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Put enthusiasm into your writing

«on your mark. Get set. Go! Ladies and gentlemen in less than 43 seconds we will have a new sprint champion in the 400-meter olympic race.» most of you who take the toefl integrated writing portion have and feel this type of racing pressure. Most sections of the toefl exam are like a race against the clock, but the integrated writing section is definitely a sprint. I will use the track meet analogy because it is a very fitting analogy for this exciting part of the toefl exam.
for those of you who do use the spell checker, be careful about homonyms that don’t get caught by it. On my pc, i have a homonym checker that flags words for me to check how to write an essay make the process easier, but printing your paper out, waiting a day and re-reading it is a good way to catch things you might not notice at the time of writing. Have a friend read your report as well.
however there are disadvantages that computer use can cause. We can spend too much time online and neglect other important tasks such as studying. I used to spend so many hours using my computer and communicating with others that i sometimes missed exams. I often used the computer to chat, which was so interesting that i did not leave myself enough time to study. In a way, computers taught me to discipline myself and manage my time. The next paragraph introduces another idea. Notice that each

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pay closer attention to the word count. Essay checker free assignments sometimes do not specify the word number. So don’t you think the more is the better and swallow your verbosity! Essays are like a woman’s skirt: not too short to cover up the shame and not too long to keep you interested.
ask for opinions. Once you made sure that your content is free of spelling errors, plagiarism, and grammar mistakes and is readable, you can ask feedback from others. Once you publish the content you deem worthy, you can even ask your readers for feedback regarding it. This will help

How to write the introduction of a research paper

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AUXILIADORA GIL RODRÍGUEZ

Natural de Sevilla, realiza sus estudios musicales en el C.S.M. «Manuel Castillo» de dicha ciudad, donde obtiene el Título Superior de Piano, bajo la dirección de Ana Guijarro, y el Título de Música de Cámara. Máster en “Patrimonio Musical” por la UNIA en 2013 y doctora en Historia del Arte por la Universidad de Sevilla en 2019. En 2020 ha sido premiada con el accésit en la modalidad de Arte del concurso de monografías Archivo Hispalense.

Desde 1992 es profesora titular de Piano y compagina la docencia con la actividad concertística, con especial interés en el repertorio de música de cámara. Como solista, así como con diversas formaciones camerísticas, ha ofrecido recitales en diversas ciudades de España, Italia y Holanda. En 2015 interpretó el Concierto para Piano y Orquesta nº 1 de Manuel Castillo con la OSC bajo la dirección de Juan García Rodríguez.

Entre otras publicaciones, es autora de: “El Concierto para piano y orquesta nº 1 (1958) de Manuel Castillo (1930-2005). Punto de partida para una aproximación a su repertorio sinfónico”. En CUADRADO MÉNDEZ, Francisco José, MAHEDERO RUIZ, Benito y SÁNCHEZ LÓPEZ, Israel (coords.), En torno a Manuel Castillo. Granada, Libargo, 2016, págs. 229-265; “La música en la corte de los Montpensier”. En LUENGO GUTIÉRREZ, Pedro (coord.), Espacios sonoros en Sevilla: 1600-1936. Granada, CDMA, 2020; GIL RODRÍGUEZ, Auxiliadora. Paisaje musical de la Sevilla decimonónica a través de Eugenio Gómez Carrión (1786-1871): instituciones, repertorios y músicos. Sevilla, Diputación de Sevilla, 2022.

JUAN RONDA MOLINA

Valencia, 1971. Realizó sus estudios en los conservatorios de Valencia y Sevilla, obteniendo en éste el título de profesor superior de flauta.

Como profesor ha impartido varios cursos de perfeccionamiento y colabora asiduamente con la Orquesta Joven de Andalucía. Asimismo, ha sido profesor de la Academia de Estudios Orquestales Baremboim-said y del Máster en Interpretación de la Universidad Internacional de Andalucía durante varias ediciones, impartiendo tanto clases de flauta como de música de cámara.

Ha interpretado como solista el “Concierto para flauta y orquesta en Sol Mayor” KV. 313, el “Concierto para flauta y arpa en Do Mayor” KV. 299, “Concierto para vientos, arpa y orquesta” de Paul Hindemith y el “Dúo Brillante” sobre Guillermo Tell para flauta y oboe, todos ellos con la Real Orquesta Sinfónica de Sevilla.

Actualmente es flauta solista de la Real Orquesta Sinfónica de Sevilla, puesto que ocupa desde la fundación de dicha orquesta en 1991.