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College Admissions , College Essays

The personal statement might just be the hardest part of your college application. Mostly this is because it has the least guidance and is the most open-ended. One way to understand what colleges are looking for when they ask you to write an essay is to check out the essays of students who already got in—college essays that actually worked. After all, they must be among the most successful of this weird literary genre.

In this article, I'll go through general guidelines for what makes great college essays great. I've also compiled an enormous list of 100+ actual sample college essays from 11 different schools. Finally, I'll break down two of these published college essay examples and explain why and how they work. With links to 177 full essays and essay excerpts , this article is a great resource for learning how to craft your own personal college admissions essay!

What Excellent College Essays Have in Common

Even though in many ways these sample college essays are very different from one other, they do share some traits you should try to emulate as you write your own essay.

Visible Signs of Planning

Building out from a narrow, concrete focus. You'll see a similar structure in many of the essays. The author starts with a very detailed story of an event or description of a person or place. After this sense-heavy imagery, the essay expands out to make a broader point about the author, and connects this very memorable experience to the author's present situation, state of mind, newfound understanding, or maturity level.

Knowing how to tell a story. Some of the experiences in these essays are one-of-a-kind. But most deal with the stuff of everyday life. What sets them apart is the way the author approaches the topic: analyzing it for drama and humor, for its moving qualities, for what it says about the author's world, and for how it connects to the author's emotional life.

Stellar Execution

A killer first sentence. You've heard it before, and you'll hear it again: you have to suck the reader in, and the best place to do that is the first sentence. Great first sentences are punchy. They are like cliffhangers, setting up an exciting scene or an unusual situation with an unclear conclusion, in order to make the reader want to know more. Don't take my word for it—check out these 22 first sentences from Stanford applicants and tell me you don't want to read the rest of those essays to find out what happens!

A lively, individual voice. Writing is for readers. In this case, your reader is an admissions officer who has read thousands of essays before yours and will read thousands after. Your goal? Don't bore your reader. Use interesting descriptions, stay away from clichés, include your own offbeat observations—anything that makes this essay sounds like you and not like anyone else.

Technical correctness. No spelling mistakes, no grammar weirdness, no syntax issues, no punctuation snafus—each of these sample college essays has been formatted and proofread perfectly. If this kind of exactness is not your strong suit, you're in luck! All colleges advise applicants to have their essays looked over several times by parents, teachers, mentors, and anyone else who can spot a comma splice. Your essay must be your own work, but there is absolutely nothing wrong with getting help polishing it.

And if you need more guidance, connect with PrepScholar's expert admissions consultants . These expert writers know exactly what college admissions committees look for in an admissions essay and chan help you craft an essay that boosts your chances of getting into your dream school.

Check out PrepScholar's Essay Editing and Coaching progra m for more details!

Links to Full College Essay Examples

Some colleges publish a selection of their favorite accepted college essays that worked, and I've put together a selection of over 100 of these.

Common App Essay Samples

Please note that some of these college essay examples may be responding to prompts that are no longer in use. The current Common App prompts are as follows:

1. Some students have a background, identity, interest, or talent that is so meaningful they believe their application would be incomplete without it. If this sounds like you, then please share your story. 2. The lessons we take from obstacles we encounter can be fundamental to later success. Recount a time when you faced a challenge, setback, or failure. How did it affect you, and what did you learn from the experience? 3. Reflect on a time when you questioned or challenged a belief or idea. What prompted your thinking? What was the outcome? 4. Reflect on something that someone has done for you that has made you happy or thankful in a surprising way. How has this gratitude affected or motivated you? 5. Discuss an accomplishment, event, or realization that sparked a period of personal growth and a new understanding of yourself or others. 6. Describe a topic, idea, or concept you find so engaging that it makes you lose all track of time. Why does it captivate you? What or who do you turn to when you want to learn more?

7. Share an essay on any topic of your choice. It can be one you've already written, one that responds to a different prompt, or one of your own design.

Now, let's get to the good stuff: the list of 177 college essay examples responding to current and past Common App essay prompts. 

Connecticut college.

• 12 Common Application essays from the classes of 2022-2025

Hamilton College

• 7 Common Application essays from the class of 2026
• 7 Common Application essays from the class of 2022
• 7 Common Application essays from the class of 2018
• 8 Common Application essays from the class of 2012
• 8 Common Application essays from the class of 2007

Johns Hopkins

These essays are answers to past prompts from either the Common Application or the Coalition Application (which Johns Hopkins used to accept).

• 1 Common Application or Coalition Application essay from the class of 2026
• 6 Common Application or Coalition Application essays from the class of 2025
• 6 Common Application or Universal Application essays from the class of 2024
• 6 Common Application or Universal Application essays from the class of 2023
• 7 Common Application of Universal Application essays from the class of 2022
• 5 Common Application or Universal Application essays from the class of 2021
• 7 Common Application or Universal Application essays from the class of 2020

Essay Examples Published by Other Websites

• 2 Common Application essays ( 1st essay , 2nd essay ) from applicants admitted to Columbia

Other Sample College Essays

Here is a collection of essays that are college-specific.

Babson College

• 4 essays (and 1 video response) on "Why Babson" from the class of 2020

Emory University

• 5 essay examples ( 1 , 2 , 3 , 4 , 5 ) from the class of 2020 along with analysis from Emory admissions staff on why the essays were exceptional
• 5 more recent essay examples ( 1 , 2 , 3 , 4 , 5 ) along with analysis from Emory admissions staff on what made these essays stand out

University of Georgia

• 1 “strong essay” sample from 2019
• 1 “strong essay” sample from 2018
• 10 Harvard essays from 2023
• 10 Harvard essays from 2022
• 10 Harvard essays from 2021
• 10 Harvard essays from 2020
• 10 Harvard essays from 2019
• 10 Harvard essays from 2018
• 6 essays from admitted MIT students

Smith College

• 6 "best gift" essays from the class of 2018

Books of College Essays

If you're looking for even more sample college essays, consider purchasing a college essay book. The best of these include dozens of essays that worked and feedback from real admissions officers.

College Essays That Made a Difference —This detailed guide from Princeton Review includes not only successful essays, but also interviews with admissions officers and full student profiles.

50 Successful Harvard Application Essays by the Staff of the Harvard Crimson—A must for anyone aspiring to Harvard .

50 Successful Ivy League Application Essays and 50 Successful Stanford Application Essays by Gen and Kelly Tanabe—For essays from other top schools, check out this venerated series, which is regularly updated with new essays.

Heavenly Essays by Janine W. Robinson—This collection from the popular blogger behind Essay Hell includes a wider range of schools, as well as helpful tips on honing your own essay.

Analyzing Great Common App Essays That Worked

I've picked two essays from the examples collected above to examine in more depth so that you can see exactly what makes a successful college essay work. Full credit for these essays goes to the original authors and the schools that published them.

Example 1: "Breaking Into Cars," by Stephen, Johns Hopkins Class of '19 (Common App Essay, 636 words long)

I had never broken into a car before.

We were in Laredo, having just finished our first day at a Habitat for Humanity work site. The Hotchkiss volunteers had already left, off to enjoy some Texas BBQ, leaving me behind with the college kids to clean up. Not until we were stranded did we realize we were locked out of the van.

Someone picked a coat hanger out of the dumpster, handed it to me, and took a few steps back.

"Can you do that thing with a coat hanger to unlock it?"

"Why me?" I thought.

More out of amusement than optimism, I gave it a try. I slid the hanger into the window's seal like I'd seen on crime shows, and spent a few minutes jiggling the apparatus around the inside of the frame. Suddenly, two things simultaneously clicked. One was the lock on the door. (I actually succeeded in springing it.) The other was the realization that I'd been in this type of situation before. In fact, I'd been born into this type of situation.

My upbringing has numbed me to unpredictability and chaos. With a family of seven, my home was loud, messy, and spottily supervised. My siblings arguing, the dog barking, the phone ringing—all meant my house was functioning normally. My Dad, a retired Navy pilot, was away half the time. When he was home, he had a parenting style something like a drill sergeant. At the age of nine, I learned how to clear burning oil from the surface of water. My Dad considered this a critical life skill—you know, in case my aircraft carrier should ever get torpedoed. "The water's on fire! Clear a hole!" he shouted, tossing me in the lake without warning. While I'm still unconvinced about that particular lesson's practicality, my Dad's overarching message is unequivocally true: much of life is unexpected, and you have to deal with the twists and turns.

Living in my family, days rarely unfolded as planned. A bit overlooked, a little pushed around, I learned to roll with reality, negotiate a quick deal, and give the improbable a try. I don't sweat the small stuff, and I definitely don't expect perfect fairness. So what if our dining room table only has six chairs for seven people? Someone learns the importance of punctuality every night.

But more than punctuality and a special affinity for musical chairs, my family life has taught me to thrive in situations over which I have no power. Growing up, I never controlled my older siblings, but I learned how to thwart their attempts to control me. I forged alliances, and realigned them as necessary. Sometimes, I was the poor, defenseless little brother; sometimes I was the omniscient elder. Different things to different people, as the situation demanded. I learned to adapt.

Back then, these techniques were merely reactions undertaken to ensure my survival. But one day this fall, Dr. Hicks, our Head of School, asked me a question that he hoped all seniors would reflect on throughout the year: "How can I participate in a thing I do not govern, in the company of people I did not choose?"

The question caught me off guard, much like the question posed to me in Laredo. Then, I realized I knew the answer. I knew why the coat hanger had been handed to me.

Growing up as the middle child in my family, I was a vital participant in a thing I did not govern, in the company of people I did not choose. It's family. It's society. And often, it's chaos. You participate by letting go of the small stuff, not expecting order and perfection, and facing the unexpected with confidence, optimism, and preparedness. My family experience taught me to face a serendipitous world with confidence.

What Makes This Essay Tick?

It's very helpful to take writing apart in order to see just how it accomplishes its objectives. Stephen's essay is very effective. Let's find out why!

An Opening Line That Draws You In

In just eight words, we get: scene-setting (he is standing next to a car about to break in), the idea of crossing a boundary (he is maybe about to do an illegal thing for the first time), and a cliffhanger (we are thinking: is he going to get caught? Is he headed for a life of crime? Is he about to be scared straight?).

Great, Detailed Opening Story

More out of amusement than optimism, I gave it a try. I slid the hanger into the window's seal like I'd seen on crime shows, and spent a few minutes jiggling the apparatus around the inside of the frame.

It's the details that really make this small experience come alive. Notice how whenever he can, Stephen uses a more specific, descriptive word in place of a more generic one. The volunteers aren't going to get food or dinner; they're going for "Texas BBQ." The coat hanger comes from "a dumpster." Stephen doesn't just move the coat hanger—he "jiggles" it.

Details also help us visualize the emotions of the people in the scene. The person who hands Stephen the coat hanger isn't just uncomfortable or nervous; he "takes a few steps back"—a description of movement that conveys feelings. Finally, the detail of actual speech makes the scene pop. Instead of writing that the other guy asked him to unlock the van, Stephen has the guy actually say his own words in a way that sounds like a teenager talking.

Turning a Specific Incident Into a Deeper Insight

Suddenly, two things simultaneously clicked. One was the lock on the door. (I actually succeeded in springing it.) The other was the realization that I'd been in this type of situation before. In fact, I'd been born into this type of situation.

Stephen makes the locked car experience a meaningful illustration of how he has learned to be resourceful and ready for anything, and he also makes this turn from the specific to the broad through an elegant play on the two meanings of the word "click."

Using Concrete Examples When Making Abstract Claims

My upbringing has numbed me to unpredictability and chaos. With a family of seven, my home was loud, messy, and spottily supervised. My siblings arguing, the dog barking, the phone ringing—all meant my house was functioning normally.

"Unpredictability and chaos" are very abstract, not easily visualized concepts. They could also mean any number of things—violence, abandonment, poverty, mental instability. By instantly following up with highly finite and unambiguous illustrations like "family of seven" and "siblings arguing, the dog barking, the phone ringing," Stephen grounds the abstraction in something that is easy to picture: a large, noisy family.

Using Small Bits of Humor and Casual Word Choice

My Dad, a retired Navy pilot, was away half the time. When he was home, he had a parenting style something like a drill sergeant. At the age of nine, I learned how to clear burning oil from the surface of water. My Dad considered this a critical life skill—you know, in case my aircraft carrier should ever get torpedoed.

Obviously, knowing how to clean burning oil is not high on the list of things every 9-year-old needs to know. To emphasize this, Stephen uses sarcasm by bringing up a situation that is clearly over-the-top: "in case my aircraft carrier should ever get torpedoed."

The humor also feels relaxed. Part of this is because he introduces it with the colloquial phrase "you know," so it sounds like he is talking to us in person. This approach also diffuses the potential discomfort of the reader with his father's strictness—since he is making jokes about it, clearly he is OK. Notice, though, that this doesn't occur very much in the essay. This helps keep the tone meaningful and serious rather than flippant.

An Ending That Stretches the Insight Into the Future

But one day this fall, Dr. Hicks, our Head of School, asked me a question that he hoped all seniors would reflect on throughout the year: "How can I participate in a thing I do not govern, in the company of people I did not choose?"

The ending of the essay reveals that Stephen's life has been one long preparation for the future. He has emerged from chaos and his dad's approach to parenting as a person who can thrive in a world that he can't control.

This connection of past experience to current maturity and self-knowledge is a key element in all successful personal essays. Colleges are very much looking for mature, self-aware applicants. These are the qualities of successful college students, who will be able to navigate the independence college classes require and the responsibility and quasi-adulthood of college life.

What Could This Essay Do Even Better?

Even the best essays aren't perfect, and even the world's greatest writers will tell you that writing is never "finished"—just "due." So what would we tweak in this essay if we could?

Replace some of the clichéd language. Stephen uses handy phrases like "twists and turns" and "don't sweat the small stuff" as a kind of shorthand for explaining his relationship to chaos and unpredictability. But using too many of these ready-made expressions runs the risk of clouding out your own voice and replacing it with something expected and boring.

Use another example from recent life. Stephen's first example (breaking into the van in Laredo) is a great illustration of being resourceful in an unexpected situation. But his essay also emphasizes that he "learned to adapt" by being "different things to different people." It would be great to see how this plays out outside his family, either in the situation in Laredo or another context.

Example 2: By Renner Kwittken, Tufts Class of '23 (Common App Essay, 645 words long)

My first dream job was to be a pickle truck driver. I saw it in my favorite book, Richard Scarry's "Cars and Trucks and Things That Go," and for some reason, I was absolutely obsessed with the idea of driving a giant pickle. Much to the discontent of my younger sister, I insisted that my parents read us that book as many nights as possible so we could find goldbug, a small little golden bug, on every page. I would imagine the wonderful life I would have: being a pig driving a giant pickle truck across the country, chasing and finding goldbug. I then moved on to wanting to be a Lego Master. Then an architect. Then a surgeon.

Then I discovered a real goldbug: gold nanoparticles that can reprogram macrophages to assist in killing tumors, produce clear images of them without sacrificing the subject, and heat them to obliteration.

Suddenly the destination of my pickle was clear.

I quickly became enveloped by the world of nanomedicine; I scoured articles about liposomes, polymeric micelles, dendrimers, targeting ligands, and self-assembling nanoparticles, all conquering cancer in some exotic way. Completely absorbed, I set out to find a mentor to dive even deeper into these topics. After several rejections, I was immensely grateful to receive an invitation to work alongside Dr. Sangeeta Ray at Johns Hopkins.

In the lab, Dr. Ray encouraged a great amount of autonomy to design and implement my own procedures. I chose to attack a problem that affects the entire field of nanomedicine: nanoparticles consistently fail to translate from animal studies into clinical trials. Jumping off recent literature, I set out to see if a pre-dose of a common chemotherapeutic could enhance nanoparticle delivery in aggressive prostate cancer, creating three novel constructs based on three different linear polymers, each using fluorescent dye (although no gold, sorry goldbug!). Though using radioactive isotopes like Gallium and Yttrium would have been incredible, as a 17-year-old, I unfortunately wasn't allowed in the same room as these radioactive materials (even though I took a Geiger counter to a pair of shoes and found them to be slightly dangerous).

I hadn't expected my hypothesis to work, as the research project would have ideally been led across two full years. Yet while there are still many optimizations and revisions to be done, I was thrilled to find -- with completely new nanoparticles that may one day mean future trials will use particles with the initials "RK-1" -- thatcyclophosphamide did indeed increase nanoparticle delivery to the tumor in a statistically significant way.

A secondary, unexpected research project was living alone in Baltimore, a new city to me, surrounded by people much older than I. Even with moving frequently between hotels, AirBnB's, and students' apartments, I strangely reveled in the freedom I had to enjoy my surroundings and form new friendships with graduate school students from the lab. We explored The Inner Harbor at night, attended a concert together one weekend, and even got to watch the Orioles lose (to nobody's surprise). Ironically, it's through these new friendships I discovered something unexpected: what I truly love is sharing research. Whether in a presentation or in a casual conversation, making others interested in science is perhaps more exciting to me than the research itself. This solidified a new pursuit to angle my love for writing towards illuminating science in ways people can understand, adding value to a society that can certainly benefit from more scientific literacy.

It seems fitting that my goals are still transforming: in Scarry's book, there is not just one goldbug, there is one on every page. With each new experience, I'm learning that it isn't the goldbug itself, but rather the act of searching for the goldbugs that will encourage, shape, and refine my ever-evolving passions. Regardless of the goldbug I seek -- I know my pickle truck has just begun its journey.

Renner takes a somewhat different approach than Stephen, but their essay is just as detailed and engaging. Let's go through some of the strengths of this essay.

One Clear Governing Metaphor

This essay is ultimately about two things: Renner’s dreams and future career goals, and Renner’s philosophy on goal-setting and achieving one’s dreams.

But instead of listing off all the amazing things they’ve done to pursue their dream of working in nanomedicine, Renner tells a powerful, unique story instead. To set up the narrative, Renner opens the essay by connecting their experiences with goal-setting and dream-chasing all the way back to a memorable childhood experience:

This lighthearted–but relevant!--story about the moment when Renner first developed a passion for a specific career (“finding the goldbug”) provides an anchor point for the rest of the essay. As Renner pivots to describing their current dreams and goals–working in nanomedicine–the metaphor of “finding the goldbug” is reflected in Renner’s experiments, rejections, and new discoveries.

Though Renner tells multiple stories about their quest to “find the goldbug,” or, in other words, pursue their passion, each story is connected by a unifying theme; namely, that as we search and grow over time, our goals will transform…and that’s okay! By the end of the essay, Renner uses the metaphor of “finding the goldbug” to reiterate the relevance of the opening story:

While the earlier parts of the essay convey Renner’s core message by showing, the final, concluding paragraph sums up Renner’s insights by telling. By briefly and clearly stating the relevance of the goldbug metaphor to their own philosophy on goals and dreams, Renner demonstrates their creativity, insight, and eagerness to grow and evolve as the journey continues into college.

An Engaging, Individual Voice

This essay uses many techniques that make Renner sound genuine and make the reader feel like we already know them.

Technique #1: humor. Notice Renner's gentle and relaxed humor that lightly mocks their younger self's grand ambitions (this is different from the more sarcastic kind of humor used by Stephen in the first essay—you could never mistake one writer for the other).

My first dream job was to be a pickle truck driver.

I would imagine the wonderful life I would have: being a pig driving a giant pickle truck across the country, chasing and finding goldbug. I then moved on to wanting to be a Lego Master. Then an architect. Then a surgeon.

Renner gives a great example of how to use humor to your advantage in college essays. You don’t want to come off as too self-deprecating or sarcastic, but telling a lightheartedly humorous story about your younger self that also showcases how you’ve grown and changed over time can set the right tone for your entire essay.

Technique #2: intentional, eye-catching structure. The second technique is the way Renner uses a unique structure to bolster the tone and themes of their essay . The structure of your essay can have a major impact on how your ideas come across…so it’s important to give it just as much thought as the content of your essay!

For instance, Renner does a great job of using one-line paragraphs to create dramatic emphasis and to make clear transitions from one phase of the story to the next:

Suddenly the destination of my pickle car was clear.

Not only does the one-liner above signal that Renner is moving into a new phase of the narrative (their nanoparticle research experiences), it also tells the reader that this is a big moment in Renner’s story. It’s clear that Renner made a major discovery that changed the course of their goal pursuit and dream-chasing. Through structure, Renner conveys excitement and entices the reader to keep pushing forward to the next part of the story.

Technique #3: playing with syntax. The third technique is to use sentences of varying length, syntax, and structure. Most of the essay's written in standard English and uses grammatically correct sentences. However, at key moments, Renner emphasizes that the reader needs to sit up and pay attention by switching to short, colloquial, differently punctuated, and sometimes fragmented sentences.

