Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: matter, when you stir up in him such dispositions as he ought to have, to hear well, and to profit much. You insensibly conduct your hearer to the matter, when, by the natural connexion of the subjects of which you speak, you lead him from one thing to another, and enable him to enter into the doctrine of your sermon. Let us advert a moment to each. The preparation must be determined by the subject of which you are going to speak; for if it be a sad and afflicting subject, in which you aim to excite the compassion, the grief, and the tears of your audience, you must begin the exordium by imparting such a disposition. If you have to treat of a profound and difficult mystery, aim to diffuse elevation and admiration among the hearers. If some terrible example of God's justice be the subject, endeavour to stir up fear. If some enormous crime, prepare the mind for horror, by a meditation on the enormity of human corruption. If you have to treat of repentance, and in an extraordinary manner to interest your hearers in it, you must begin to dispose them tb it by general ideas of God's wrath, which we have deserved?of the little fruit we have borne to his glory?or omething of a like nature. If, on the contrary, the matter you have to treat of be common and tranquil, aim in your exordium to place the mind in its natural state, and only endeavour to excite honest and Christian tempers, which we all ought always to have. In a word, the exordium must always participate the spirit of the subject that you mean to discuss, in order to dispose your hearers for it. Not to use in this manner, is to lose all the benefit of an exordium; and to use it to an opposite purpose, would be to renounce common sense, and to act like an idiot. The second use of an introduction is, to conduct the earer...

The Oxford Handbook of Music Composition Pedagogy presents an illuminating collection of philosophy, research, applied practice, and international perspectives to highlight the practices of teaching and learning in the field of music composition. The Handbook offers various strategies and approaches in composition for teachers, music teacher educators, and students of music education.

For English instructors at every level, the task of producing a worthwhile, workable plan for each class period can prove challenging. This invaluable work offers a vast compilation of writing exercises and in-class activities collected from professors, graduate students and lecturers from colleges and universities across the United States. Step-by-step instructions guide teachers through class discussions and exercises on topics ranging from invention, argumentation, formatting, thesis development and organization to rhetorical situation, visual rhetoric, peer review and revision. From high school teachers and first-time teaching assistants to experienced writing professors looking to enhance their courses, anyone who teaches English will appreciate the fresh ideas found in this indispensable volume. Instructors considering this book for use in a course may request an examination copy here.

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