494 503 - 2007 514 501 493 1984 497 504 - 2008 514 500 493 1985 500 509 - 2009 514 499 492 1986 500 509 - 2010 515 500 491 1987 501 507 - 20 514 497 489 1988 501 505 - 2012 514 496 488 1989 502 504 - 2013 514 496 488 1990 501 500 - 2014 513 497 487 1991 500 499 - 2015 5 495 484 1992 501 500 - 2016 508 494 482 1993 503 500 - 2017* 527 533 1994 504 499 - 2018* 531 536 1995 506 504 - - - - *The old SAT had three main sections: Math, Critical Reading, and Writing. Since theSAT's massive redesign in spring 2016, there are now two main sections on the test: Math and Evidence-Based Reading and Writing (EBRW), the latter of which is a combination of the Reading and Writing sections. Now, here's historical SAT test data for different ethnicities. The scores below are the combined mean scores for the Critical Reading and Math sections (for 2017 and 2018, scores shown are the means for the EBRW and Math sections combined). Demographic of Test Takers 2007 Scores 20 Scores 2015 Scores 2016 Scores* 2017 Scores* 2018 Scores* American Indian or Alaskan Native 981 972 963 939 963 914 Asian, Asian American, or Pacific Islander 1092 12 23 31 (Asian American) 870 (Native Hawaiian or Pacific Islander) 81 (Asian) 986 (Native Hawaiian/ Other Pacific Islander) 52 (Asian) 948 (Native Hawaiian/Other Pacific Islander) Black or African American 862 855 859 855 941 919 Mexican or Mexican American 921 917 905 - - - Puerto Rican 913 904 905 - - - Other Hispanic, Latino, or Latin American 922 913 906 901 (All Hispanic, Latino, and Latin American) 990 (Hispanic/ Latino) 1005 (Hispanic/Latino) White 1061 1063 1063 1061 18 1077 Other 1009 1010 1009 1015 03 (Two or More Races) 1044 (Two or More Races) No Response 977 944 926 952 961 875 Sources: 2007 Report,20 Report, 2015 Report, 2016 Report, 2017 Report, 2018 Report *Note the changes in ethnic categories for the 2016-2018 reports. SAT Score Trends: Discussing the Numbers What the SAT charts above show us is that the scores vary greatly depending on how the College Board structures the test and organizes its scoring. The years of study thata student engages in matter. The more years of secondary education someone has completed, the better her average score on the SAT will be. Higher GPA also correlates with higher SAT scores. Generally, Critical Reading (now called Reading on theredesignedSAT) has taken an overall decline, whereas the Math score has risen slightly over time. There are of course small fluctuations throughout the years, but the overall trend is clear. There are also notable gaps in the performances of students from different socioeconomic and ethnic groups that show no signs of closing. ACT scores, unlike SAT scores, have remained relatively more stable over the past several years. Though they, too, have shown similar variations in numbers, it hasn’t been as bad as the SAT numbers. On the other hand, they do show differences based on the ethnic and socioeconomic backgrounds of the test takers. Due to the nature of the test or due to different demographic profiles among test takers, from 2006 to 2016 overall average SAT scores fell a total of 34 points, down in each of the three sections tested. (You'll notice a sharp increase in section scores in 2017, but this is partly due to the SAT's massive redesign; thus, we won't be able to use these scores for our comparison until more years use the redesigned SAT format.) According to the demographics table, from 2007 to 2015 the average scores for white students stayed about the same. Similarly, mostother groups witnessed no change or decreases from 2007 to 2015. Asian Americans experiencedthe biggest positive change of all groups during this time frame: a staggering 31-point increase in mean Critical Reading/Math scores. (Note, though, that before 2016, Asian Americans were combined with Pacific Islanders.) Access to quality education, not ethnicity, might explain a significant portion of the racial gap. This can includevariations based on whether the student completed a core curriculum or not, and whether they had access to SAT prep. In 2014-2017, more students took the ACT than the SAT; this trend reversed in 2018, with over 2.1 million students taking the SAT (compared to 1.9 million who took the ACT during that same time period). Many students believe that the SAT doesn't accurately reflect what is taught in schools today. The decision to institute changes to the SAT in 2016 may have beendue to this disparity between what is taught and what is tested; it could also have beendue to the loss of market shares to the ACT. Critics say that the SAT measures a student's background and access to resources (including test prep) more than it predicts a student's likelihood of success at the college level. Actually, those two points might correlate because the students that receive this sort of help are also more likely to receive the support they need in college from their families. While it’s true there is variation in scores with respect to race and income, it is still something that can be overcome by the student with both dedication and practice. What’s Next? Struggling with a low SAT score? Check out our series of articles on the how to improve your scores on the SATMath, Reading, and Writingsections. Shooting high on the SAT? Check out our series on how to get perfect scores on the SAT Math, Reading, and Writingsections,written by a perfect scorer. Want to learn more about the SAT but tired of reading blog articles? Then you'll love our free, SAT prep livestreams. Designed and led by PrepScholar SAT experts, these live video events are a great resource for students and parents looking to learn more about the SAT and SAT prep. 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Biological system Assignment Example | Topics and Well Written Essays - 750 words

Biological system - Assignment Example Another category of devices, know as, Ventricular assist devices (VADs) use model-based control to make required adjustment for changes in patient needs. This reflects on the fact that these devices are related to automation and control. The article reflect on the health care or medicine industry. Different controls and sensors have been used for each device. For the artificial pancreas linear and nonlinear proportional-derivative (PD) algorithms to emulate the naturalistic biphasic insulin secretion profile. Advanced control technologies have been, including variations on PID control, run-to-run control and model predictive control. Control and manipulated variables differ from device to device as all devices are used for different reasons and are also based on different models. The articles highlights the issue of ventricular assist devices. Although high-level physiologic control is a promising technology a thorough research is required to understand how to control the speed of the pump and in response to what sensors. The paper reflects on the gap between engineers and clinicians. It shows that engineer can contribute and are highly contributing to the health care industry. With the help of automation and control, many traditional issues have been overcome and have caused an advancement in the field of biotechnology. Areas under research have given a glimpse of hope for many hopeless individuals and families suffering from different disease. Even though so much advance has and is taking place, they are many barriers that are causing resistance to the advancement. Not only are these barriers to be overcome but also different ways of improvement are to be sought. Those which are known should also be implemented. From a regulatory point of view, during development the centre of focus shouldn’t be the drug but the device. This is because opting to focus on the device usually leads to a shorter pathway of