Even with moving frequently between hotels, AirBnB's, and students' apartments, I strangely reveled in the freedom I had to enjoy my surroundings and form new friendships with graduate school students from the lab. We explored The Inner Harbor at night, attended a concert together one weekend, and even got to watch the Orioles lose (to nobody's surprise). Ironically, it's through these new friendships I discovered something unexpected: what I truly love is sharing research.

In the examples above, Renner switches adeptly between long, flowing sentences and quippy, telegraphic ones. At the same time, Renner uses these different sentence lengths intentionally. As they describe their experiences in new places, they use longer sentences to immerse the reader in the sights, smells, and sounds of those experiences. And when it’s time to get a big, key idea across, Renner switches to a short, punchy sentence to stop the reader in their tracks.

The varying syntax and sentence lengths pull the reader into the narrative and set up crucial “aha” moments when it’s most important…which is a surefire way to make any college essay stand out.

Renner's essay is very strong, but there are still a few little things that could be improved.

Connecting the research experiences to the theme of “finding the goldbug.”  The essay begins and ends with Renner’s connection to the idea of “finding the goldbug.” And while this metaphor is deftly tied into the essay’s intro and conclusion, it isn’t entirely clear what Renner’s big findings were during the research experiences that are described in the middle of the essay. It would be great to add a sentence or two stating what Renner’s big takeaways (or “goldbugs”) were from these experiences, which add more cohesion to the essay as a whole.

Give more details about discovering the world of nanomedicine. It makes sense that Renner wants to get into the details of their big research experiences as quickly as possible. After all, these are the details that show Renner’s dedication to nanomedicine! But a smoother transition from the opening pickle car/goldbug story to Renner’s “real goldbug” of nanoparticles would help the reader understand why nanoparticles became Renner’s goldbug. Finding out why Renner is so motivated to study nanomedicine–and perhaps what put them on to this field of study–would help readers fully understand why Renner chose this path in the first place.

4 Essential Tips for Writing Your Own Essay

How can you use this discussion to better your own college essay? Here are some suggestions for ways to use this resource effectively.

#1: Get Help From the Experts

Getting your college applications together takes a lot of work and can be pretty intimidatin g. Essays are even more important than ever now that admissions processes are changing and schools are going test-optional and removing diversity standards thanks to new Supreme Court rulings .  If you want certified expert help that really makes a difference, get started with  PrepScholar’s Essay Editing and Coaching program. Our program can help you put together an incredible essay from idea to completion so that your application stands out from the crowd. We've helped students get into the best colleges in the United States, including Harvard, Stanford, and Yale.  If you're ready to take the next step and boost your odds of getting into your dream school, connect with our experts today .

#2: Read Other Essays to Get Ideas for Your Own

As you go through the essays we've compiled for you above, ask yourself the following questions:

• Can you explain to yourself (or someone else!) why the opening sentence works well?
• Look for the essay's detailed personal anecdote. What senses is the author describing? Can you easily picture the scene in your mind's eye?
• Find the place where this anecdote bridges into a larger insight about the author. How does the essay connect the two? How does the anecdote work as an example of the author's characteristic, trait, or skill?
• Check out the essay's tone. If it's funny, can you find the places where the humor comes from? If it's sad and moving, can you find the imagery and description of feelings that make you moved? If it's serious, can you see how word choice adds to this tone?

Make a note whenever you find an essay or part of an essay that you think was particularly well-written, and think about what you like about it . Is it funny? Does it help you really get to know the writer? Does it show what makes the writer unique? Once you have your list, keep it next to you while writing your essay to remind yourself to try and use those same techniques in your own essay.

#3: Find Your "A-Ha!" Moment

All of these essays rely on connecting with the reader through a heartfelt, highly descriptive scene from the author's life. It can either be very dramatic (did you survive a plane crash?) or it can be completely mundane (did you finally beat your dad at Scrabble?). Either way, it should be personal and revealing about you, your personality, and the way you are now that you are entering the adult world.

Check out essays by authors like John Jeremiah Sullivan , Leslie Jamison , Hanif Abdurraqib , and Esmé Weijun Wang to get more examples of how to craft a compelling personal narrative.

#4: Start Early, Revise Often

Let me level with you: the best writing isn't writing at all. It's rewriting. And in order to have time to rewrite, you have to start way before the application deadline. My advice is to write your first draft at least two months before your applications are due.

Let it sit for a few days untouched. Then come back to it with fresh eyes and think critically about what you've written. What's extra? What's missing? What is in the wrong place? What doesn't make sense? Don't be afraid to take it apart and rearrange sections. Do this several times over, and your essay will be much better for it!

For more editing tips, check out a style guide like Dreyer's English or Eats, Shoots & Leaves .

What's Next?

Still not sure which colleges you want to apply to? Our experts will show you how to make a college list that will help you choose a college that's right for you.

Interested in learning more about college essays? Check out our detailed breakdown of exactly how personal statements work in an application , some suggestions on what to avoid when writing your essay , and our guide to writing about your extracurricular activities .

Working on the rest of your application? Read what admissions officers wish applicants knew before applying .

The recommendations in this post are based solely on our knowledge and experience. If you purchase an item through one of our links PrepScholar may receive a commission.

Anna scored in the 99th percentile on her SATs in high school, and went on to major in English at Princeton and to get her doctorate in English Literature at Columbia. She is passionate about improving student access to higher education.

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What’s Covered:

• Common App Essays
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• Where to Get Feedback on Your Essays

Most high school students don’t get a lot of experience with creative writing, so the college essay can be especially daunting. Reading examples of successful essays, however, can help you understand what admissions officers are looking for.

In this post, we’ll share 16 college essay examples of many different topics. Most of the essay prompts fall into 8 different archetypes, and you can approach each prompt under that archetype in a similar way. We’ve grouped these examples by archetype so you can better structure your approach to college essays.

If you’re looking for school-specific guides, check out our 2022-2023 essay breakdowns .

Looking at examples of real essays students have submitted to colleges can be very beneficial to get inspiration for your essays. You should never copy or plagiarize from these examples when writing your own essays. Colleges can tell when an essay isn’t genuine and will not view students favorably if they plagiarized. 

Note: the essays are titled in this post for navigation purposes, but they were not originally titled. We also include the original prompt where possible.

The Common App essay goes to all of the schools on your list, unless those schools use a separate application platform. Because of this, it’s the most important essay in your portfolio, and likely the longest essay you’ll need to write (you get up to 650 words). 

The goal of this essay is to share a glimpse into who you are, what matters to you, and what you hope to achieve. It’s a chance to share your story. 

Learn more about how to write the Common App essay in our complete guide.

The Multiple Meanings of Point

Prompt: Some students have a background, identity, interest, or talent that is so meaningful they believe their application would be incomplete without it. If this sounds like you, then please share your story. (250-650 words)

Night had robbed the academy of its daytime colors, yet there was comfort in the dim lights that cast shadows of our advances against the bare studio walls. Silhouettes of roundhouse kicks, spin crescent kicks, uppercuts and the occasional butterfly kick danced while we sparred. She approached me, eyes narrowed with the trace of a smirk challenging me. “Ready spar!” Her arm began an upward trajectory targeting my shoulder, a common first move. I sidestepped — only to almost collide with another flying fist. Pivoting my right foot, I snapped my left leg, aiming my heel at her midsection. The center judge raised one finger. 

There was no time to celebrate, not in the traditional sense at least. Master Pollard gave a brief command greeted with a unanimous “Yes, sir” and the thud of 20 hands dropping-down-and-giving-him-30, while the “winners” celebrated their victory with laps as usual. 

Three years ago, seven-thirty in the evening meant I was a warrior. It meant standing up straighter, pushing a little harder, “Yes, sir” and “Yes, ma’am”, celebrating birthdays by breaking boards, never pointing your toes, and familiarity. Three years later, seven-thirty in the morning meant I was nervous. 

The room is uncomfortably large. The sprung floor soaks up the checkerboard of sunlight piercing through the colonial windows. The mirrored walls further illuminate the studio and I feel the light scrutinizing my sorry attempts at a pas de bourrée, while capturing the organic fluidity of the dancers around me. “Chassé en croix, grand battement, pique, pirouette.” I follow the graceful limbs of the woman in front of me, her legs floating ribbons, as she executes what seems to be a perfect ronds de jambes. Each movement remains a negotiation. With admirable patience, Ms. Tan casts me a sympathetic glance.   

There is no time to wallow in the misery that is my right foot. Taekwondo calls for dorsiflexion; pointed toes are synonymous with broken toes. My thoughts drag me into a flashback of the usual response to this painful mistake: “You might as well grab a tutu and head to the ballet studio next door.” Well, here I am Master Pollard, unfortunately still following your orders to never point my toes, but no longer feeling the satisfaction that comes with being a third degree black belt with 5 years of experience quite literally under her belt. It’s like being a white belt again — just in a leotard and ballet slippers. 

But the appetite for new beginnings that brought me here doesn’t falter. It is only reinforced by the classical rendition of “Dancing Queen” that floods the room and the ghost of familiarity that reassures me that this new beginning does not and will not erase the past. After years spent at the top, it’s hard to start over. But surrendering what you are only leads you to what you may become. In Taekwondo, we started each class reciting the tenets: honor, courtesy, integrity, perseverance, self-control, courage, humility, and knowledge, and I have never felt that I embodied those traits more so than when I started ballet. 

The thing about change is that it eventually stops making things so different. After nine different schools, four different countries, three different continents, fluency in Tamil, Norwegian, and English, there are more blurred lines than there are clear fragments. My life has not been a tactfully executed, gold medal-worthy Taekwondo form with each movement defined, nor has it been a series of frappés performed by a prima ballerina with each extension identical and precise, but thankfully it has been like the dynamics of a spinning back kick, fluid, and like my chances of landing a pirouette, unpredictable. 

The first obvious strength of this essay is the introduction—it is interesting and snappy and uses enough technical language that we want to figure out what the student is discussing. When writing introductions, students tend to walk the line between intriguing and confusing. It is important that your essay ends up on the intentionally intriguing side of that line—like this student does! We are a little confused at first, but by then introducing the idea of “sparring,” the student grounds their essay.

People often advise young writers to “show, not tell.” This student takes that advice a step further and makes the reader do a bit of work to figure out what they are telling us. Nowhere in this essay does it say “After years of Taekwondo, I made the difficult decision to switch over to ballet.” Rather, the student says “It’s like being a white belt again — just in a leotard and ballet slippers.” How powerful! 

After a lot of emotional language and imagery, this student finishes off their essay with very valuable (and necessary!) reflection. They show admissions officers that they are more than just a good writer—they are a mature and self-aware individual who would be beneficial to a college campus. Self-awareness comes through with statements like “surrendering what you are only leads you to what you may become” and maturity can be seen through the student’s discussion of values: “honor, courtesy, integrity, perseverance, self-control, courage, humility, and knowledge, and I have never felt that I embodied those traits more so than when I started ballet.”

Sparking Self-Awareness

Prompt: The lessons we take from obstacles we encounter can be fundamental to later success. Recount a time when you faced a challenge, setback, or failure. How did it affect you, and what did you learn from the experience? (250-650 words)

Was I no longer the beloved daughter of nature, whisperer of trees? Knee-high rubber boots, camouflage, bug spray—I wore the garb and perfume of a proud wild woman, yet there I was, hunched over the pathetic pile of stubborn sticks, utterly stumped, on the verge of tears. As a child, I had considered myself a kind of rustic princess, a cradler of spiders and centipedes, who was serenaded by mourning doves and chickadees, who could glide through tick-infested meadows and emerge Lyme-free. I knew the cracks of the earth like the scars on my own rough palms. Yet here I was, ten years later, incapable of performing the most fundamental outdoor task: I could not, for the life of me, start a fire. 

Furiously I rubbed the twigs together—rubbed and rubbed until shreds of skin flaked from my fingers. No smoke. The twigs were too young, too sticky-green; I tossed them away with a shower of curses, and began tearing through the underbrush in search of a more flammable collection. My efforts were fruitless. Livid, I bit a rejected twig, determined to prove that the forest had spurned me, offering only young, wet bones that would never burn. But the wood cracked like carrots between my teeth—old, brittle, and bitter. Roaring and nursing my aching palms, I retreated to the tent, where I sulked and awaited the jeers of my family. 

Rattling their empty worm cans and reeking of fat fish, my brother and cousins swaggered into the campsite. Immediately, they noticed the minor stick massacre by the fire pit and called to me, their deep voices already sharp with contempt. 

“Where’s the fire, Princess Clara?” they taunted. “Having some trouble?” They prodded me with the ends of the chewed branches and, with a few effortless scrapes of wood on rock, sparked a red and roaring flame. My face burned long after I left the fire pit. The camp stank of salmon and shame. 

In the tent, I pondered my failure. Was I so dainty? Was I that incapable? I thought of my hands, how calloused and capable they had been, how tender and smooth they had become. It had been years since I’d kneaded mud between my fingers; instead of scaling a white pine, I’d practiced scales on my piano, my hands softening into those of a musician—fleshy and sensitive. And I’d gotten glasses, having grown horrifically nearsighted; long nights of dim lighting and thick books had done this. I couldn’t remember the last time I had lain down on a hill, barefaced, and seen the stars without having to squint. Crawling along the edge of the tent, a spider confirmed my transformation—he disgusted me, and I felt an overwhelming urge to squash him. 

Yet, I realized I hadn’t really changed—I had only shifted perspective. I still eagerly explored new worlds, but through poems and prose rather than pastures and puddles. I’d grown to prefer the boom of a bass over that of a bullfrog, learned to coax a different kind of fire from wood, having developed a burn for writing rhymes and scrawling hypotheses. 

That night, I stayed up late with my journal and wrote about the spider I had decided not to kill. I had tolerated him just barely, only shrieking when he jumped—it helped to watch him decorate the corners of the tent with his delicate webs, knowing that he couldn’t start fires, either. When the night grew cold and the embers died, my words still smoked—my hands burned from all that scrawling—and even when I fell asleep, the ideas kept sparking—I was on fire, always on fire.

First things first, this Common App essay is well-written. This student is definitely showing the admissions officers her ability to articulate her points beautifully and creatively. It starts with vivid images like that of the “rustic princess, a cradler of spiders and centipedes, who was serenaded by mourning doves and chickadees, who could glide through tick-infested meadows and emerge Lyme-free.” And because the prose is flowery (and beautiful!), the writer can get away with metaphors like “I knew the cracks of the earth like the scars on my own rough palms” that might sound cheesy without the clear command of the English language that the writer quickly establishes.

In addition to being well-written, this essay is thematically cohesive. It begins with the simple introduction “Fire!” and ends with the following image: “When the night grew cold and the embers died, my words still smoked—my hands burned from all that scrawling—and even when I fell asleep, the ideas kept sparking—I was on fire, always on fire.” This full-circle approach leaves readers satisfied and impressed.

While dialogue often comes off as cliche or trite, this student effectively incorporates her family members saying “Where’s the fire, Princess Clara?” This is achieved through the apt use of the verb “taunted” to characterize the questioning and through the question’s thematic connection to the earlier image of the student as a rustic princess. Similarly, rhetorical questions can feel randomly placed in essays, but this student’s inclusion of the questions “Was I so dainty?” and “Was I that incapable?” feel perfectly justified after she establishes that she was pondering her failure.

Quite simply, this essay shows how quality writing can make a simple story outstandingly compelling. 

Why This College?

“Why This College?” is one of the most common essay prompts, likely because schools want to understand whether you’d be a good fit and how you’d use their resources.

This essay is one of the more straightforward ones you’ll write for college applications, but you still can and should allow your voice to shine through.

Learn more about how to write the “Why This College?” essay in our guide.

Prompt: How will you explore your intellectual and academic interests at the University of Pennsylvania? Please answer this question given the specific undergraduate school to which you are applying (650 words).

Sister Simone Roach, a theorist of nursing ethics, said, “caring is the human mode of being.” I have long been inspired by Sister Roach’s Five C’s of Caring: commitment, conscience, competence, compassion, and confidence. Penn both embraces and fosters these values through a rigorous, interdisciplinary curriculum and unmatched access to service and volunteer opportunities.

COMMITMENT. Reading through the activities that Penn Quakers devote their time to (in addition to academics!) felt like drinking from a firehose in the best possible way. As a prospective nursing student with interests outside of my major, I value this level of flexibility. I plan to leverage Penn’s liberal arts curriculum to gain an in-depth understanding of the challenges LGBT people face, especially regarding healthcare access. Through courses like “Interactional Processes with LGBT Individuals” and volunteering at the Mazzoni Center for outreach, I hope to learn how to better support the Penn LGBT community as well as my family and friends, including my cousin, who came out as trans last year.

CONSCIENCE. As one of the first people in my family to attend a four-year university, I wanted a school that promoted a sense of moral responsibility among its students. At Penn, professors challenge their students to question and recreate their own set of morals by sparking thought- provoking, open-minded discussions. I can imagine myself advocating for universal healthcare in courses such as “Health Care Reform & Future of American Health System” and debating its merits with my peers. Studying in an environment where students confidently voice their opinions – conservative or liberal – will push me to question and strengthen my value system.

COMPETENCE. Two aspects that drew my attention to Penn’s BSN program were its high-quality research opportunities and hands-on nursing projects. Through its Office of Nursing Research, Penn connects students to faculty members who share similar research interests. As I volunteered at a nursing home in high school, I hope to work with Dr. Carthon to improve the quality of care for senior citizens. Seniors, especially minorities, face serious barriers to healthcare that I want to resolve. Additionally, Penn’s unique use of simulations to bridge the gap between classroom learning and real-world application impressed me. Using computerized manikins that mimic human responses, classes in Penn’s nursing program allow students to apply their emergency medical skills in a mass casualty simulation and monitor their actions afterward through a video system. Participating in this activity will help me identify my strengths and areas for improvement regarding crisis management and medical care in a controlled yet realistic setting. Research opportunities and simulations will develop my skills even before I interact with patients.

COMPASSION. I value giving back through community service, and I have a particular interest in Penn’s Community Champions and Nursing Students For Sexual & Reproductive Health (NSRH). As a four-year volunteer health educator, I hope to continue this work as a Community Champions member. I am excited to collaborate with medical students to teach fourth and fifth graders in the city about cardiology or lead a chair dance class for the elders at the LIFE Center. Furthermore, as a feminist who firmly believes in women’s abortion rights, I’d like to join NSRH in order to advocate for women’s health on campus. At Penn, I can work with like-minded people to make a meaningful difference.

CONFIDENCE. All of the Quakers that I have met possess one defining trait: confidence. Each student summarized their experiences at Penn as challenging but fulfilling. Although I expect my coursework to push me, from my conversations with current Quakers I know it will help me to be far more effective in my career.

The Five C’s of Caring are important heuristics for nursing, but they also provide insight into how I want to approach my time in college. I am eager to engage with these principles both as a nurse and as a Penn Quaker, and I can’t wait to start.

This prompt from Penn asks students to tailor their answer to their specific field of study. One great thing that this student does is identify their undergraduate school early, by mentioning “Sister Simone Roach, a theorist of nursing ethics.” You don’t want readers confused or searching through other parts of your application to figure out your major.

With a longer essay like this, it is important to establish structure. Some students organize their essay in a narrative form, using an anecdote from their past or predicting their future at a school. This student uses Roach’s 5 C’s of Caring as a framing device that organizes their essay around values. This works well!

While this essay occasionally loses voice, there are distinct moments where the student’s personality shines through. We see this with phrases like “felt like drinking from a fire hose in the best possible way” and “All of the Quakers that I have met possess one defining trait: confidence.” It is important to show off your personality to make your essay stand out. 

Finally, this student does a great job of referencing specific resources about Penn. It’s clear that they have done their research (they’ve even talked to current Quakers). They have dreams and ambitions that can only exist at Penn.

Prompt: What is it about Yale that has led you to apply? (125 words or fewer)

Coin collector and swimmer. Hungarian and Romanian. Critical and creative thinker. I was drawn to Yale because they don’t limit one’s mind with “or” but rather embrace unison with “and.” 

Wandering through the Beinecke Library, I prepare for my multidisciplinary Energy Studies capstone about the correlation between hedonism and climate change, making it my goal to find implications in environmental sociology. Under the tutelage of Assistant Professor Arielle Baskin-Sommers, I explore the emotional deficits of depression, utilizing neuroimaging to scrutinize my favorite branch of psychology: human perception. At Walden Peer Counseling, I integrate my peer support and active listening skills to foster an empathetic environment for the Yale community. Combining my interests in psychological and environmental studies is why I’m proud to be a Bulldog. 

This answer to the “Why This College” question is great because 1) the student shows their excitement about attending Yale 2) we learn the ways in which attending Yale will help them achieve their goals and 3) we learn their interests and identities.

In this response, you can find a prime example of the “Image of the Future” approach, as the student flashes forward and envisions their life at Yale, using present tense (“I explore,” “I integrate,” “I’m proud”). This approach is valuable if you are trying to emphasize your dedication to a specific school. Readers get the feeling that this student is constantly imagining themselves on campus—it feels like Yale really matters to them.

Starting this image with the Beinecke Library is great because the Beinecke Library only exists at Yale. It is important to tailor “Why This College” responses to each specific school. This student references a program of study, a professor, and an extracurricular that only exist at Yale. Additionally, they connect these unique resources to their interests—psychological and environmental studies.

Finally, we learn about the student (independent of academics) through this response. By the end of their 125 words, we know their hobbies, ethnicities, and social desires, in addition to their academic interests. It can be hard to tackle a 125-word response, but this student shows that it’s possible.

Why This Major?

The goal of this prompt is to understand how you came to be interested in your major and what you plan to do with it. For competitive programs like engineering, this essay helps admissions officers distinguish students who have a genuine passion and are most likely to succeed in the program. This is another more straightforward essay, but you do have a bit more freedom to include relevant anecdotes.

Learn more about how to write the “Why This Major?” essay in our guide.

Why Duke Engineering

Prompt: If you are applying to the Pratt School of Engineering as a first year applicant, please discuss why you want to study engineering and why you would like to study at Duke (250 words).

One Christmas morning, when I was nine, I opened a snap circuit set from my grandmother. Although I had always loved math and science, I didn’t realize my passion for engineering until I spent the rest of winter break creating different circuits to power various lights, alarms, and sensors. Even after I outgrew the toy, I kept the set in my bedroom at home and knew I wanted to study engineering. Later, in a high school biology class, I learned that engineering didn’t only apply to circuits, but also to medical devices that could improve people’s quality of life. Biomedical engineering allows me to pursue my academic passions and help people at the same time.

Just as biology and engineering interact in biomedical engineering, I am fascinated by interdisciplinary research in my chosen career path. Duke offers unmatched resources, such as DUhatch and The Foundry, that will enrich my engineering education and help me practice creative problem-solving skills. The emphasis on entrepreneurship within these resources will also help me to make a helpful product. Duke’s Bass Connections program also interests me; I firmly believe that the most creative and necessary problem-solving comes by bringing people together from different backgrounds. Through this program, I can use my engineering education to solve complicated societal problems such as creating sustainable surgical tools for low-income countries. Along the way, I can learn alongside experts in the field. Duke’s openness and collaborative culture span across its academic disciplines, making Duke the best place for me to grow both as an engineer and as a social advocate.

This prompt calls for a complex answer. Students must explain both why they want to study engineering and why Duke is the best place for them to study engineering.

This student begins with a nice hook—a simple anecdote about a simple present with profound consequences. They do not fluff up their anecdote with flowery images or emotionally-loaded language; it is what it is, and it is compelling and sweet. As their response continues, they express a particular interest in problem-solving. They position problem-solving as a fundamental part of their interest in engineering (and a fundamental part of their fascination with their childhood toy). This helps readers to learn about the student!

Problem-solving is also the avenue by which they introduce Duke’s resources—DUhatch, The Foundry, and Duke’s Bass Connections program. It is important to notice that the student explains how these resources can help them achieve their future goals—it is not enough to simply identify the resources!

This response is interesting and focused. It clearly answers the prompt, and it feels honest and authentic.

Why Georgia Tech CompSci

Prompt: Why do you want to study your chosen major specifically at Georgia Tech? (300 words max)

I held my breath and hit RUN. Yes! A plump white cat jumped out and began to catch the falling pizzas. Although my Fat Cat project seems simple now, it was the beginning of an enthusiastic passion for computer science. Four years and thousands of hours of programming later, that passion has grown into an intense desire to explore how computer science can serve society. Every day, surrounded by technology that can recognize my face and recommend scarily-specific ads, I’m reminded of Uncle Ben’s advice to a young Spiderman: “with great power comes great responsibility”. Likewise, the need to ensure digital equality has skyrocketed with AI’s far-reaching presence in society; and I believe that digital fairness starts with equality in education.

The unique use of threads at the College of Computing perfectly matches my interests in AI and its potential use in education; the path of combined threads on Intelligence and People gives me the rare opportunity to delve deep into both areas. I’m particularly intrigued by the rich sets of both knowledge-based and data-driven intelligence courses, as I believe AI should not only show correlation of events, but also provide insight for why they occur.

In my four years as an enthusiastic online English tutor, I’ve worked hard to help students overcome both financial and technological obstacles in hopes of bringing quality education to people from diverse backgrounds. For this reason, I’m extremely excited by the many courses in the People thread that focus on education and human-centered technology. I’d love to explore how to integrate AI technology into the teaching process to make education more available, affordable, and effective for people everywhere. And with the innumerable opportunities that Georgia Tech has to offer, I know that I will be able to go further here than anywhere else.

With a “Why This Major” essay, you want to avoid using all of your words to tell a story. That being said, stories are a great way to show your personality and make your essay stand out. This student’s story takes up only their first 21 words, but it positions the student as fun and funny and provides an endearing image of cats and pizzas—who doesn’t love cats and pizzas? There are other moments when the student’s personality shines through also, like the Spiderman reference.

While this pop culture reference adds color, it also is important for what the student is getting at: their passion. They want to go into computer science to address the issues of security and equity that are on the industry’s mind, and they acknowledge these concerns with their comments about “scarily-specific ads” and their statement that “the need to ensure digital equality has skyrocketed.” This student is self-aware and aware of the state of the industry. This aptitude will be appealing for admissions officers.

The conversation around “threads” is essential for this student’s response because the prompt asks specifically about the major at Georgia Tech and it is the only thing they reference that is specific to Georgia Tech. Threads are great, but this student would have benefitted from expanding on other opportunities specific to Georgia Tech later in the essay, instead of simply inserting “innumerable opportunities.”

Overall, this student shows personality, passion, and aptitude—precisely what admissions officers want to see!

Extracurricular Essay

You’re asked to describe your activities on the Common App, but chances are, you have at least one extracurricular that’s impacted you in a way you can’t explain in 150 characters.

This essay archetype allows you to share how your most important activity shaped you and how you might use those lessons learned in the future. You are definitely welcome to share anecdotes and use a narrative approach, but remember to include some reflection. A common mistake students make is to only describe the activity without sharing how it impacted them.

Learn more about how to write the Extracurricular Essay in our guide.

A Dedicated Musician

My fingers raced across the keys, rapidly striking one after another. My body swayed with the music as my hands raced across the piano. Crashing onto the final chord, it was over as quickly as it had begun. My shoulders relaxed and I couldn’t help but break into a satisfied grin. I had just played the Moonlight Sonata’s third movement, a longtime dream of mine. 

Four short months ago, though, I had considered it impossible. The piece’s tempo was impossibly fast, its notes stretching between each end of the piano, forcing me to reach farther than I had ever dared. It was 17 pages of the most fragile and intricate melodies I had ever encountered. 

But that summer, I found myself ready to take on the challenge. With the end of the school year, I was released from my commitment to practicing for band and solo performances. I was now free to determine my own musical path: either succeed in learning the piece, or let it defeat me for the third summer in a row. 

Over those few months, I spent countless hours practicing the same notes until they burned a permanent place in my memory, creating a soundtrack for even my dreams. Some would say I’ve mastered the piece, but as a musician I know better. Now that I can play it, I am eager to take the next step and add in layers of musicality and expression to make the once-impossible piece even more beautiful.

In this response, the student uses their extracurricular, piano, as a way to emphasize their positive qualities. At the beginning, readers are invited on a journey with the student where we feel their struggle, their intensity, and ultimately their satisfaction. With this descriptive image, we form a valuable connection with the student.

Then, we get to learn about what makes this student special: their dedication and work ethic. The fact that this student describes their desire to be productive during the summer shows an intensity that is appealing to admissions officers. Additionally, the growth mindset that this student emphasizes in their conclusion is appealing to admissions officers.

The Extracurricular Essay can be seen as an opportunity to characterize yourself. This student clearly identified their positive qualities, then used the Extracurricular Essay as a way to articulate them.

A Complicated Relationship with the School Newspaper

My school’s newspaper and I have a typical love-hate relationship; some days I want nothing more than to pass two hours writing and formatting articles, while on others the mere thought of student journalism makes me shiver. Still, as we’re entering our fourth year together, you could consider us relatively stable. We’ve learned to accept each other’s differences; at this point I’ve become comfortable spending an entire Friday night preparing for an upcoming issue, and I hardly even notice the snail-like speed of our computers. I’ve even benefitted from the polygamous nature of our relationship—with twelve other editors, there’s a lot of cooperation involved. Perverse as it may be, from that teamwork I’ve both gained some of my closest friends and improved my organizational and time-management skills. And though leaving it in the hands of new editors next year will be difficult, I know our time together has only better prepared me for future relationships.

This response is great. It’s cute and endearing and, importantly, tells readers a lot about the student who wrote it. Framing this essay in the context of a “love-hate relationship,” then supplementing with comments like “We’ve learned to accept each other’s differences” allows this student to advertise their maturity in a unique and engaging way. 

While Extracurricular Essays can be a place to show how you’ve grown within an activity, they can also be a place to show how you’ve grown through an activity. At the end of this essay, readers think that this student is mature and enjoyable, and we think that their experience with the school newspaper helped make them that way.

Participating in Democracy

Prompt: Research shows that an ability to learn from experiences outside the classroom correlates with success in college. What was your greatest learning experience over the past 4 years that took place outside of the traditional classroom? (250 words) 

The cool, white halls of the Rayburn House office building contrasted with the bustling energy of interns entertaining tourists, staffers rushing to cover committee meetings, and my fellow conference attendees separating to meet with our respective congresspeople. Through civics and US history classes, I had learned about our government, but simply hearing the legislative process outlined didn’t prepare me to navigate it. It was my first political conference, and, after learning about congressional mechanics during breakout sessions, I was lobbying my representative about an upcoming vote crucial to the US-Middle East relationship. As the daughter of Iranian immigrants, my whole life had led me to the moment when I could speak on behalf of the family members who had not emigrated with my parents.

As I sat down with my congresswoman’s chief of staff, I truly felt like a participant in democracy; I was exercising my right to be heard as a young American. Through this educational conference, I developed a plan of action to raise my voice. When I returned home, I signed up to volunteer with the state chapter of the Democratic Party. I sponsored letter-writing campaigns, canvassed for local elections, and even pursued an internship with a state senate campaign. I know that I don’t need to be old enough to vote to effect change. Most importantly, I also know that I want to study government—I want to make a difference for my communities in the United States and the Middle East throughout my career. 

While this prompt is about extracurricular activities, it specifically references the idea that the extracurricular should support the curricular. It is focused on experiential learning for future career success. This student wants to study government, so they chose to describe an experience of hands-on learning within their field—an apt choice!

As this student discusses their extracurricular experience, they also clue readers into their future goals—they want to help Middle Eastern communities. Admissions officers love when students mention concrete plans with a solid foundation. Here, the foundation comes from this student’s ethnicity. With lines like “my whole life had led me to the moment when I could speak on behalf of the family members who had not emigrated with my parents,” the student assures admissions officers of their emotional connection to their future field.

The strength of this essay comes from its connections. It connects the student’s extracurricular activity to their studies and connects theirs studies to their personal history.

Overcoming Challenges

You’re going to face a lot of setbacks in college, so admissions officers want to make you’re you have the resilience and resolve to overcome them. This essay is your chance to be vulnerable and connect to admissions officers on an emotional level.

Learn more about how to write the Overcoming Challenges Essay in our guide.

The Student Becomes the Master

”Advanced females ages 13 to 14 please proceed to staging with your coaches at this time.” Skittering around the room, eyes wide and pleading, I frantically explained my situation to nearby coaches. The seconds ticked away in my head; every polite refusal increased my desperation.

Despair weighed me down. I sank to my knees as a stream of competitors, coaches, and officials flowed around me. My dojang had no coach, and the tournament rules prohibited me from competing without one.

Although I wanted to remain strong, doubts began to cloud my mind. I could not help wondering: what was the point of perfecting my skills if I would never even compete? The other members of my team, who had found coaches minutes earlier, attempted to comfort me, but I barely heard their words. They couldn’t understand my despair at being left on the outside, and I never wanted them to understand.

Since my first lesson 12 years ago, the members of my dojang have become family. I have watched them grow up, finding my own happiness in theirs. Together, we have honed our kicks, blocks, and strikes. We have pushed one another to aim higher and become better martial artists. Although my dojang had searched for a reliable coach for years, we had not found one. When we attended competitions in the past, my teammates and I had always gotten lucky and found a sympathetic coach. Now, I knew this practice was unsustainable. It would devastate me to see the other members of my dojang in my situation, unable to compete and losing hope as a result. My dojang needed a coach, and I decided it was up to me to find one. 

I first approached the adults in the dojang – both instructors and members’ parents. However, these attempts only reacquainted me with polite refusals. Everyone I asked told me they couldn’t devote multiple weekends per year to competitions. I soon realized that I would have become the coach myself.

At first, the inner workings of tournaments were a mystery to me. To prepare myself for success as a coach, I spent the next year as an official and took coaching classes on the side. I learned everything from motivational strategies to technical, behind-the-scenes components of Taekwondo competitions. Though I emerged with new knowledge and confidence in my capabilities, others did not share this faith.

Parents threw me disbelieving looks when they learned that their children’s coach was only a child herself. My self-confidence was my armor, deflecting their surly glances. Every armor is penetrable, however, and as the relentless barrage of doubts pounded my resilience, it began to wear down. I grew unsure of my own abilities.

Despite the attack, I refused to give up. When I saw the shining eyes of the youngest students preparing for their first competition, I knew I couldn’t let them down. To quit would be to set them up to be barred from competing like I was. The knowledge that I could solve my dojang’s longtime problem motivated me to overcome my apprehension.

Now that my dojang flourishes at competitions, the attacks on me have weakened, but not ended. I may never win the approval of every parent; at times, I am still tormented by doubts, but I find solace in the fact that members of my dojang now only worry about competing to the best of their abilities.

Now, as I arrive at a tournament with my students, I close my eyes and remember the past. I visualize the frantic search for a coach and the chaos amongst my teammates as we competed with one another to find coaches before the staging calls for our respective divisions. I open my eyes to the exact opposite scene. Lacking a coach hurt my ability to compete, but I am proud to know that no member of my dojang will have to face that problem again.

This essay is great because it has a strong introduction and conclusion. The introduction is notably suspenseful and draws readers into the story. Because we know it is a college essay, we can assume that the student is one of the competitors, but at the same time, this introduction feels intentionally ambiguous as if the writer could be a competitor, a coach, a sibling of a competitor, or anyone else in the situation.

As we continue reading the essay, we learn that the writer is, in fact, the competitor. Readers also learn a lot about the student’s values as we hear their thoughts: “I knew I couldn’t let them down. To quit would be to set them up to be barred from competing like I was.” Ultimately, the conflict and inner and outer turmoil is resolved through the “Same, but Different” ending technique as the student places themself in the same environment that we saw in the intro, but experiencing it differently due to their actions throughout the narrative. This is a very compelling strategy!

Growing Sensitivity to Struggles

Prompt: The lessons we take from failure can be fundamental to later success. Recount an incident or time when you experienced failure. How did it affect you, and what did you learn from the experience? (650 words)

“You ruined my life!” After months of quiet anger, my brother finally confronted me. To my shame, I had been appallingly ignorant of his pain.

Despite being twins, Max and I are profoundly different. Having intellectual interests from a young age that, well, interested very few of my peers, I often felt out of step in comparison with my highly-social brother. Everything appeared to come effortlessly for Max and, while we share an extremely tight bond, his frequent time away with friends left me feeling more and more alone as we grew older.

When my parents learned about The Green Academy, we hoped it would be an opportunity for me to find not only an academically challenging environment, but also – perhaps more importantly – a community. This meant transferring the family from Drumfield to Kingston. And while there was concern about Max, we all believed that given his sociable nature, moving would be far less impactful on him than staying put might be on me.

As it turned out, Green Academy was everything I’d hoped for. I was ecstatic to discover a group of students with whom I shared interests and could truly engage. Preoccupied with new friends and a rigorous course load, I failed to notice that the tables had turned. Max, lost in the fray and grappling with how to make connections in his enormous new high school, had become withdrawn and lonely. It took me until Christmas time – and a massive argument – to recognize how difficult the transition had been for my brother, let alone that he blamed me for it.

Through my own journey of searching for academic peers, in addition to coming out as gay when I was 12, I had developed deep empathy for those who had trouble fitting in. It was a pain I knew well and could easily relate to. Yet after Max’s outburst, my first response was to protest that our parents – not I – had chosen to move us here. In my heart, though, I knew that regardless of who had made the decision, we ended up in Kingston for my benefit. I was ashamed that, while I saw myself as genuinely compassionate, I had been oblivious to the heartache of the person closest to me. I could no longer ignore it – and I didn’t want to.

We stayed up half the night talking, and the conversation took an unexpected turn. Max opened up and shared that it wasn’t just about the move. He told me how challenging school had always been for him, due to his dyslexia, and that the ever-present comparison to me had only deepened his pain.

We had been in parallel battles the whole time and, yet, I only saw that Max was in distress once he experienced problems with which I directly identified. I’d long thought Max had it so easy – all because he had friends. The truth was, he didn’t need to experience my personal brand of sorrow in order for me to relate – he had felt plenty of his own.

My failure to recognize Max’s suffering brought home for me the profound universality and diversity of personal struggle; everyone has insecurities, everyone has woes, and everyone – most certainly – has pain. I am acutely grateful for the conversations he and I shared around all of this, because I believe our relationship has been fundamentally strengthened by a deeper understanding of one another. Further, this experience has reinforced the value of constantly striving for deeper sensitivity to the hidden struggles of those around me. I won’t make the mistake again of assuming that the surface of someone’s life reflects their underlying story.

Here you can find a prime example that you don’t have to have fabulous imagery or flowery prose to write a successful essay. You just have to be clear and say something that matters. This essay is simple and beautiful. It almost feels like having a conversation with a friend and learning that they are an even better person than you already thought they were.

Through this narrative, readers learn a lot about the writer—where they’re from, what their family life is like, what their challenges were as a kid, and even their sexuality. We also learn a lot about their values—notably, the value they place on awareness, improvement, and consideration of others. Though they never explicitly state it (which is great because it is still crystal clear!), this student’s ending of “I won’t make the mistake again of assuming that the surface of someone’s life reflects their underlying story” shows that they are constantly striving for improvement and finding lessons anywhere they can get them in life.

Community Service/Impact on the Community

Colleges want students who will positively impact the campus community and go on to make change in the world after they graduate. This essay is similar to the Extracurricular Essay, but you need to focus on a situation where you impacted others. 

Learn more about how to write the Community Service Essay in our guide.

Academic Signing Day

Prompt: What have you done to make your school or your community a better place?

The scent of eucalyptus caressed my nose in a gentle breeze. Spring had arrived. Senior class activities were here. As a sophomore, I noticed a difference between athletic and academic seniors at my high school; one received recognition while the other received silence. I wanted to create an event celebrating students academically-committed to four-years, community colleges, trades schools, and military programs. This event was Academic Signing Day.

The leadership label, “Events Coordinator,” felt heavy on my introverted mind. I usually was setting up for rallies and spirit weeks, being overlooked around the exuberant nature of my peers. 

I knew a change of mind was needed; I designed flyers, painted posters, presented powerpoints, created student-led committees, and practiced countless hours for my introductory speech. Each committee would play a vital role on event day: one dedicated to refreshments, another to technology, and one for decorations. The fourth-month planning was a laborious joy, but I was still fearful of being in the spotlight. Being acknowledged by hundreds of people was new to me.     

The day was here. Parents filled the stands of the multi-purpose room. The atmosphere was tense; I could feel the angst building in my throat, worried about the impression I would leave. Applause followed each of the 400 students as they walked to their college table, indicating my time to speak. 

I walked up to the stand, hands clammy, expression tranquil, my words echoing to the audience. I thought my speech would be met by the sounds of crickets; instead, smiles lit up the stands, realizing my voice shone through my actions. I was finally coming out of my shell. The floor was met by confetti as I was met by the sincerity of staff, students, and parents, solidifying the event for years to come. 

Academic students were no longer overshadowed. Their accomplishments were equally recognized to their athletic counterparts. The school culture of athletics over academics was no longer imbalanced. Now, every time I smell eucalyptus, it is a friendly reminder that on Academic Signing Day, not only were academic students in the spotlight but so was my voice.

This essay answers the prompt nicely because the student describes a contribution with a lasting legacy. Academic Signing Day will affect this high school in the future and it affected this student’s self-development—an idea summed up nicely with their last phrase “not only were academic students in the spotlight but so was my voice.”

With Community Service essays, students sometimes take small contributions and stretch them. And, oftentimes, the stretch is very obvious. Here, the student shows us that Academic Signing Day actually mattered by mentioning four months of planning and hundreds of students and parents. They also make their involvement in Academic Signing Day clear—it was their idea and they were in charge, and that’s why they gave the introductory speech.

Use this response as an example of the type of focused contribution that makes for a convincing Community Service Essay.

Climate Change Rally

Prompt: What would you say is your greatest talent or skill? How have you developed and demonstrated that talent over time? (technically not community service, but the response works)

Let’s fast-forward time. Strides were made toward racial equality. Healthcare is accessible to all; however, one issue remains. Our aquatic ecosystems are parched with dead coral from ocean acidification. Climate change has prevailed.

Rewind to the present day.

My activism skills are how I express my concerns for the environment. Whether I play on sandy beaches or rest under forest treetops, nature offers me an escape from the haste of the world. When my body is met by trash in the ocean or my nose is met by harmful pollutants, Earth’s pain becomes my own. 

Substituting coffee grinds as fertilizer, using bamboo straws, starting my sustainable garden, my individual actions needed to reach a larger scale. I often found performative activism to be ineffective when communicating climate concerns. My days of reposting awareness graphics on social media never filled the ambition I had left to put my activism skills to greater use. I decided to share my ecocentric worldview with a coalition of environmentalists and host a climate change rally outside my high school.

Meetings were scheduled where I informed students about the unseen impact they have on the oceans and local habitual communities. My fingers were cramped from all the constant typing and investigating of micro causes of the Pacific Waste Patch, creating reusable flyers, displaying steps people could take from home in reducing their carbon footprint. I aided my fellow environmentalists in translating these flyers into other languages, repeating this process hourly, for five days, up until rally day.  

It was 7:00 AM. The faces of 100 students were shouting, “The climate is changing, why can’t we?” I proudly walked on the dewy grass, grabbing the microphone, repeating those same words. The rally not only taught me efficient methods of communication but it echoed my environmental activism to the masses. The City of Corona would be the first of many cities to see my activism, as more rallies were planned for various parts of SoCal. My once unfulfilled ambition was fueled by my tangible activism, understanding that it takes more than one person to make an environmental impact.

Like with the last example, this student describes a focused event with a lasting legacy. That’s a perfect place to start! By the end of this essay, we have an image of the cause of this student’s passion and the effect of this student’s passion. There are no unanswered questions.

This student supplements their focused topic with engaging and exciting writing to make for an easy-to-read and enjoyable essay. One of the largest strengths of this response is its pace. From the very beginning, we are invited to “fast-forward” and “rewind” with the writer. Then, after we center ourselves in real-time, this writer keeps their quick pace with sentences like “Substituting coffee grounds as fertilizer, using bamboo straws, starting my sustainable garden, my individual actions needed to reach a larger scale.” Community Service essays run the risk of turning boring, but this unique pacing keeps things interesting.

Having a diverse class provides a richness of different perspectives and encourages open-mindedness among the student body. The Diversity Essay is also somewhat similar to the Extracurricular and Community Service Essays, but it focuses more on what you might bring to the campus community because of your unique experiences or identities.

Learn more about how to write the Diversity Essay in our guide.

A Story of a Young Skater

​​“Everyone follow me!” I smiled at five wide-eyed skaters before pushing off into a spiral. I glanced behind me hopefully, only to see my students standing frozen like statues, the fear in their eyes as clear as the ice they swayed on. “Come on!” I said encouragingly, but the only response I elicited was the slow shake of their heads. My first day as a Learn-to-Skate coach was not going as planned. 

But amid my frustration, I was struck by how much my students reminded me of myself as a young skater. At seven, I had been fascinated by Olympic performers who executed thrilling high jumps and dizzying spins with apparent ease, and I dreamed to one day do the same. My first few months on skates, however, sent these hopes crashing down: my attempts at slaloms and toe-loops were shadowed by a stubborn fear of falling, which even the helmet, elbow pads, and two pairs of mittens I had armed myself with couldn’t mitigate. Nonetheless, my coach remained unfailingly optimistic, motivating me through my worst spills and teaching me to find opportunities in failures. With his encouragement, I learned to push aside my fears and attack each jump with calm and confidence; it’s the hope that I can help others do the same that now inspires me to coach.

I remember the day a frustrated staff member directed Oliver, a particularly hesitant young skater, toward me, hoping that my patience and steady encouragement might help him improve. Having stood in Oliver’s skates not much earlier myself, I completely empathized with his worries but also saw within him the potential to overcome his fears and succeed. 

To alleviate his anxiety, I held Oliver’s hand as we inched around the rink, cheering him on at every turn. I soon found though, that this only increased his fear of gliding on his own, so I changed my approach, making lessons as exciting as possible in hopes that he would catch the skating bug and take off. In the weeks that followed, we held relay races, played “freeze-skate” and “ice-potato”, and raced through obstacle courses; gradually, with each slip and subsequent success, his fear began to abate. I watched Oliver’s eyes widen in excitement with every skill he learned, and not long after, he earned his first skating badge. Together we celebrated this milestone, his ecstasy fueling my excitement and his pride mirroring my own. At that moment, I was both teacher and student, his progress instilling in me the importance of patience and a positive attitude. 

It’s been more than ten years since I bundled up and stepped onto the ice for the first time. Since then, my tolerance for the cold has remained stubbornly low, but the rest of me has certainly changed. In sharing my passion for skating, I have found a wonderful community of eager athletes, loving parents, and dedicated coaches from whom I have learned invaluable lessons and wisdom. My fellow staffers have been with me, both as friends and colleagues, and the relationships I’ve formed have given me far more poise, confidence, and appreciation for others. Likewise, my relationships with parents have given me an even greater gratitude for the role they play: no one goes to the rink without a parent behind the wheel! 

Since that first lesson, I have mentored dozens of children, and over the years, witnessed tentative steps transform into powerful glides and tears give way to delighted grins. What I have shared with my students has been among the greatest joys of my life, something I will cherish forever. It’s funny: when I began skating, what pushed me through the early morning practices was the prospect of winning an Olympic medal. Now, what excites me is the chance to work with my students, to help them grow, and to give back to the sport that has brought me so much happiness. 

This response is a great example of how Diversity doesn’t have to mean race, gender, sexuality, ethnicity, age, or ability. Diversity can mean whatever you want it to mean—whatever unique experience(s) you have to bring to the table!

A major strength of this essay comes in its narrative organization. When reading this first paragraph, we feel for the young skaters and understand their fear—skating sounds scary! Then, because the writer sets us up to feel this empathy, the transition to the second paragraph where the student describes their empathy for the young skaters is particularly powerful. It’s like we are all in it together! The student’s empathy for the young skaters also serves as an outstanding, seamless transition to the applicant discussing their personal journey with skating: “I was struck by how much my students reminded me of myself as a young skater.”

This essay positions the applicant as a grounded and caring individual. They are caring towards the young skaters—changing their teaching style to try to help the young skaters and feeling the young skaters’ emotions with them—but they are also appreciative to those who helped them as they reference their fellow staffers and parents. This shows great maturity—a favorable quality in the eyes of an admissions officer.

At the end of the essay, we know a lot about this student and are convinced that they would be a good addition to a college campus!

Finding Community in the Rainforest

Prompt: Duke University seeks a talented, engaged student body that embodies the wide range of human experience; we believe that the diversity of our students makes our community stronger. If you’d like to share a perspective you bring or experiences you’ve had to help us understand you better—perhaps related to a community you belong to, your sexual orientation or gender identity, or your family or cultural background—we encourage you to do so. Real people are reading your application, and we want to do our best to understand and appreciate the real people applying to Duke (250 words).

I never understood the power of community until I left home to join seven strangers in the Ecuadorian rainforest. Although we flew in from distant corners of the U.S., we shared a common purpose: immersing ourselves in our passion for protecting the natural world.

Back home in my predominantly conservative suburb, my neighbors had brushed off environmental concerns. My classmates debated the feasibility of Trump’s wall, not the deteriorating state of our planet. Contrastingly, these seven strangers delighted in bird-watching, brightened at the mention of medicinal tree sap, and understood why I once ran across a four-lane highway to retrieve discarded beer cans. Their histories barely resembled mine, yet our values aligned intimately. We did not hesitate to joke about bullet ants, gush about the versatility of tree bark, or discuss the destructive consequences of materialism. Together, we let our inner tree huggers run free.

In the short life of our little community, we did what we thought was impossible. By feeding on each other’s infectious tenacity, we cultivated an atmosphere that deepened our commitment to our values and empowered us to speak out on behalf of the environment. After a week of stimulating conversations and introspective revelations about engaging people from our hometowns in environmental advocacy, we developed a shared determination to devote our lives to this cause.

As we shared a goodbye hug, my new friend whispered, “The world needs saving. Someone’s gotta do it.” For the first time, I believed that someone could be me.

This response is so wholesome and relatable. We all have things that we just need to geek out over and this student expresses the joy that came when they found a community where they could geek out about the environment. Passion is fundamental to university life and should find its way into successful applications.

Like the last response, this essay finds strength in the fact that readers feel for the student. We get a little bit of backstory about where they come from and how they felt silenced—“Back home in my predominantly conservative suburb, my neighbors had brushed off environmental concerns”—, so it’s easy to feel joy for them when they get set free.

This student displays clear values: community, ecoconsciousness, dedication, and compassion. An admissions officer who reads Diversity essays is looking for students with strong values and a desire to contribute to a university community—sounds like this student!  

Political/Global Issues

Colleges want to build engaged citizens, and the Political/Global Issues Essay allows them to better understand what you care about and whether your values align with theirs. In this essay, you’re most commonly asked to describe an issue, why you care about it, and what you’ve done or hope to do to address it. 

Learn more about how to write the Political/Global Issues Essay in our guide.

Note: this prompt is not a typical political/global issues essay, but the essay itself would be a strong response to a political/global issues prompt.

Fighting Violence Against Women

Prompt: Using a favorite quotation from an essay or book you have read in the last three years as a starting point, tell us about an event or experience that helped you define one of your values or changed how you approach the world. Please write the quotation, title and author at the beginning of your essay. (250-650 words)

“One of the great challenges of our time is that the disparities we face today have more complex causes and point less straightforwardly to solutions.” 

– Omar Wasow, assistant professor of politics, Princeton University. This quote is taken from Professor Wasow’s January 2014 speech at the Martin Luther King Day celebration at Princeton University. 

The air is crisp and cool, nipping at my ears as I walk under a curtain of darkness that drapes over the sky, starless. It is a Friday night in downtown Corpus Christi, a rare moment of peace in my home city filled with the laughter of strangers and colorful lights of street vendors. But I cannot focus. 

My feet stride quickly down the sidewalk, my hand grasps on to the pepper spray my parents gifted me for my sixteenth birthday. My eyes ignore the surrounding city life, focusing instead on a pair of tall figures walking in my direction. I mentally ask myself if they turned with me on the last street corner. I do not remember, so I pick up the pace again. All the while, my mind runs over stories of young women being assaulted, kidnapped, and raped on the street. I remember my mother’s voice reminding me to keep my chin up, back straight, eyes and ears alert. 

At a young age, I learned that harassment is a part of daily life for women. I fell victim to period-shaming when I was thirteen, received my first catcall when I was fourteen, and was nonconsensually grabbed by a man soliciting on the street when I was fifteen. For women, assault does not just happen to us— its gory details leave an imprint in our lives, infecting the way we perceive the world. And while movements such as the Women’s March and #MeToo have given victims of sexual violence a voice, harassment still manifests itself in the lives of millions of women across the nation. Symbolic gestures are important in spreading awareness but, upon learning that a surprising number of men are oblivious to the frequent harassment that women experience, I now realize that addressing this complex issue requires a deeper level of activism within our local communities. 

Frustrated with incessant cases of harassment against women, I understood at sixteen years old that change necessitates action. During my junior year, I became an intern with a judge whose campaign for office focused on a need for domestic violence reform. This experience enabled me to engage in constructive dialogue with middle and high school students on how to prevent domestic violence. As I listened to young men uneasily admit their ignorance and young women bravely share their experiences in an effort to spread awareness, I learned that breaking down systems of inequity requires changing an entire culture. I once believed that the problem of harassment would dissipate after politicians and celebrities denounce inappropriate behavior to their global audience. But today, I see that effecting large-scale change comes from the “small” lessons we teach at home and in schools. Concerning women’s empowerment, the effects of Hollywood activism do not trickle down enough. Activism must also trickle up and it depends on our willingness to fight complacency. 

Finding the solution to the long-lasting problem of violence against women is a work-in-progress, but it is a process that is persistently moving. In my life, for every uncomfortable conversation that I bridge, I make the world a bit more sensitive to the unspoken struggle that it is to be a woman. I am no longer passively waiting for others to let me live in a world where I can stand alone under the expanse of darkness on a city street, utterly alone and at peace. I, too, deserve the night sky.

As this student addresses an important social issue, she makes the reasons for her passion clear—personal experiences. Because she begins with an extended anecdote, readers are able to feel connected to the student and become invested in what she has to say.

Additionally, through her powerful ending—“I, too, deserve the night sky”—which connects back to her beginning— “as I walk under a curtain of darkness that drapes over the sky”—this student illustrates a mastery of language. Her engagement with other writing techniques that further her argument, like the emphasis on time—“gifted to me for my sixteenth birthday,” “when I was thirteen,” “when I was fourteen,” etc.—also illustrates her mastery of language.

While this student proves herself a good writer, she also positions herself as motivated and ambitious. She turns her passions into action and fights for them. That is just what admissions officers want to see in a Political/Global issues essay!

Where to Get Feedback on Your College Essays

Once you’ve written your college essays, you’ll want to get feedback on them. Since these essays are important to your chances of acceptance, you should prepare to go through several rounds of edits. 

Not sure who to ask for feedback? That’s why we created our free Peer Essay Review resource. You can get comments from another student going through the process and also edit other students’ essays to improve your own writing. 

If you want a college admissions expert to review your essay, advisors on CollegeVine have helped students refine their writing and submit successful applications to top schools.  Find the right advisor for you  to improve your chances of getting into your dream school!

Related CollegeVine Blog Posts

Sample Essays

The breadth of Georgetown’s core curriculum means that students are required to write for a wide variety of academic disciplines. Below, we provide some student samples that exhibit the key features the most popular genres. When reading through these essays, we recommend paying attention to their 

1. Structure (How many paragraphs are there? Does the author use headers?) 

2. Argument (Is the author pointing out a problem, and/or proposing a solution?) 

3. Content (Does the argument principally rely on facts, theory, or logic?) and 

4. Style (Does the writer use first person? What is the relationship with the audience?)

Philosophy Paper

• Singer on the Moral Status of Animals

Theology Paper

• Problem of God
• Jewish Civilization
• Sacred Space and Time
• Phenolphthalein in Alkaline Solution

History Paper

• World History

Literature Review

Comparative Analysis 

Policy Brief

• Vaccine Manufacturing

White Paper

Critical Analysis

• Ignatius Seminar

Harvard University Essay Examples (And Why They Worked)

The following essay examples were written by several different authors who were admitted to Harvard University and are intended to provide examples of successful Harvard University application essays. All names have been redacted for anonymity. Please note that Bullseye Admissions has shared these essays with admissions officers at Harvard University in order to deter potential plagiarism.

For more help with your Harvard supplemental essays, check out our 2020-2021 Harvard University Essay Guide ! For more guidance on personal essays and the college application process in general, sign up for a monthly plan to work with an admissions coach 1-on-1.

Please briefly elaborate on one of your extracurricular activities or work experiences. (50-150 words)

Feet moving, eyes up, every shot back, chants the silent mantra in my head. The ball becomes a beacon of neon green as I dart forward and backward, shuffling from corner to far corner of the court, determined not to let a single point escape me. With bated breath, I swing my racquet upwards and outwards and it catches the ball just in time to propel it, spinning, over the net. My heart soars as my grinning teammates cheer from the sidelines.

While I greatly value the endurance, tenacity, and persistence that I have developed while playing tennis throughout the last four years, I will always most cherish the bonds that I have created and maintained each year with my team.

Why this Harvard essay worked: From an ex-admissions officer

When responding to short essays or supplements, it can be difficult to know which info to include or omit. In this essay, the writer wastes no time and immediately captivates the reader. Not only are the descriptions vivid and compelling, but the second portion highlights what the writer gained from this activity. As an admissions officer, I learned about the student’s level of commitment, leadership abilities, resiliency, ability to cooperate with others, and writing abilities in 150 words.

I founded Teen Court at [High School Name Redacted] with my older brother in 2016. Teen Court is a unique collaboration with the Los Angeles Superior Court and Probation Department, trying real first-time juvenile offenders from all over Los Angeles in a courtroom setting with teen jurors. Teen Court’s foundational principle is restorative justice: we seek to rehabilitate at-risk minors rather than simply punish them. My work provides my peers the opportunity to learn about the justice system. I put in over fifty hours just as Secretary logging court attendance, and now as President, I mentor Teen Court attendees. My goal is to improve their empathy and courage in public speaking, and to expand their world view. People routinely tell me their experience with Teen Court has inspired them to explore law, and I know the effort I devoted bringing this club to [High School Name Redacted] was well worth it.

This writer discussed a passion project with a long-lasting impact. As admissions officers, we realize that post-secondary education will likely change the trajectory of your life. We hope that your education will also inspire you to change the trajectory of someone else’s life as well. This writer developed an organization that will have far-reaching impacts for both the juvenile offenders and the attendees. They saw the need for this service and initiated a program to improve their community. College Admissions Quiz: If you’re planning on applying to Harvard, you’ll want to be as prepared as possible. Take our quiz below to put your college admissions knowledge to the test!

Harvard University Supplemental Essay Option: Books Read During the Last Twelve Months

Reading Frankenstein in ninth grade changed my relationship to classic literature. In Frankenstein , I found characters and issues that resonate in a modern context, and I began to explore the literary canon outside of the classroom. During tenth grade, I picked up Jane Eyre and fell in love with the novel’s non-traditional heroine whose agency and cleverness far surpassed anything that I would have imagined coming from the 19th century. I have read the books listed below in the past year.

• Chimamanda Ngozi Adichie, Purple Hibiscus *
• Aravind Adiga, The White Tiger *
• Jane Austen, Sense and Sensibility
• Aphra Behn, The Fair Jilt ♰
• Mongo Beti, Mission Terminée * (in French)
• Kate Chopin, The Awakening
• Arthur Conan-Doyle, A Study in Scarlet
• Kamel Daoud, Meursault, contre-enquête * (in French)
• Roddy Doyle, A Star Called Henry *
• Mircea Eliade, The Sacred and the Profane *
• Ralph Ellison, Invisible Man
• William Faulkner, As I Lay Dying *
• Gustave Flaubert, Madame Bovary
• E. M. Forster, Maurice
• E. M. Forster, A Passage to India
• E. M. Forster, Where Angels Fear to Tread
• Eliza Haywood, The City Jilt ♰
• Homer, The Iliad
• Christopher Isherwood, All The Conspirators
• Christopher Isherwood, A Meeting by the River
• Christopher Isherwood, Sally Bowles
• Christopher Isherwood, A Single Man
• Shirley Jackson, We Have Always Lived in the Castle
• James Joyce, Portrait of the Artist as a Young Man
• Franz Kafka, The Metamorphosis
• Franz Kafka, The Trial
• Jhumpa Lahiri, Interpreter of Maladies *
• Morrissey, Autobiography
• Rudolph Otto, The Idea of the Holy *
• Boris Pasternak, Doctor Zhivago
• Charlotte Perkins-Gilman, Herland
• Marcel Proust, Swann’s Way
• Marcel Proust, Within a Budding Grove
• Mary Renault, Fire From Heaven
• Mary Renault, The Friendly Young Ladies
• Mary Renault, The King Must Die
• Mary Renault, The Persian Boy
• J. K. Rowling, Harry Potter and the Cursed Child
• Antoine de Saint-Exupéry, Terre des hommes * (in French)
• Shakespeare, Hamlet *
• Mary Shelley, The Last Man
• Tom Stoppard, Rosencrantz and Guildenstern Are Dead *
• Kurt Vonnegut, Breakfast of Champions
• Kurt Vonnegut, The Sirens of Titan
• Evelyn Waugh, Brideshead Revisited
• Evelyn Waugh, Scoop
• Evelyn Waugh, Vile Bodies
• Jeanette Winterson, The Passion
• Mary Wollstonecraft, Mary: A Fiction ♰
• Mary Wollstonecraft, Vindication of the Rights of Woman ♰
• Virginia Woolf, A Haunted House and Other Stories
• * indicates assigned reading
• ♰ indicates independent study reading

Harvard University Supplemental Essay Option: What would you want your future college roommate to know about you? (No word limit)

Hi Roomie!!!!

You probably have noticed that I put four exclamation points. Yes, I am that excited to meet you, roomie!

Also, I don’t believe in the Rule of Three. It’s completely unfair that three is always the most commonly used number. Am I biased in my feelings because four is my favorite number? Perhaps. However, you have to admit that our reason for the Rule of Three is kinda arbitrary. The Rule of Three states that a trio of events is more effective and satisfying than any other numbers. Still, the human psyche is easily manipulated through socially constructed perceptions such as beauty standards and gender roles. Is having three of everything actually influential or is it only influential because society says so? Hmm, it’s interesting to think about it, isn’t it?

But if you’re an avid follower of the Rule of three, don’t worry, I won’t judge. In fact, if there’s one thing I can promise you I will never do, it’s being judgmental. Life is too short to go around judging people. Besides, judgments are always based on socially constructed beliefs. With so many backgrounds present on campus, it really would be unfair if we start going around judging people based on our own limited beliefs. My personal philosophy is “Mind your own business and let people be,” So, if you have a quirk that you’re worrying is too “weird” and are afraid your roommate might be too judgy, rest assured, I won’t be.

In fact, thanks to my non-judginess, I am an excellent listener. If you ever need to rant with someone about stressful classes, harsh gradings, or the new ridiculous plot twists of your favorite TV show (*cough* Riverdale), I am always available.

Now, I know what you are thinking. A non-judgmental and open-minded roommate? This sounds too good to be true. This girl’s probably a secret villain waiting to hear all my deepest and darkest secrets and blackmail me with them!

Well, I promise you. I am not a secret villain. I am just someone who knows how important it is to be listened to and understood.

I grew up under the communist regime of Vietnam, where freedom of speech and thought was heavily suppressed. Since childhood, I was taught to keep my opinion to myself, especially if it is contradictory to the government’s. No matter how strongly I felt about an issue, I could never voice my true opinion nor do anything about it. Or else, my family and I would face oppression from the Vietnamese government.

After immigrating to America, I have made it my mission to fight for human rights and justice. Back in Vietnam, I have let fear keep me from doing the right thing. Now, in the land of freedom, I won’t use that excuse anymore. I can finally be myself and fight for what I believe in. However, I can still remember how suffocating it was to keep my beliefs bottled up and to be silenced. Trust me, a conversation may not seem much, but it can do wonders. So, if you ever need a listener, know that I am right here.

See, I just shared with you a deep secret of mine. What secret villain would do that?

See ya soon!!!!!

[Name redacted] : )

P/S: I really love writing postscripts. So, I hope you won’t find it weird when I always end my emails, letters, and even texts with a P/S. Bye for real this time!!!!!

Harvard University Supplemental Essay Option: Unusual circumstances in your life

I would like the Harvard Admissions Committee to know that my life circumstances are far from typical. I was born at twenty-four weeks gestation, which eighteen years ago was on the cusp of viability. Even if I was born today, under those same circumstances, my prospects for leading a normal life would be grim. Eighteen years ago, those odds were worse, and I was given a less than 5% chance of survival without suffering major cognitive and physical deficits.

The first six months of my life were spent in a large neonatal ICU in Canada. I spent most of that time in an incubator, kept breathing by a ventilator. When I was finally discharged home, it was with a feeding tube and oxygen, and it would be several more months before I was able to survive without the extra tubes connected to me. At the age of two, I was still unable to walk. I engaged in every conventional and non-conventional therapy available to me, including physical and speech therapy, massage therapy, gymnastics, and several nutritional plans, to try to remedy this. Slowly, I began to make progress in what would be a long and arduous journey towards recovery.

Some of my earliest childhood memories are of repeated, often unsuccessful attempts to grip a large-diameter crayon since I was unable to hold a regular pencil. I would attempt to scrawl out letters on a page to form words, fueled by either determination or outright stubbornness, persevering until I improved. I spent countless hours trying to control my gait, eventually learning to walk normally and proving the doctors wrong about their diagnoses. I also had to learn how to swallow without aspirating because the frequent intubations I had experienced as an infant left me with a uncoordinated swallow reflex. Perhaps most prominently, I remember becoming very winded as I tried to keep up with my elementary school peers on the playground and the frustration I experienced when I failed.

Little by little, my body’s tolerance for physical exertion grew, and my coordination improved. I enrolled in martial arts to learn how to keep my balance and to develop muscle coordination and an awareness of where my limbs were at any given time. I also became immersed in competition among my elementary school peers to determine which one of us could become the most accomplished on the recorder. For each piece of music played correctly, a “belt” was awarded in the form of a brightly colored piece of yarn tied around the bottom of our recorders- meant as symbols of our achievement. Despite the challenges I had in generating and controlling enough air, I practiced relentlessly, often going in before school or during my lunch hour to obtain the next increasingly difficult musical piece. By the time the competition concluded, I had broken the school record of how far an elementary school child could advance; in doing so, my love of instrumental music and my appreciation for the value of hard work and determination was born.

Throughout my middle and high school years, I have succeeded at the very highest level both academically and musically. I was even able to find a sport that I excelled at and would later be able to use as an avenue for helping others, volunteering as an assistant coach once I entered high school. I have mentored dozens of my high school peers in developing trumpet skills, teaching them how to control one’s breathing during musical phrases and how to develop effective fingering techniques in order to perform challenging passages. I believe that my positive attitude and hard work has allowed for not only my own success, but for the growth and success of my peers as well.

My scholastic and musical achievements, as well as my leadership abilities and potential to succeed at the highest level will hopefully be readily apparent to the committee when you review my application. Perhaps more importantly, however, is the behind-the-scenes character traits that have made these possible. I believe that I can conquer any challenge put in front of me. My past achievements provide testimony to my work ethic, aptitudes and grit, and are predictive of my future potential.

Thank you for your consideration.

In this essay, the writer highlighted their resilience. At some point, we will all endure challenges and struggles, but it is how we redeem ourselves that matters. This writer highlighted their initial struggles, their dedication and commitment, and the ways in which they’ve used those challenges as inspiration and motivation to persevere and also to encourage others to do the same.

Harvard University Supplemental Essay Option: An intellectual experience (course, project, book, discussion, paper, poetry, or research topic in engineering, mathematics, science or other modes of inquiry) that has meant the most to you.

I want to be a part of something amazing, and I believe I can. The first line of the chorus springs into my mind instantaneously as my fingers experiment with chords on the piano. In this moment, as I compose the protagonist’s solo number, I speak from my heart. I envision the stage and set, the actors, the orchestra, even the audience. Growing increasingly excited, I promptly begin to create recordings so I can release the music from the confines of my imagination and share it with any willing ears.

My brother [name redacted] and I are in the process of writing a full-length, two-act musical comprised of original scenes, songs, characters. I began creating the show not only because I love to write music and entertain my friends and family, but also with the hope that I might change the way my peers view society. Through Joan, the protagonist of my musical, I want to communicate how I feel about the world.

The story centers around Joan, a high schooler, and her connection to the pilot Amelia Earhart. Ever since I saw a theatrical rendition of Amelia Earhart’s life in fifth grade, she has fascinated me as an extraordinary feminist and a challenger of society’s beliefs and standards. As I began researching and writing for the show, I perused through biographies and clicked through countless youtube documentaries about the first woman to fly across the Atlantic, astounded by her bravery and ability to overcome a troubled childhood and achieve her dream. In my musical, as Amelia transcends 20th century norms, changing the way that people regard women and flight, Joan strives to convince her peers and superiors that the worth of one’s life spans not from material success and grades, but from self-love and passion.

As I compose, the essence of each character and the mood of each scene steer the flow of each song. To me, it seems as though everything falls into place at once – as I pluck a melody out of the air, the lyrics come to me naturally as if the two have been paired all along. As I listen to the newly born principal line, I hear the tremolo of strings underscoring and the blaring of a brass section that may someday audibly punctuate each musical phrase.

The project is certainly one of the most daunting tasks I’ve ever undertaken – we’ve been working on it for almost a year, and hope to be done by January – but, fueled by my passion for creating music and writing, it is also one of the most enjoyable. I dream that it may be performed one day and that it may influence society to appreciate the success that enthusiasm for one’s relationships and work can bring.

These essay examples were compiled by the advising team at Bullseye Admissions. If you want to get help writing your Harvard University application essays from Bullseye Admissions advisors , register with Bullseye today .

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Essays That Worked

The essays are a place to show us who you are and who you’ll be in our community.

It’s a chance to add depth to something that is important to you and tell the admissions committee more about your background or goals. Below you’ll find selected examples of essays that “worked,” as nominated by our admissions committee. In each of these essays, students were able to share stories from their everyday lives to reveal something about their character, values, and life that aligned with the culture and values at Hopkins.

Read essays that worked from Transfer applicants .

Hear from the class of 2027.

These selections represent just a few examples of essays we found impressive and helpful during the past admissions cycle. We hope these essays inspire you as you prepare to compose your own personal statements. The most important thing to remember is to be original as you share your own story, thoughts, and ideas with us.

Ordering the Disorderly

Ellie’s essay skillfully uses the topic of entropy as an extended metaphor. Through it, we see reflections about who they are and who they aspire to be.

Pack Light, But Be Prepared

In Pablo’s essay, the act of packing for a pilgrimage becomes a metaphor for the way humans accumulate experiences in their life’s journey and what we can learn from them. As we join Pablo through the diverse phases of their life, we gain insights into their character and values.

Tikkun Olam

Julieta illustrates how the concept of Tikkun Olam, “a desire to help repair the world,” has shaped their passions and drives them to pursue experiences at Hopkins.

Kashvi’s essay encapsulates a heartfelt journey of self-discovery and the invaluable teachings of Rock, their 10-year-old dog. Through the lens of their companionship, Kashvi walked us through valuable lessons on responsibility, friendship, patience, and unconditional love.

Classical Reflections in Herstory

Maddie’s essay details their intellectual journey using their love of Greek classics. They incorporate details that reveal the roots of their academic interests: storytelling, literary devices, and translation. As their essay progresses, so do Maddie’s intellectual curiosities.

My Spotify Playlist

Alyssa’s essay reflects on special memories through the creative lens of Spotify playlists. They use three examples to highlight their experiences with their tennis team, finding a virtual community during the pandemic, and co-founding a nonprofit to help younger students learn about STEM.

More essays that worked

We share essays from previously admitted students—along with feedback from our admissions committee—so you can understand what made them effective and how to start crafting your own.

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10 Winning Scholarship Essay Examples From Real Students

Make your application shine.

Writing a scholarship essay can be intimidating. The competition is fierce and the stakes are high, so students are bound to feel the pressure. It may be helpful, therefore, to look at essays that were successful. What did those students do to impress the committee? These scholarship essay examples will give you a better idea of how to make an application shine! 

Tips for Writing a Scholarship Essay

We’ve put together a whole guide for how to write a scholarship essay , so if you haven’t read it already, definitely give it a look! In addition, here are some quick tips to help students get started. 

Carefully read the rules

The last thing you need is to be disqualified from winning a scholarship because you didn’t do the right thing. 

Start early

Don’t wait until the last minute to start researching and applying for scholarships. Give yourself plenty of time to work through the process. 

Get to know the provider

Think of the scholarship provider as your target audience. You want to tailor your essay to impress them, so do your research. What kinds of candidates are they looking for? What causes do they support? Dig deep for the information you need!

Think about who you are, what you want to say, and how to appeal to the scholarship committee. Write everything down and then choose the best ideas. 

The scholarship committee will be reviewing many applications. How can you make yours unforgettable? Highlight your strongest assets, share hard lessons if they showcase your growth as a person and/or student, and be honest. Never lie in a scholarship essay!

Be professional

Consider this the most important academic paper you’ve ever written. Don’t use slang or casual language. Submit a properly formatted essay that’s been well-edited and proofread by multiple people.

One last tip

Don’t reuse scholarship essays! Yes, it’s time-consuming, but students need to put the same effort into every application. Use the same process and it will get faster and easier every time!

Scholarship Essay Examples

Afc visionary scholarship essay by nicole kuznetsov.

Award Amount: $5,000

Essay prompt: Why do you want to go to college? Why is it important to you?

Why it was successful: The  beauty of this essay is that it’s well-organized and simple. Nicole Kuznetsov chose to outline her story by using chronology and provided a clean, concise story following a linear path.

North Coast Section Foundation Scholarship Essay by Christine Fung

Award Amount: $1,000

Why it was successful: Christine Fung masterfully shared how her upbringing instilled strong values, a love for education, and a passion for medicine .

The Bill Browning Scholarship Essay by Gabby DeMott

Award Amount: $10,000

Essay prompt: Discuss an accomplishment, event, or realization that sparked a period of personal growth and a new understanding of yourself or others.

Why it was successful: Gabby DeMott shared her experiences with personal growth and overcoming fears in Germany. She also appealed to the very human feeling of wanting to belong in a way that was inspiring. 

Life Happens Scholarship Essay by Emily Trader

Award Amount: $15,000

Essay prompt: How has the death of a parent or guardian impacted your life financially and emotionally? Be sure to describe how the loss of your parent/guardian impacted your college plans, and explain how the lack of adequate (or any) life insurance coverage has impacted your family’s financial situation.

Why it was successful: Emily Trader fully addressed the prompt in honest, beautiful detail. She knew her audience and tailored her essay to appeal to them while telling her compelling story. 

Change a Life Foundation Scholarship Essay by Isabella Mendez-Figueroa

Essay prompt: Please explain how your experience volunteering and participating in community service has shaped your perspective on humanity. Elaborate on how these experiences have influenced your future ambitions and career choice.

Why it was successful: Isabella Mendez-Figueroa shared an empowering story about her parents overcoming financial adversity so that she and her sister could be the first in their family to go to college. 

Giva Scholarship Essay by Joseph Lee

Essay prompt: Who is (or what makes) a good doctor?

Why it was successful: Joseph Lee offered a captivating , personal story that was essentially a list of things that make someone a good doctor without it feeling boring or calculated. 

New York University College of Arts and Science Scholarship by Ana

Award amount: $39,500 

Essay prompt: Explain something that made a big impact in your life.

Why it was successful: Ana discussed how early experiences w ith learning difficult things has contributed to her passion for teaching and supporting students. 

The Fund for Education Abroad Rainbow Scholarship Essay  by Steven Fisher

Award amount: $7,500

Essay prompt: The Fund for Education Abroad is committed to diversifying education abroad by providing funding to students who are typically under-represented in study abroad. Please describe how you and/or your plans for study abroad could be viewed as under-represented.

Why it was successful: Steven Fisher’s powerful essay   connected his realizations about his own sexual identity with embracing the beautiful diversity found all around the world. 

Women’s World Banking Founder’s Scholarship Essay by Rosaisha Ozoria

Essay prompt: Write about your hopes for the future of women and girls worldwide.

Why it was successful: Rosaisha Ozoria   focused on a very specific topic , financial literacy for Hispanic women, and emphasized its importance and relevance to her own life. 

The Millennium Gates Last Dollar Scholarship Essay by Famyrah Lafortune

Award amount: $3,500

Essay prompt: Education is the most powerful weapon which you can use to change the world.” —Nelson Mandela Describe a change you would like to make in the world. Tell us about how you would plan to make that change, and what obstacles you might encounter along the way.

Why it was successful: Famyrah Lafortune starts with a strong statement about ending racial inequality and then details the steps she’ll take to make it happen. 

Do you have any great scholarship essay examples? Share them below!

Plus, check out  the ultimate guide to college scholarships, want more suggestions be sure to subscribe to our newsletters ..

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25 Thesis Paragraph Examples for Different Essay Types

Looking for thesis paragraph examples to get your essay or dissertation off to the right start? Look no further. In this guide, we present a comprehensive overview of the elements that make a thesis paragraph effective together with some insights into what not to include.

Let’s talk about something that’s both the gatekeeper and the showstopper of your writing game: the thesis paragraph. You know, that chunk of text right at the beginning of your essay that’s supposed to grab your reader’s attention, set the stage, and declare, “Hey, I’ve got something important to say”? Yeah, that one.

Despite it’s importance, the thesis paragraph is an area of concern our essay editors frequently encounter when editing theses, dissertations, and essays.

But here’s the deal: for many of us, nailing the thesis paragraph feels like trying to hit a bullseye blindfolded. It’s tough, it’s daunting, and heck, it’s downright frustrating at times.

Fortunately, this article is here to clear up all the confusion. We’ll show you exactly what you need to do to craft effective thesis paragraphs and present some specific examples that can guide your writing.

Basic Structure of a Thesis Paragraph

So, let’s break down what makes up a thesis paragraph.

• Topic or subject : Every thesis paragraph needs a star, a main topic or subject that it’s all about. This is what gives your writing direction and helps the reader understand your purpose.
• Assertion or claim : This is your bold statement, your “take a stance or go home” moment. This is where you declare what you’re arguing or trying to prove in no uncertain terms.
• Supporting points or arguments : This aspect of your thesis paragraph backs up your assertion with facts, analysis and data.

Now, let’s discuss why it’s crucial to make your thesis statement as clear and specific as possible.

Let’s say you’re giving someone directions. You don’t want to confuse them with vague instructions; you want to point them in the right direction straight away. That’s the same with your thesis – clarity means your reader knows exactly what you’re arguing, without any guesswork.

Specificity is key too. Instead of saying you want “a burger” in a restaurant, you specify if you want it with cheese, without onions, and so on. Similarly, your thesis paragraph should be specific about what you’re arguing or proving. It should leave no room for ambiguity and ensure your reader knows precisely what to expect from your essay or paper.

If you’re struggling to create a compelling thesis statement, check out our thesis statement generator .

Thesis Paragraph Example for an Argumentative Essay

Let’s take a look at our first example: an argumentative essay.

Imagine the topic is about the impact of social media on mental health. It’s a hot-button issue in today’s digital age, with opinions flying left and right about whether social media is a boon or a bane for our well-being.

Thesis paragraph example with a clear assertion and supporting arguments

Now, here’s a sample thesis paragraph for this argumentative essay:

In today’s hyperconnected world, social media platforms wield unprecedented influence over our lives. While proponents argue that they foster connectivity and community, a closer examination reveals a darker truth: the detrimental effects of excessive social media usage on mental health cannot be ignored. By perpetuating unrealistic standards, fostering comparison, and promoting addictive behaviors, social media platforms contribute significantly to the decline in mental well-being among users.

This thesis paragraph makes a bold assertion: that social media negatively impacts mental health. It’s not wishy-washy; it takes a clear stance. Then, it lays out three supporting arguments: unrealistic standards, comparison, and addiction. These points will form the backbone of the essay, providing evidence and analysis to back up the central claim.

With this thesis paragraph, the reader knows exactly what to expect from the essay. They’re going to read about the negative aspects of social media, explore how it creates unrealistic standards, fuels comparison, and hooks us in with addictive features. Each body paragraph will focus on one of these aspects, providing evidence and analysis to support the overarching argument. In essence, the thesis sets the stage for a comprehensive exploration of the topic and provides a blueprint for the essay that follows.

For ideas about basic thesis statements, take a look at our guide to thesis statement examples .

Thesis Paragraph Example for a Literary Analysis Essay

Let’s shift gears to our next example: a literary analysis. For this sample thesis paragraph, imagine we’re presenting an analysis of F. Scott Fitzgerald’s “The Great Gatsby.” This timeless classic offers a rich tapestry of themes, characters, and symbols ripe for exploration.

Thesis paragraph example focusing on the main interpretation or analysis

Here’s a sample thesis paragraph honing in on a particular aspect of “The Great Gatsby”:

In ‘The Great Gatsby,’ F. Scott Fitzgerald employs the motif of the green light at the end of Daisy Buchanan’s dock to symbolize Gatsby’s unattainable American Dream. Through Gatsby’s relentless pursuit of wealth and status to win back Daisy’s affection, Fitzgerald illuminates the elusive nature of the American Dream and the disillusionment that accompanies its pursuit. The green light, a beacon of hope and longing, ultimately serves as a poignant reminder of Gatsby’s futile quest for a past that can never be recaptured.

This thesis paragraph encapsulates a central interpretation of the novel: that the green light symbolizes Gatsby’s unattainable dream. It sets the stage for an exploration of the text, focusing on how this motif is woven throughout the narrative and what it signifies in the broader context of the American Dream.

Guided by this thesis, our analysis of “The Great Gatsby” takes on a focused trajectory. We’ll examine instances of the green light’s appearance, dissecting its symbolic significance and how it evolves over the course of the novel. By grounding our analysis in this central thesis, we gain clarity and direction, allowing us to uncover layers of meaning and nuance in Fitzgerald’s masterful work. In essence, the thesis serves as our compass, guiding us through the labyrinth of “The Great Gatsby” and illuminating its deeper truths along the way.

Thesis Paragraph Example for a Research Paper

Now, let’s take a look at our final example: a research paper. For this sample, consider a study examining the impact of climate change on global food security. Given the far-reaching consequences of environmental degradation on our ability to feed a growing population, this is a pressing issue that demands attention.

Thesis paragraph example presenting the main research question or hypothesis

Here’s a sample thesis paragraph outlining the main research question or hypothesis:

In this study, we seek to investigate the multifaceted relationship between climate change and global food security. Specifically, we hypothesize that rising temperatures, shifting precipitation patterns, and extreme weather events associated with climate change will exacerbate food insecurity by disrupting agricultural production, compromising food access, and increasing price volatility. By analyzing empirical data and employing predictive modeling techniques, we aim to shed light on the complex interplay between climate dynamics and food security outcomes, informing targeted interventions and policy responses to mitigate the adverse effects of climate change on global food systems.

This thesis paragraph articulates the central research question or hypothesis: how climate change affects global food security. It lays out the variables of interest – rising temperatures, shifting precipitation patterns, and extreme weather events – and proposes a hypothesis about their impact on agricultural production, food access, and price volatility.

This thesis clearly tells the reader that we’re going to embark on a systematic investigation, gathering data, conducting analyses, and interpreting findings through the lens of our central hypothesis. Each section of the paper – from literature review to methodology to results and discussion – will be structured to address specific aspects of the research question, providing a comprehensive examination of the topic at hand. In essence, the thesis not only directs the research process but also shapes the organization and flow of the paper, ensuring coherence and rigor in our research into climate change and global food security.

Looking for specific ideas on what to study? Try our research question generator for inspiration.

Common Pitfalls to Avoid

Here are some traps to avoid when writing your thesis statement:

• A. Lack of specificity or clarity : Picture a foggy road without any signposts. That’s what a thesis paragraph lacking specificity or clarity feels like for your reader. Avoid vague assertions or ambiguous language that leaves your audience scratching their heads, unsure of your intended direction.
• B. Failure to address the complexity of the topic : Don’t oversimplify or gloss over the intricacies of your topic. Your thesis should acknowledge and engage with the complexity of the subject matter, demonstrating a nuanced understanding that goes beyond surface-level analysis.
• C. Overly broad or vague assertions : Beware of making grandiose claims that lack substance or relevance. A thesis paragraph should be focused and precise, honing in on a specific aspect of the topic and presenting a clear argument or perspective.
• D. Inconsistency between thesis and supporting arguments : Your supporting arguments should seamlessly align with and reinforce your thesis statement. Avoid introducing tangential or contradictory points that detract from the coherence and persuasiveness of your overall argument.
• E. Ignoring counterarguments or opposing viewpoints : Don’t sweep inconvenient truths under the rug. Acknowledge and address counterarguments or opposing viewpoints relevant to your thesis, demonstrating a willingness to engage with alternative perspectives and strengthen your own argument in the process.
• F. Failing to revise and refine : Crafting a compelling thesis paragraph is an iterative process that requires revision and refinement. Don’t settle for your first draft; take the time to revisit and revise your thesis statement, honing it until it shines with clarity, specificity, and persuasiveness.

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Essay – examples & model answers | B2 First (FCE)

FCE Essay Examples:  Topic (Environment) 

Example exam task:, example answer (grade: 3), example answer:.

I think that my country has problems with pollution to the environment like all other countries. This problem is normal for Russia. We have big problems with transport because there are too much cars in our country. And because of that we have problems with atmospeer, air in my city and in all Russia is really dirty and sometimes I can’t make a sigh because it smells around me and of course around that cars on the road. I’ve heard about tradition of one country. They don’t go anywhere by car one day a month or a year, they just use bycicle or their feet. I think it could be very good if we had a tradition like that.

So, what about the rivers and the seas? Yeah, there are some really good and clean rivers and seas where you can go, but there are not many of them. Once I saw the river OB in my city, it was about two years ago but I stil remember that in some places it was not blue, it was green or purple I didn’t really understand because it had different colours.

I don’t know what should we do. Maybe we should just open our eyes and look what we did. But Russian people don’t care about the world around them many people care only about themselves an that’s all.

So, the best idea is look around and try to do something good for our planet and for us and our children.

FCE, CAE, CPE

Practice, write & improve, examiners comments & grade:, example answer (grade: 3-4).

To begin with pollution and damage to the environment is the most serious and difficult problem for countries of all over the world. Scientists of different countries predict a global ecocatastrophe if people won’t change their attitude to our planet.

First of all a huge damage to the environment brings a transport. People can’t imagine their living without cars, buses, trains, ships and planes. But it’s an open secret that one of disadvantage of these accustomed things is harmful exhaust. Needless to say that use of environment friendly engines helps us to save atmosphere from pollution.

In addition to this our rivers and seas are in not less danger situation. It’s a fact of common knowledge that numerous factories and plants pour off their waste to ponds. Obviously that cleaning manufacturing water helps to avoid extinction of ocean residents.

Apart from this I’m inclined to believe that every person can and must contribute to solving this important problem. Doing a little steps for protection our environment every day we will be able to save our Earth. And it’s a task of each of us.

Model Answer (Grade: 5)

DEVELOPMENT VS ENVIRONMENT

If we surf the web looking for pollution and environmental catastrophes, we will find out that every country in the world suffers them. This is a natural consequence of the struggle between development and environment.

If a country decided to live isolated from the rest of the world, living on what it can naturally grow and produce, it surely wouldn’t be highly polluted. But we all want exotic food and technological items from all over the world, so we have to pay the price.

Investing on electrical transport would benefit the environment a lot. Even more if this electricity came from a natural source of energy like wind, rivers and solar boards. It’s difficult to achieve this because petrol companies will fight against these actions.

We also have to take care of our rivers and seas. We all have heard about factories throwing highly toxic substances to rivers, without minimizing their poisoning effects. A really strict law should be applied to fine these factories and make them change their policy.

But what about ourselves? We also can do a lot! If, when possible, we bought larger packs of food, we would be producing less rubbish. And this is only an example!

FCE Essay Examples: Topic (Fashion) 

In today’s world, the fashion industry has a strong importance in people’s lives. The fashion industry say to the society what to wear and creates new types of clothes all the time.

Some people claim that the fashion industry has a bad effect on people’s lives, they say that the fashion industry creates clothes that the society has to wear. Furthermore, the clothes’ price is extremely high and people, who can’t afford it, should not be in the society.

In the other hand, the fashion industry guide the people to be in a good appearance, because, nowadays, the appearance of the person is more important than the person itself.

In my opinion, the fashion industry doesn’t has a bad influence on people’s lives. It’s something which was created to help people what to wear.

Example Answer (Grade: 4)

Fashion industry is very a discussed subject nowadays: they create and design new clothes everyday in order to satisfy some people needs.

There are many people who claim that the fashion industry is important and good for society. According to them, this industry design beautiful clothes and thanks to that every person can wear shirts, trousers or any acessory which is on today’s fashion.

On the other hand, the fashion industry in some people opinion, controls the market of clothes and because of that they can’t wear what they want to. In addition, the industry can increase the price of clothes, forcing people who don’t want to be “oldfashioned” to buy and pay a large amount of money to keep “beautiful”.

In my opinion, we can’t let the fashion industry decide what we must or musn’t wear. We shouldn’t judge people for its appearance,because that is not important. We must wear whatever we like, want and feel confortable with.

The society we live today is characterised by technology in constant development, fast speed processes, information travelling and getting to people at a blink of an eye and a complex web of social networking. In this context, the fashion industry is becoming increasingly important and having a more and more paramount role in our lives.

On one hand, the fashion industry is undeniably a source of profit and income. It hires millions of people all over the world and generates millions of dollars every year. Furthermore, such profitable business is also believed to be able to spread and make known the culture of a people, encouraging and enhancing a better understanding of each other.

Nevertheless, for those who are neither impressed nor motivated by numbers and figures, the fashion industry is seen as one which segregates people, isolating those who not fit their laws and commands. It is stated that people place too much importance on appearance and the material, world, sadly true, and the fashion industry just spurs on such situation. Moreover, not only are the costs of fashion item unrealistically high, it is thought to be a money better spent on more pressing issues, such as poverty and hunger.

I do believe that the fashion industry, as it is today, has a harmful effect, because it values a minority of people in detriment to the majority. However, it has such a wide reach that, it put into a good use, it can save lives.

FCE Essay Examples: Topic (Languages) 

“There are more reasons to learn a foreign language than to pass a test”

Everything around us revolves around language(s), it is the most important thing in our lives. Society would just not function without it. They are It is our future and I would personaly love to learn as many as I possibly can.

Not everything in life is done because it is necessary. Learning a new language can be a lot of fun. Many people only do it as a hoby, or their knowledge is something that brings them pride and pleasure.

Secondly, we have people who do it simply to challenge themselves. Truly I believe that having a great outcome that stems from your hard work and dedication to learn something new is a wonderful way to challenge prove your ability to yourself and others. Then there is travelling. It is very important to be able to understand and have a conversation with someone abroad, unless you would like to get lost or worse.

To conclude, I think that learning a new language is an amazing thing no matter why you do it. It is always better to do things out of enjoyment, but even if you do it for a test, that knowledge will always be useful.

Learning a a foreign languages is very important nowadays. English, in particular, is essential because it allows is spoken all over the world. That’s the reason why we start studying it from the age of six years old. Going abroad and being able to speak to native people is very satisfying and that’s why I want to improve my knowledge about foreign languages.

I decided to take this exam to know how high my level of English is, but also because I need this certification to go abroad next summer. I really want to come back to Cornwall, an amazing region in the South-West of England. I’ve been there twice with my family, but now I want to go alone. Only being there to England I can really improve my English comprehension and speaking skills.

Fortunately I can will have some English lessons which taught in English at university and I can’t wait for it because it will be an interesting challenge for me. Studying foreign languages is essential to live and to travel. It isn’t simple and I surely have to challenge myself everyday, but the result is so satisfying that we I can’t do without it.

FCE Essay Example: Topic (History) 

A very common topic that is being discussed nowadays is wether schools should teach subjects that some may consider useless later in life. A clear example is history, since it is quite difficult to learn and does not help us in day-to-day activities.

However, many people do not realize the importance of it or that it affects our lives today. For example, our political system would not be this way if it weren’t for the Ancient Greeks, numerous politicians and wars who helped shape democracy and our constitution. Yet it is still thought that it’s useless.

In addition, it is very important that we never forget about our past since we must know where we were standing years ago. Moreover, there are some things, such as World War II, that we have to remember to prevent them from happening again. We should also know where we we were standing a century ago: our origins, our identity. The more you learn about your ethnicity, the better.

All in all, I think that it is extremely important to learn about one’s own country’s history. Anyone who gets the chance to do this should not waste it, since they are very fortunate to have this opportunity

Would you pass B2 First (FCE)?

Writing A Case Study

Case Study Examples

Brilliant Case Study Examples and Templates For Your Help

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A Complete Case Study Writing Guide With Examples

Simple Case Study Format for Students to Follow

Understand the Types of Case Study Here

It’s no surprise that writing a case study is one of the most challenging academic tasks for students. You’re definitely not alone here!

Most people don't realize that there are specific guidelines to follow when writing a case study. If you don't know where to start, it's easy to get overwhelmed and give up before you even begin.

Don't worry! Let us help you out!

We've collected over 25 free case study examples with solutions just for you. These samples with solutions will help you win over your panel and score high marks on your case studies.

So, what are you waiting for? Let's dive in and learn the secrets to writing a successful case study.

• 1. An Overview of Case Studies
• 2. Case Study Examples for Students
• 3. Business Case Study Examples
• 4. Medical Case Study Examples
• 5. Psychology Case Study Examples 
• 6. Sales Case Study Examples
• 7. Interview Case Study Examples
• 8. Marketing Case Study Examples
• 9. Tips to Write a Good Case Study

An Overview of Case Studies

A case study is a research method used to study a particular individual, group, or situation in depth. It involves analyzing and interpreting data from a variety of sources to gain insight into the subject being studied. 

Case studies are often used in psychology, business, and education to explore complicated problems and find solutions. They usually have detailed descriptions of the subject, background info, and an analysis of the main issues.

The goal of a case study is to provide a comprehensive understanding of the subject. Typically, case studies can be divided into three parts, challenges, solutions, and results. 

Here is a case study sample PDF so you can have a clearer understanding of what a case study actually is:

Case Study Sample PDF

How to Write a Case Study Examples

Learn how to write a case study with the help of our comprehensive case study guide.

Case Study Examples for Students

Quite often, students are asked to present case studies in their academic journeys. The reason instructors assign case studies is for students to sharpen their critical analysis skills, understand how companies make profits, etc.

Below are some case study examples in research, suitable for students:

Case Study Example in Software Engineering

Qualitative Research Case Study Sample

Software Quality Assurance Case Study

Social Work Case Study Example

Ethical Case Study

Case Study Example PDF

These examples can guide you on how to structure and format your own case studies.

Struggling with formatting your case study? Check this case study format guide and perfect your document’s structure today.

Business Case Study Examples

A business case study examines a business’s specific challenge or goal and how it should be solved. Business case studies usually focus on several details related to the initial challenge and proposed solution. 

To help you out, here are some samples so you can create case studies that are related to businesses: 

Here are some more business case study examples:

Business Case Studies PDF

Business Case Studies Example

Typically, a business case study discovers one of your customer's stories and how you solved a problem for them. It allows your prospects to see how your solutions address their needs. 

Medical Case Study Examples

Medical case studies are an essential part of medical education. They help students to understand how to diagnose and treat patients. 

Here are some medical case study examples to help you.

Medical Case Study Example

Nursing Case Study Example

Want to understand the various types of case studies? Check out our types of case study blog to select the perfect type.

Psychology Case Study Examples 

Case studies are a great way of investigating individuals with psychological abnormalities. This is why it is a very common assignment in psychology courses. 

By examining all the aspects of your subject’s life, you discover the possible causes of exhibiting such behavior. 

For your help, here are some interesting psychology case study examples:

Psychology Case Study Example

Mental Health Case Study Example

Sales Case Study Examples

Case studies are important tools for sales teams’ performance improvement. By examining sales successes, teams can gain insights into effective strategies and create action plans to employ similar tactics.

By researching case studies of successful sales campaigns, sales teams can more accurately identify challenges and develop solutions.

Sales Case Study Example

Interview Case Study Examples

Interview case studies provide businesses with invaluable information. This data allows them to make informed decisions related to certain markets or subjects.

Interview Case Study Example

Marketing Case Study Examples

Marketing case studies are real-life stories that showcase how a business solves a problem. They typically discuss how a business achieves a goal using a specific marketing strategy or tactic.

They typically describe a challenge faced by a business, the solution implemented, and the results achieved.

This is a short sample marketing case study for you to get an idea of what an actual marketing case study looks like.

 Here are some more popular marketing studies that show how companies use case studies as a means of marketing and promotion:

“Chevrolet Discover the Unexpected” by Carol H. Williams

This case study explores Chevrolet's “ DTU Journalism Fellows ” program. The case study uses the initials “DTU” to generate interest and encourage readers to learn more. 

Multiple types of media, such as images and videos, are used to explain the challenges faced. The case study concludes with an overview of the achievements that were met.

Key points from the case study include:

• Using a well-known brand name in the title can create interest.
• Combining different media types, such as headings, images, and videos, can help engage readers and make the content more memorable.
• Providing a summary of the key achievements at the end of the case study can help readers better understand the project's impact.

“The Met” by Fantasy

“ The Met ” by Fantasy is a fictional redesign of the Metropolitan Museum of Art in New York City, created by the design studio Fantasy. The case study clearly and simply showcases the museum's website redesign.

The Met emphasizes the website’s features and interface by showcasing each section of the interface individually, allowing the readers to concentrate on the significant elements.

For those who prefer text, each feature includes an objective description. The case study also includes a “Contact Us” call-to-action at the bottom of the page, inviting visitors to contact the company.

Key points from this “The Met” include:

• Keeping the case study simple and clean can help readers focus on the most important aspects.
• Presenting the features and solutions with a visual showcase can be more effective than writing a lot of text.
• Including a clear call-to-action at the end of the case study can encourage visitors to contact the company for more information.

“Better Experiences for All” by Herman Miller

Herman Miller's minimalist approach to furniture design translates to their case study, “ Better Experiences for All ”, for a Dubai hospital. The page features a captivating video with closed-captioning and expandable text for accessibility.

The case study presents a wealth of information in a concise format, enabling users to grasp the complexities of the strategy with ease. It concludes with a client testimonial and a list of furniture items purchased from the brand.

Key points from the “Better Experiences” include:

• Make sure your case study is user-friendly by including accessibility features like closed captioning and expandable text.
• Include a list of products that were used in the project to guide potential customers.

“NetApp” by Evisort 

Evisort's case study on “ NetApp ” stands out for its informative and compelling approach. The study begins with a client-centric overview of NetApp, strategically directing attention to the client rather than the company or team involved.

The case study incorporates client quotes and explores NetApp’s challenges during COVID-19. Evisort showcases its value as a client partner by showing how its services supported NetApp through difficult times. 

• Provide an overview of the company in the client’s words, and put focus on the customer. 
• Highlight how your services can help clients during challenging times.
• Make your case study accessible by providing it in various formats.

“Red Sox Season Campaign,” by CTP Boston

The “ Red Sox Season Campaign ” showcases a perfect blend of different media, such as video, text, and images. Upon visiting the page, the video plays automatically, there are videos of Red Sox players, their images, and print ads that can be enlarged with a click.

The page features an intuitive design and invites viewers to appreciate CTP's well-rounded campaign for Boston's beloved baseball team. There’s also a CTA that prompts viewers to learn how CTP can create a similar campaign for their brand.

Some key points to take away from the “Red Sox Season Campaign”: 

• Including a variety of media such as video, images, and text can make your case study more engaging and compelling.
• Include a call-to-action at the end of your study that encourages viewers to take the next step towards becoming a customer or prospect.

“Airbnb + Zendesk” by Zendesk

The case study by Zendesk, titled “ Airbnb + Zendesk : Building a powerful solution together,” showcases a true partnership between Airbnb and Zendesk. 

The article begins with an intriguing opening statement, “Halfway around the globe is a place to stay with your name on it. At least for a weekend,” and uses stunning images of beautiful Airbnb locations to captivate readers.

Instead of solely highlighting Zendesk's product, the case study is crafted to tell a good story and highlight Airbnb's service in detail. This strategy makes the case study more authentic and relatable.

Some key points to take away from this case study are:

• Use client's offerings' images rather than just screenshots of your own product or service.
• To begin the case study, it is recommended to include a distinct CTA. For instance, Zendesk presents two alternatives, namely to initiate a trial or seek a solution.

“Influencer Marketing” by Trend and WarbyParker

The case study "Influencer Marketing" by Trend and Warby Parker highlights the potential of influencer content marketing, even when working with a limited budget. 

The “Wearing Warby” campaign involved influencers wearing Warby Parker glasses during their daily activities, providing a glimpse of the brand's products in use. 

This strategy enhanced the brand's relatability with influencers' followers. While not detailing specific tactics, the case study effectively illustrates the impact of third-person case studies in showcasing campaign results.

Key points to take away from this case study are:

• Influencer marketing can be effective even with a limited budget.
• Showcasing products being used in everyday life can make a brand more approachable and relatable.
• Third-person case studies can be useful in highlighting the success of a campaign.

Marketing Case Study Example

Marketing Case Study Template

Now that you have read multiple case study examples, hop on to our tips.

Tips to Write a Good Case Study

Here are some note-worthy tips to craft a winning case study 

• Define the purpose of the case study This will help you to focus on the most important aspects of the case. The case study objective helps to ensure that your finished product is concise and to the point.
• Choose a real-life example. One of the best ways to write a successful case study is to choose a real-life example. This will give your readers a chance to see how the concepts apply in a real-world setting.
• Keep it brief. This means that you should only include information that is directly relevant to your topic and avoid adding unnecessary details.
• Use strong evidence. To make your case study convincing, you will need to use strong evidence. This can include statistics, data from research studies, or quotes from experts in the field.
• Edit and proofread your work. Before you submit your case study, be sure to edit and proofread your work carefully. This will help to ensure that there are no errors and that your paper is clear and concise.

There you go!

We’re sure that now you have secrets to writing a great case study at your fingertips! This blog teaches the key guidelines of various case studies with samples. So grab your pen and start crafting a winning case study right away!

Having said that, we do understand that some of you might be having a hard time writing compelling case studies.

But worry not! Our expert case study writing service is here to take all your case-writing blues away! 

With 100% thorough research guaranteed, our online essay service can craft an amazing case study within 24 hours! 

So why delay? Let us help you shine in the eyes of your instructor!

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Dr. Barbara is a highly experienced writer and author who holds a Ph.D. degree in public health from an Ivy League school. She has worked in the medical field for many years, conducting extensive research on various health topics. Her writing has been featured in several top-tier publications.

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Wayne State University

School of information sciences, school of information sciences current students, instructions for writing reflective essays.

Instructions 

In the reflective essay, the student will discuss how s/he has developed as an information professional during the School. The student will discuss each of the four MLIS student learning outcomes, and demonstrate how they have become proficient in these learning outcomes. 

The essay should following standard writing practice, with introduction, subheadings, and conclusion piece, free of grammar and typo mistakes.  References are required.  

For each MLIS learning outcome, the student uses 300-350 words to demonstrate their understanding of the learning outcome, and then uses an appropriate artifact to support their competency in the learning outcome.  

Since multiple components are included in each learning outcome, the student can address one or two components for each learning outcome. Please use several sentences to justify your focus on those components. 

For example : for LO#3, “Demonstrate professional competency, including critical thinking, research, communication, cultural competence, technology development, digital literacy, leadership, lifelong learning, and adherence to professional ethics”, students might address only “technology development” and “lifelong learning” components in their reflections.  

As a concluding piece of the essay, the student will include their stance or philosophy of the information profession. The student will gird the philosophy piece using readings of the research, professional literature, personal experiences, and the learning outcomes. Students can address questions like: What is an information professional? What are the characteristics, qualities and knowledge that will be most important to you as an information professional? 

Use of writing in the first person is encouraged.    Essay Submission 

The final product will be a 1400-1700 word reflective essay, with suitable and ethical citation practices followed (final word count excludes bibliography). Please note that this is not a personal history or review of courses taken during the School. Instead, it is an articulation of your growth as an information professional and your adoption of a personal professional philosophy. 

You may submit the reflective essay in .doc, .docx, or pdf formats. Please do not submit the essay in .zip or .rar format. 

Make sure your reflective essay has the following elements: 

Introduction 

Discussion of each MLIS learning outcome 

Discussion of appropriate artifacts in relation to each MLIS learning outcome 

Professional philosophy 

Conclusion 

References 

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What It Means To Be Asian in America

The lived experiences and perspectives of asian americans in their own words.

Asians are the fastest growing racial and ethnic group in the United States. More than 24 million Americans in the U.S. trace their roots to more than 20 countries in East and Southeast Asia and the Indian subcontinent.

The majority of Asian Americans are immigrants, coming to understand what they left behind and building their lives in the United States. At the same time, there is a fast growing, U.S.-born generation of Asian Americans who are navigating their own connections to familial heritage and their own experiences growing up in the U.S.

In a new Pew Research Center analysis based on dozens of focus groups, Asian American participants described the challenges of navigating their own identity in a nation where the label “Asian” brings expectations about their origins, behavior and physical self. Read on to see, in their own words, what it means to be Asian in America.

• Introduction

Table of Contents

This is how i view my identity, this is how others see and treat me, this is what it means to be home in america, about this project, methodological note, acknowledgments.

No single experience defines what it means to be Asian in the United States today. Instead, Asian Americans’ lived experiences are in part shaped by where they were born, how connected they are to their family’s ethnic origins, and how others – both Asians and non-Asians – see and engage with them in their daily lives. Yet despite diverse experiences, backgrounds and origins, shared experiences and common themes emerged when we asked: “What does it mean to be Asian in America?”

In the fall of 2021, Pew Research Center undertook the largest focus group study it had ever conducted – 66 focus groups with 264 total participants – to hear Asian Americans talk about their lived experiences in America. The focus groups were organized into 18 distinct Asian ethnic origin groups, fielded in 18 languages and moderated by members of their own ethnic groups. Because of the pandemic, the focus groups were conducted virtually, allowing us to recruit participants from all parts of the United States. This approach allowed us to hear a diverse set of voices – especially from less populous Asian ethnic groups whose views, attitudes and opinions are seldom presented in traditional polling. The approach also allowed us to explore the reasons behind people’s opinions and choices about what it means to belong in America, beyond the preset response options of a traditional survey.

The terms “Asian,” “Asians living in the United States” and “Asian American” are used interchangeably throughout this essay to refer to U.S. adults who self-identify as Asian, either alone or in combination with other races or Hispanic identity.

“The United States” and “the U.S.” are used interchangeably with “America” for variations in the writing.

Multiracial participants are those who indicate they are of two or more racial backgrounds (one of which is Asian). Multiethnic participants are those who indicate they are of two or more ethnicities, including those identified as Asian with Hispanic background.

U.S. born refers to people born in the 50 U.S. states or the District of Columbia, Puerto Rico, or other U.S. territories.

Immigrant refers to people who were not U.S. citizens at birth – in other words, those born outside the U.S., Puerto Rico or other U.S. territories to parents who were not U.S. citizens. The terms “immigrant,” “first generation” and “foreign born” are used interchangeably in this report.  

Second generation refers to people born in the 50 states or the District of Columbia with at least one first-generation, or immigrant, parent.

The pan-ethnic term “Asian American” describes the population of about 22 million people living in the United States who trace their roots to more than 20 countries in East and Southeast Asia and the Indian subcontinent. The term was popularized by U.S. student activists in the 1960s and was eventually adopted by the U.S. Census Bureau. However, the “Asian” label masks the diverse demographics and wide economic disparities across the largest national origin groups (such as Chinese, Indian, Filipino) and the less populous ones (such as Bhutanese, Hmong and Nepalese) living in America. It also hides the varied circumstances of groups immigrated to the U.S. and how they started their lives there. The population’s diversity often presents challenges . Conventional survey methods typically reflect the voices of larger groups without fully capturing the broad range of views, attitudes, life starting points and perspectives experienced by Asian Americans. They can also limit understanding of the shared experiences across this diverse population.

Across all focus groups, some common findings emerged. Participants highlighted how the pan-ethnic “Asian” label used in the U.S. represented only one part of how they think of themselves. For example, recently arrived Asian immigrant participants told us they are drawn more to their ethnic identity than to the more general, U.S.-created pan-ethnic Asian American identity. Meanwhile, U.S.-born Asian participants shared how they identified, at times, as Asian but also, at other times, by their ethnic origin and as Americans.

Another common finding among focus group participants is the disconnect they noted between how they see themselves and how others view them. Sometimes this led to maltreatment of them or their families, especially at heightened moments in American history such as during Japanese incarceration during World War II, the aftermath of 9/11 and, more recently, the COVID-19 pandemic. Beyond these specific moments, many in the focus groups offered their own experiences that had revealed other people’s assumptions or misconceptions about their identity.

Another shared finding is the multiple ways in which participants take and express pride in their cultural and ethnic backgrounds while also feeling at home in America, celebrating and blending their unique cultural traditions and practices with those of other Americans.

This focus group project is part of a broader research agenda about Asians living in the United States. The findings presented here offer a small glimpse of what participants told us, in their own words, about how they identify themselves, how others see and treat them, and more generally, what it means to be Asian in America.

Illustrations by Jing Li

Publications from the Being Asian in America project

• Read the data essay: What It Means to Be Asian in America
• Watch the documentary: Being Asian in America
• Explore the interactive: In Their Own Words: The Diverse Perspectives of Being Asian in America
• View expanded interviews: Extended Interviews: Being Asian in America
• About this research project: More on the Being Asian in America project
• Q&A: Why and how Pew Research Center conducted 66 focus groups with Asian Americans

One of the topics covered in each focus group was how participants viewed their own racial or ethnic identity. Moderators asked them how they viewed themselves, and what experiences informed their views about their identity. These discussions not only highlighted differences in how participants thought about their own racial or ethnic background, but they also revealed how different settings can influence how they would choose to identify themselves. Across all focus groups, the general theme emerged that being Asian was only one part of how participants viewed themselves.

The pan-ethnic label ‘Asian’ is often used more in formal settings

“I think when I think of the Asian Americans, I think that we’re all unique and different. We come from different cultures and backgrounds. We come from unique stories, not just as a group, but just as individual humans.” Mali , documentary participant

Many participants described a complicated relationship with the pan-ethnic labels “Asian” or “Asian American.” For some, using the term was less of an active choice and more of an imposed one, with participants discussing the disconnect between how they would like to identify themselves and the available choices often found in formal settings. For example, an immigrant Pakistani woman remarked how she typically sees “Asian American” on forms, but not more specific options. Similarly, an immigrant Burmese woman described her experience of applying for jobs and having to identify as “Asian,” as opposed to identifying by her ethnic background, because no other options were available. These experiences highlight the challenges organizations like government agencies and employers have in developing surveys or forms that ask respondents about their identity. A common sentiment is one like this:

“I guess … I feel like I just kind of check off ‘Asian’ [for] an application or the test forms. That’s the only time I would identify as Asian. But Asian is too broad. Asia is a big continent. Yeah, I feel like it’s just too broad. To specify things, you’re Taiwanese American, that’s exactly where you came from.”

–U.S.-born woman of Taiwanese origin in early 20s

Smaller ethnic groups default to ‘Asian’ since their groups are less recognizable

Other participants shared how their experiences in explaining the geographic location and culture of their origin country led them to prefer “Asian” when talking about themselves with others. This theme was especially prominent among those belonging to smaller origin groups such as Bangladeshis and Bhutanese. A Lao participant remarked she would initially say “Asian American” because people might not be familiar with “Lao.”

“​​[When I fill out] forms, I select ‘Asian American,’ and that’s why I consider myself as an Asian American. [It is difficult to identify as] Nepali American [since] there are no such options in forms. That’s why, Asian American is fine to me.”

–Immigrant woman of Nepalese origin in late 20s

“Coming to a big country like [the United States], when people ask where we are from … there are some people who have no idea about Bhutan, so we end up introducing ourselves as being Asian.”

–Immigrant woman of Bhutanese origin in late 40s

But for many, ‘Asian’ as a label or identity just doesn’t fit

Many participants felt that neither “Asian” nor “Asian American” truly captures how they view themselves and their identity. They argue that these labels are too broad or too ambiguous, as there are so many different groups included within these labels. For example, a U.S.-born Pakistani man remarked on how “Asian” lumps many groups together – that the term is not limited to South Asian groups such as Indian and Pakistani, but also includes East Asian groups. Similarly, an immigrant Nepalese man described how “Asian” often means Chinese for many Americans. A Filipino woman summed it up this way:

“Now I consider myself to be both Filipino and Asian American, but growing up in [Southern California] … I didn’t start to identify as Asian American until college because in [the Los Angeles suburb where I lived], it’s a big mix of everything – Black, Latino, Pacific Islander and Asian … when I would go into spaces where there were a lot of other Asians, especially East Asians, I didn’t feel like I belonged. … In media, right, like people still associate Asian with being East Asian.”

–U.S.-born woman of Filipino origin in mid-20s

Participants also noted they have encountered confusion or the tendency for others to view Asian Americans as people from mostly East Asian countries, such as China, Japan and Korea. For some, this confusion even extends to interactions with other Asian American groups. A Pakistani man remarked on how he rarely finds Pakistani or Indian brands when he visits Asian stores. Instead, he recalled mostly finding Vietnamese, Korean and Chinese items.

Among participants of South Asian descent, some identified with the label “South Asian” more than just “Asian.” There were other nuances, too, when it comes to the labels people choose. Some Indian participants, for example, said people sometimes group them with Native Americans who are also referred to as Indians in the United States. This Indian woman shared her experience at school:

“I love South Asian or ‘Desi’ only because up until recently … it’s fairly new to say South Asian. I’ve always said ‘Desi’ because growing up … I’ve had to say I’m the red dot Indian, not the feather Indian. So annoying, you know? … Always a distinction that I’ve had to make.”

–U.S.-born woman of Indian origin in late 20s

Participants with multiethnic or multiracial backgrounds described their own unique experiences with their identity. Rather than choosing one racial or ethnic group over the other, some participants described identifying with both groups, since this more accurately describes how they see themselves. In some cases, this choice reflected the history of the Asian diaspora. For example, an immigrant Cambodian man described being both Khmer/Cambodian and Chinese, since his grandparents came from China. Some other participants recalled going through an “identity crisis” as they navigated between multiple identities. As one woman explained:

“I would say I went through an identity crisis. … It’s because of being multicultural. … There’s also French in the mix within my family, too. Because I don’t identify, speak or understand the language, I really can’t connect to the French roots … I’m in between like Cambodian and Thai, and then Chinese and then French … I finally lumped it up. I’m just an Asian American and proud of all my roots.”

–U.S.-born woman of Cambodian origin in mid-30s

In other cases, the choice reflected U.S. patterns of intermarriage. Asian newlyweds have the highest intermarriage rate of any racial or ethnic group in the country. One Japanese-origin man with Hispanic roots noted:

“So I would like to see myself as a Hispanic Asian American. I want to say Hispanic first because I have more of my mom’s culture in me than my dad’s culture. In fact, I actually have more American culture than my dad’s culture for what I do normally. So I guess, Hispanic American Asian.”

–U.S.-born man of Hispanic and Japanese origin in early 40s

Other identities beyond race or ethnicity are also important

Focus group participants also talked about their identity beyond the racial or ethnic dimension. For example, one Chinese woman noted that the best term to describe her would be “immigrant.” Faith and religious ties were also important to some. One immigrant participant talked about his love of Pakistani values and how religion is intermingled into Pakistani culture. Another woman explained:

“[Japanese language and culture] are very important to me and ingrained in me because they were always part of my life, and I felt them when I was growing up. Even the word itadakimasu reflects Japanese culture or the tradition. Shinto religion is a part of the culture. They are part of my identity, and they are very important to me.”

–Immigrant woman of Japanese origin in mid-30s

For some, gender is another important aspect of identity. One Korean participant emphasized that being a woman is an important part of her identity. For others, sexual orientation is an essential part of their overall identity. One U.S.-born Filipino participant described herself as “queer Asian American.” Another participant put it this way:

“I belong to the [LGBTQ] community … before, what we only know is gay and lesbian. We don’t know about being queer, nonbinary. [Here], my horizon of knowing what genders and gender roles is also expanded … in the Philippines, if you’ll be with same sex, you’re considered gay or lesbian. But here … what’s happening is so broad, on how you identify yourself.”

–Immigrant woman of Filipino origin in early 20s

Immigrant identity is tied to their ethnic heritage

Participants born outside the United States tended to link their identity with their ethnic heritage. Some felt strongly connected with their ethnic ties due to their citizenship status. For others, the lack of permanent residency or citizenship meant they have stronger ties to their ethnicity and birthplace. And in some cases, participants said they held on to their ethnic identity even after they became U.S. citizens. One woman emphasized that she will always be Taiwanese because she was born there, despite now living in the U.S.

For other participants, family origin played a central role in their identity, regardless of their status in the U.S. According to some of them, this attitude was heavily influenced by their memories and experiences in early childhood when they were still living in their countries of origin. These influences are so profound that even after decades of living in the U.S., some still feel the strong connection to their ethnic roots. And those with U.S.-born children talked about sending their kids to special educational programs in the U.S. to learn about their ethnic heritage.

“Yes, as for me, I hold that I am Khmer because our nationality cannot be deleted, our identity is Khmer as I hold that I am Khmer … so I try, even [with] my children today, I try to learn Khmer through Zoom through the so-called Khmer Parent Association.”

–Immigrant man of Cambodian origin in late 50s

Navigating life in America is an adjustment

Many participants pointed to cultural differences they have noticed between their ethnic culture and U.S. culture. One of the most distinct differences is in food. For some participants, their strong attachment to the unique dishes of their families and their countries of origin helps them maintain strong ties to their ethnic identity. One Sri Lankan participant shared that her roots are still in Sri Lanka, since she still follows Sri Lankan traditions in the U.S. such as preparing kiribath (rice with coconut milk) and celebrating Ramadan.

For other participants, interactions in social settings with those outside their own ethnic group circles highlighted cultural differences. One Bangladeshi woman talked about how Bengalis share personal stories and challenges with each other, while others in the U.S. like to have “small talk” about TV series or clothes.

Many immigrants in the focus groups have found it is easier to socialize when they are around others belonging to their ethnicity. When interacting with others who don’t share the same ethnicity, participants noted they must be more self-aware about cultural differences to avoid making mistakes in social interactions. Here, participants described the importance of learning to “fit in,” to avoid feeling left out or excluded. One Korean woman said:

“Every time I go to a party, I feel unwelcome. … In Korea, when I invite guests to my house and one person sits without talking, I come over and talk and treat them as a host. But in the United States, I have to go and mingle. I hate mingling so much. I have to talk and keep going through unimportant stories. In Korea, I am assigned to a dinner or gathering. I have a party with a sense of security. In America, I have nowhere to sit, and I don’t know where to go and who to talk to.”

–Immigrant woman of Korean origin in mid-40s

And a Bhutanese immigrant explained:

“In my case, I am not an American. I consider myself a Bhutanese. … I am a Bhutanese because I do not know American culture to consider myself as an American. It is very difficult to understand the sense of humor in America. So, we are pure Bhutanese in America.”

–Immigrant man of Bhutanese origin in early 40s

Language was also a key aspect of identity for the participants. Many immigrants in the focus groups said they speak a language other than English at home and in their daily lives. One Vietnamese man considered himself Vietnamese since his Vietnamese is better than his English. Others emphasized their English skills. A Bangladeshi participant felt that she was more accepted in the workplace when she does more “American” things and speaks fluent English, rather than sharing things from Bangladeshi culture. She felt that others in her workplace correlate her English fluency with her ability to do her job. For others born in the U.S., the language they speak at home influences their connection to their ethnic roots.

“Now if I go to my work and do show my Bengali culture and Asian culture, they are not going to take anything out of it. So, basically, I have to show something that they are interested in. I have to show that I am American, [that] I can speak English fluently. I can do whatever you give me as a responsibility. So, in those cases I can’t show anything about my culture.”

–Immigrant woman of Bangladeshi origin in late 20s

“Being bi-ethnic and tri-cultural creates so many unique dynamics, and … one of the dynamics has to do with … what it is to be Americanized. … One of the things that played a role into how I associate the identity is language. Now, my father never spoke Spanish to me … because he wanted me to develop a fluency in English, because for him, he struggled with English. What happened was three out of the four people that raised me were Khmer … they spoke to me in Khmer. We’d eat breakfast, lunch and dinner speaking Khmer. We’d go to the temple in Khmer with the language and we’d also watch videos and movies in Khmer. … Looking into why I strongly identify with the heritage, one of the reasons is [that] speaking that language connects to the home I used to have [as my families have passed away].”

–U.S.-born man of Cambodian origin in early 30s

Balancing between individualistic and collective thinking

For some immigrant participants, the main differences between themselves and others who are seen as “truly American” were less about cultural differences, or how people behave, and more about differences in “mindset,” or how people think . Those who identified strongly with their ethnicity discussed how their way of thinking is different from a “typical American.” To some, the “American mentality” is more individualistic, with less judgment on what one should do or how they should act . One immigrant Japanese man, for example, talked about how other Japanese-origin co-workers in the U.S. would work without taking breaks because it’s culturally inconsiderate to take a break while others continued working. However, he would speak up for himself and other workers when they are not taking any work breaks. He attributed this to his “American” way of thinking, which encourages people to stand up for themselves.

Some U.S.-born participants who grew up in an immigrant family described the cultural clashes that happened between themselves and their immigrant parents. Participants talked about how the second generation (children of immigrant parents) struggles to pursue their own dreams while still living up to the traditional expectations of their immigrant parents.

“I feel like one of the biggest things I’ve seen, just like [my] Asian American friends overall, is the kind of family-individualistic clash … like wanting to do your own thing is like, is kind of instilled in you as an American, like go and … follow your dream. But then you just grow up with such a sense of like also wanting to be there for your family and to live up to those expectations, and I feel like that’s something that’s very pronounced in Asian cultures.”

–U.S.-born man of Indian origin in mid-20s

Discussions also highlighted differences about gender roles between growing up in America compared with elsewhere.

“As a woman or being a girl, because of your gender, you have to keep your mouth shut [and] wait so that they call on you for you to speak up. … I do respect our elders and I do respect hearing their guidance but I also want them to learn to hear from the younger person … because we have things to share that they might not know and that [are] important … so I like to challenge gender roles or traditional roles because it is something that [because] I was born and raised here [in America], I learn that we all have the equal rights to be able to speak and share our thoughts and ideas.”

U.S. born have mixed ties to their family’s heritage

“I think being Hmong is somewhat of being free, but being free of others’ perceptions of you or of others’ attempts to assimilate you or attempts to put pressure on you. I feel like being Hmong is to resist, really.” Pa Houa , documentary participant

How U.S.-born participants identify themselves depends on their familiarity with their own heritage, whom they are talking with, where they are when asked about their identity and what the answer is used for. Some mentioned that they have stronger ethnic ties because they are very familiar with their family’s ethnic heritage. Others talked about how their eating habits and preferred dishes made them feel closer to their ethnic identity. For example, one Korean participant shared his journey of getting closer to his Korean heritage because of Korean food and customs. When some participants shared their reasons for feeling closer to their ethnic identity, they also expressed a strong sense of pride with their unique cultural and ethnic heritage.

“I definitely consider myself Japanese American. I mean I’m Japanese and American. Really, ever since I’ve grown up, I’ve really admired Japanese culture. I grew up watching a lot of anime and Japanese black and white films. Just learning about [it], I would hear about Japanese stuff from my grandparents … myself, and my family having blended Japanese culture and American culture together.”

–U.S.-born man of Japanese origin in late 20s

Meanwhile, participants who were not familiar with their family’s heritage showed less connection with their ethnic ties. One U.S.-born woman said she has a hard time calling herself Cambodian, as she is “not close to the Cambodian community.” Participants with stronger ethnic ties talked about relating to their specific ethnic group more than the broader Asian group. Another woman noted that being Vietnamese is “more specific and unique than just being Asian” and said that she didn’t feel she belonged with other Asians. Some participants also disliked being seen as or called “Asian,” in part because they want to distinguish themselves from other Asian groups. For example, one Taiwanese woman introduces herself as Taiwanese when she can, because she had frequently been seen as Chinese.

Some in the focus groups described how their views of their own identities shifted as they grew older. For example, some U.S.-born and immigrant participants who came to the U.S. at younger ages described how their experiences in high school and the need to “fit in” were important in shaping their own identities. A Chinese woman put it this way:

“So basically, all I know is that I was born in the United States. Again, when I came back, I didn’t feel any barrier with my other friends who are White or Black. … Then I got a little confused in high school when I had trouble self-identifying if I am Asian, Chinese American, like who am I. … Should I completely immerse myself in the American culture? Should I also keep my Chinese identity and stuff like that? So yeah, that was like the middle of that mist. Now, I’m pretty clear about myself. I think I am Chinese American, Asian American, whatever people want.”

–U.S.-born woman of Chinese origin in early 20s

Identity is influenced by birthplace

“I identified myself first and foremost as American. Even on the forms that you fill out that says, you know, ‘Asian’ or ‘Chinese’ or ‘other,’ I would check the ‘other’ box, and I would put ‘American Chinese’ instead of ‘Chinese American.’” Brent , documentary participant

When talking about what it means to be “American,” participants offered their own definitions. For some, “American” is associated with acquiring a distinct identity alongside their ethnic or racial backgrounds, rather than replacing them. One Indian participant put it this way:

“I would also say [that I am] Indian American just because I find myself always bouncing between the two … it’s not even like dual identity, it just is one whole identity for me, like there’s not this separation. … I’m doing [both] Indian things [and] American things. … They use that term like ABCD … ‘American Born Confused Desi’ … I don’t feel that way anymore, although there are those moments … but I would say [that I am] Indian American for sure.”

–U.S.-born woman of Indian origin in early 30s

Meanwhile, some U.S.-born participants view being American as central to their identity while also valuing the culture of their family’s heritage.

Many immigrant participants associated the term “American” with immigration status or citizenship. One Taiwanese woman said she can’t call herself American since she doesn’t have a U.S. passport. Notably, U.S. citizenship is an important milestone for many immigrant participants, giving them a stronger sense of belonging and ultimately calling themselves American. A Bangladeshi participant shared that she hasn’t received U.S. citizenship yet, and she would call herself American after she receives her U.S. passport.

Other participants gave an even narrower definition, saying only those born and raised in the United States are truly American. One Taiwanese woman mentioned that her son would be American since he was born, raised and educated in the U.S. She added that while she has U.S. citizenship, she didn’t consider herself American since she didn’t grow up in the U.S. This narrower definition has implications for belonging. Some immigrants in the groups said they could never become truly American since the way they express themselves is so different from those who were born and raised in the U.S. A Japanese woman pointed out that Japanese people “are still very intimidated by authorities,” while those born and raised in America give their opinions without hesitation.

“As soon as I arrived, I called myself a Burmese immigrant. I had a green card, but I still wasn’t an American citizen. … Now I have become a U.S. citizen, so now I am a Burmese American.”

–Immigrant man of Burmese origin in mid-30s

“Since I was born … and raised here, I kind of always view myself as American first who just happened to be Asian or Chinese. So I actually don’t like the term Chinese American or Asian American. I’m American Asian or American Chinese. I view myself as American first.”

–U.S.-born man of Chinese origin in early 60s

“[I used to think of myself as] Filipino, but recently I started saying ‘Filipino American’ because I got [U.S.] citizenship. And it just sounds weird to say Filipino American, but I’m trying to … I want to accept it. I feel like it’s now marry-able to my identity.”

–Immigrant woman of Filipino origin in early 30s

For others, American identity is about the process of ‘becoming’ culturally American

Immigrant participants also emphasized how their experiences and time living in America inform their views of being an “American.” As a result, some started to see themselves as Americans after spending more than a decade in the U.S. One Taiwanese man considered himself an American since he knows more about the U.S. than Taiwan after living in the U.S. for over 52 years.

But for other immigrant participants, the process of “becoming” American is not about how long they have lived in the U.S., but rather how familiar they are with American culture and their ability to speak English with little to no accent. This is especially true for those whose first language is not English, as learning and speaking it without an accent can be a big challenge for some. One Bangladeshi participant shared that his pronunciation of “hot water” was very different from American English, resulting in confusions in communication. By contrast, those who were more confident in their English skills felt they can better understand American culture and values as a result, leading them to a stronger connection with an American identity.

“[My friends and family tease me for being Americanized when I go back to Japan.] I think I seem a little different to people who live in Japan. I don’t think they mean anything bad, and they [were] just joking, because I already know that I seem a little different to people who live in Japan.”

–Immigrant man of Japanese origin in mid-40s

“I value my Hmong culture, and language, and ethnicity, but I also do acknowledge, again, that I was born here in America and I’m grateful that I was born here, and I was given opportunities that my parents weren’t given opportunities for.”

–U.S.-born woman of Hmong origin in early 30s

During the focus group discussions about identity, a recurring theme emerged about the difference between how participants saw themselves and how others see them. When asked to elaborate on their experiences and their points of view, some participants shared experiences they had with people misidentifying their race or ethnicity. Others talked about their frustration with being labeled the “model minority.” In all these discussions, participants shed light on the negative impacts that mistaken assumptions and labels had on their lives.

All people see is ‘Asian’

For many, interactions with others (non-Asians and Asians alike) often required explaining their backgrounds, reacting to stereotypes, and for those from smaller origin groups in particular, correcting the misconception that being “Asian” means you come from one of the larger Asian ethnic groups. Several participants remarked that in their own experiences, when others think about Asians, they tend to think of someone who is Chinese. As one immigrant Filipino woman put it, “Interacting with [non-Asians in the U.S.], it’s hard. … Well, first, I look Spanish. I mean, I don’t look Asian, so would you guess – it’s like they have a vision of what an Asian [should] look like.” Similarly, an immigrant Indonesian man remarked how Americans tended to see Asians primarily through their physical features, which not all Asian groups share.

Several participants also described how the tendency to view Asians as a monolithic group can be even more common in the wake of the COVID-19 pandemic.

“The first [thing people think of me as] is just Chinese. ‘You guys are just Chinese.’ I’m not the only one who felt [this] after the COVID-19 outbreak. ‘Whether you’re Japanese, Korean, or Southeast Asian, you’re just Chinese [to Americans]. I should avoid you.’ I’ve felt this way before, but I think I’ve felt it a bit more after the COVID-19 outbreak.”

–Immigrant woman of Korean origin in early 30s

At the same time, other participants described their own experiences trying to convince others that they are Asian or Asian American. This was a common experience among Southeast Asian participants.

“I have to convince people I’m Asian, not Middle Eastern. … If you type in Asian or you say Asian, most people associate it with Chinese food, Japanese food, karate, and like all these things but then they don’t associate it with you.”

–U.S.-born man of Pakistani origin in early 30s

The model minority myth and its impact

“I’ve never really done the best academically, compared to all my other Asian peers too. I never really excelled. I wasn’t in honors. … Those stereotypes, I think really [have] taken a toll on my self-esteem.” Diane , documentary participant

Across focus groups, immigrant and U.S.-born participants described the challenges of the seemingly positive stereotypes of Asians as intelligent, gifted in technical roles and hardworking. Participants often referred to this as the “model minority myth.”

The label “model minority” was coined in the 1960s and has been used to characterize Asian Americans as financially and educationally successful and hardworking when compared with other groups. However, for many Asians living in the United States, these characterizations do not align with their lived experiences or reflect their socioeconomic backgrounds. Indeed, among Asian origin groups in the U.S., there are wide differences in economic and social experiences. 

Academic research on the model minority myth has pointed to its impact beyond Asian Americans and towards other racial and ethnic groups, especially Black Americans, in the U.S. Some argue that the model minority myth has been used to justify policies that overlook the historical circumstances and impacts of colonialism, slavery, discrimination and segregation on other non-White racial and ethnic groups.

Many participants noted ways in which the model minority myth has been harmful. For some, expectations based on the myth didn’t match their own experiences of coming from impoverished communities. Some also recalled experiences at school when they struggled to meet their teachers’ expectations in math and science.

“As an Asian person, I feel like there’s that stereotype that Asian students are high achievers academically. They’re good at math and science. … I was a pretty mediocre student, and math and science were actually my weakest subjects, so I feel like it’s either way you lose. Teachers expect you to fit a certain stereotype and if you’re not, then you’re a disappointment, but at the same time, even if you are good at math and science, that just means that you’re fitting a stereotype. It’s [actually] your own achievement, but your teachers might think, ‘Oh, it’s because they’re Asian,’ and that diminishes your achievement.”

–U.S.-born woman of Korean origin in late 20s

Some participants felt that even when being Asian worked in their favor in the job market, they encountered stereotypes that “Asians can do quality work with less compensation” or that “Asians would not complain about anything at work.”

“There is a joke from foreigners and even Asian Americans that says, ‘No matter what you do, Asians always do the best.’ You need to get A, not just B-plus. Otherwise, you’ll be a disgrace to the family. … Even Silicon Valley hires Asian because [an] Asian’s wage is cheaper but [they] can work better. When [work] visa overflow happens, they hire Asians like Chinese and Indian to work in IT fields because we are good at this and do not complain about anything.”

–Immigrant man of Thai origin in early 40s

Others expressed frustration that people were placing them in the model minority box. One Indian woman put it this way:

“Indian people and Asian people, like … our parents or grandparents are the ones who immigrated here … against all odds. … A lot of Indian and Asian people have succeeded and have done really well for themselves because they’ve worked themselves to the bone. So now the expectations [of] the newer generations who were born here are incredibly unrealistic and high. And you get that not only from your family and the Indian community, but you’re also getting it from all of the American people around you, expecting you to be … insanely good at math, play an instrument, you know how to do this, you know how to do that, but it’s not true. And it’s just living with those expectations, it’s difficult.”

–U.S.-born woman of Indian origin in early 20s

Whether U.S. born or immigrants, Asians are often seen by others as foreigners

“Being only not quite 10 years old, it was kind of exciting to ride on a bus to go someplace. But when we went to Pomona, the assembly center, we were stuck in one of the stalls they used for the animals.” Tokiko , documentary participant

Across all focus groups, participants highlighted a common question they are asked in America when meeting people for the first time: “Where are you really from?” For participants, this question implied that people think they are “foreigners,” even though they may be longtime residents or citizens of the United States or were born in the country. One man of Vietnamese origin shared his experience with strangers who assumed that he and his friends are North Korean. Perhaps even more hurtful, participants mentioned that this meant people had a preconceived notion of what an “American” is supposed to look like, sound like or act like. One Chinese woman said that White Americans treated people like herself as outsiders based on her skin color and appearance, even though she was raised in the U.S.

Many focus group participants also acknowledged the common stereotype of treating Asians as “forever foreigners.” Some immigrant participants said they felt exhausted from constantly being asked this question by people even when they speak perfect English with no accent. During the discussion, a Korean immigrant man recalled that someone had said to him, “You speak English well, but where are you from?” One Filipino participant shared her experience during the first six months in the U.S.:

“You know, I spoke English fine. But there were certain things that, you know, people constantly questioning you like, oh, where are you from? When did you come here? You know, just asking about your experience to the point where … you become fed up with it after a while.”

–Immigrant woman of Filipino origin in mid-30s

U.S.-born participants also talked about experiences when others asked where they are from. Many shared that they would not talk about their ethnic origin right away when answering such a question because it often led to misunderstandings and assumptions that they are immigrants.

“I always get that question of, you know, ‘Where are you from?’ and I’m like, ‘I’m from America.’ And then they’re like, ‘No. Where are you from-from ?’ and I’m like, ‘Yeah, my family is from Pakistan,’ so it’s like I always had like that dual identity even though it’s never attached to me because I am like, of Pakistani descent.”

–U.S.-born man of Pakistani origin in early 20s

One Korean woman born in the U.S. said that once people know she is Korean, they ask even more offensive questions such as “Are you from North or South Korea?” or “Do you still eat dogs?”

In a similar situation, this U.S.-born Indian woman shared her responses:

“I find that there’s a, ‘So but where are you from?’ Like even in professional settings when they feel comfortable enough to ask you. ‘So – so where are you from?’ ‘Oh, I was born in [names city], Colorado. Like at [the hospital], down the street.’ ‘No, but like where are you from?’ ‘My mother’s womb?’”

–U.S.-born woman of Indian origin in early 40s

Ignorance and misinformation about Asian identity can lead to contentious encounters

“I have dealt with kids who just gave up on their Sikh identity, cut their hair and groomed their beard and everything. They just wanted to fit in and not have to deal with it, especially [those] who are victim or bullied in any incident.” Surinder , documentary participant

In some cases, ignorance and misinformation about Asians in the U.S. lead to inappropriate comments or questions and uncomfortable or dangerous situations. Participants shared their frustration when others asked about their country of origin, and they then had to explain their identity or correct misunderstandings or stereotypes about their background. At other times, some participants faced ignorant comments about their ethnicity, which sometimes led to more contentious encounters. For example, some Indian or Pakistani participants talked about the attacks or verbal abuse they experienced from others blaming them for the 9/11 terrorist attacks. Others discussed the racial slurs directed toward them since the COVID-19 pandemic in 2020. Some Japanese participants recalled their families losing everything and being incarcerated during World War II and the long-term effect it had on their lives.

“I think like right now with the coronavirus, I think we’re just Chinese, Chinese American, well, just Asian American or Asians in general, you’re just going through the same struggles right now. Like everyone is just blaming whoever looks Asian about the virus. You don’t feel safe.”

–U.S.-born man of Chinese origin in early 30s

“At the beginning of the pandemic, a friend and I went to celebrate her birthday at a club and like these guys just kept calling us COVID.”

–U.S.-born woman of Korean origin in early 20s

“There [were] a lot of instances after 9/11. One day, somebody put a poster about 9/11 [in front of] my business. He was wearing a gun. … On the poster, it was written ‘you Arabs, go back to your country.’ And then someone came inside. He pointed his gun at me and said ‘Go back to your country.’”

–Immigrant man of Pakistani origin in mid-60s

“[My parents went through the] internment camps during World War II. And my dad, he was in high school, so he was – they were building the camps and then he was put into the Santa Anita horse track place, the stables there. And then they were sent – all the Japanese Americans were sent to different camps, right, during World War II and – in California. Yeah, and they lost everything, yeah.”

–U.S.-born woman of Japanese origin in mid-60s

As focus group participants contemplated their identity during the discussions, many talked about their sense of belonging in America. Although some felt frustrated with people misunderstanding their ethnic heritage, they didn’t take a negative view of life in America. Instead, many participants – both immigrant and U.S. born – took pride in their unique cultural and ethnic backgrounds. In these discussions, people gave their own definitions of America as a place with a diverse set of cultures, with their ethnic heritage being a part of it.

Taking pride in their unique cultures

“Being a Pakistani American, I’m proud. … Because I work hard, and I make true my dreams from here.” Shahid , documentary participant

Despite the challenges of adapting to life in America for immigrant participants or of navigating their dual cultural identity for U.S.-born ones, focus group participants called America their home. And while participants talked about their identities in different ways – ethnic identity, racial (Asian) identity, and being American – they take pride in their unique cultures. Many also expressed a strong sense of responsibility to give back or support their community, sharing their cultural heritage with others on their own terms.

“Right now it has been a little difficult. I think it has been for all Asians because of the COVID issue … but I’m glad that we’re all here [in America]. I think we should be proud to be here. I’m glad that our families have traveled here, and we can help make life better for communities, our families and ourselves. I think that’s really a wonderful thing. We can be those role models for a lot of the future, the younger folks. I hope that something I did in the last years will have impacted either my family, friends or students that I taught in other community things that I’ve done. So you hope that it helps someplace along the line.”

“I am very proud of my culture. … There is not a single Bengali at my workplace, but people know the name of my country. Maybe many years [later] – educated people know all about the country. So, I don’t have to explain that there is a small country next to India and Nepal. It’s beyond saying. People after all know Bangladesh. And there are so many Bengali present here as well. So, I am very proud to be a Bangladeshi.”

Where home is

When asked about the definition of home, some immigrant participants said home is where their families are located. Immigrants in the focus groups came to the United States by various paths, whether through work opportunities, reuniting with family or seeking a safe haven as refugees. Along their journey, some received support from family members, their local community or other individuals, while others overcame challenges by themselves. Either way, they take pride in establishing their home in America and can feel hurt when someone tells them to “go back to your country.” In response, one Laotian woman in her mid-40s said, “This is my home. My country. Go away.”

“If you ask me personally, I view my home as my house … then I would say my house is with my family because wherever I go, I cannot marry if I do not have my family so that is how I would answer.”

–Immigrant man of Hmong origin in late 30s

“[If somebody yelled at me ‘go back to your country’] I’d feel angry because this is my country! I live here. America is my country. I grew up here and worked here … I’d say, ‘This is my country! You go back to your country! … I will not go anywhere. This is my home. I will live here.’ That’s what I’d say.”

–Immigrant woman of Laotian origin in early 50s

‘American’ means to blend their unique cultural and ethnic heritage with that in the U.S.

“I want to teach my children two traditions – one American and one Vietnamese – so they can compare and choose for themselves the best route in life.” Helen , documentary participant (translated from Vietnamese)

Both U.S.-born and immigrant participants in the focus groups shared their experiences of navigating a dual cultural environment between their ethnic heritage and American culture. A common thread that emerged was that being Asian in America is a process of blending two or more identities as one.

“Yeah, I want to say that’s how I feel – because like thinking about it, I would call my dad Lao but I would call myself Laotian American because I think I’m a little more integrated in the American society and I’ve also been a little more Americanized, compared to my dad. So that’s how I would see it.”

–U.S.-born man of Laotian origin in late 20s

“I mean, Bangladeshi Americans who are here, we are carrying Bangladeshi culture, religion, food. I am also trying to be Americanized like the Americans. Regarding language, eating habits.”

–Immigrant man of Bangladeshi origin in mid-50s

“Just like there is Chinese American, Mexican American, Japanese American, Italian American, so there is Indian American. I don’t want to give up Indianness. I am American by nationality, but I am Indian by birth. So whenever I talk, I try to show both the flags as well, both Indian and American flags. Just because you make new relatives but don’t forget the old relatives.”

–Immigrant man of Indian origin in late 40s

Pew Research Center designed these focus groups to better understand how members of an ethnically diverse Asian population think about their place in America and life here. By including participants of different languages, immigration or refugee experiences, educational backgrounds, and income levels, this focus group study aimed to capture in people’s own words what it means to be Asian in America. The discussions in these groups may or may not resonate with all Asians living in the United States. Browse excerpts from our focus groups with the interactive quote sorter below, view a video documentary focused on the topics discussed in the focus groups, or tell us your story of belonging in America via social media. The focus group project is part of a broader research project studying the diverse experiences of Asians living in the U.S.

Read sortable quotes from our focus groups

Browse excerpts in the interactive quote sorter from focus group participants in response to the question “What does it mean to be [Vietnamese, Thai, Sri Lankan, Hmong, etc.] like yourself in America?” This interactive allows you to sort quotes from focus group participants by ethnic origin, nativity (U.S. born or born in another country), gender and age.

Video documentary

Videos throughout the data essay illustrate what focus group participants discussed. Those recorded in these videos did not participate in the focus groups but were sampled to have similar demographic characteristics and thematically relevant stories.

Watch the full video documentary and watch additional shorter video clips related to the themes of this data essay.

Share the story of your family and your identity

Did the voices in this data essay resonate? Share your story of what it means to be Asian in America with @pewresearch. Tell us your story by using the hashtag #BeingAsianInAmerica and @pewidentity on Twitter, as well as #BeingAsianInAmerica and @pewresearch on Instagram.

This cross-ethnic, comparative qualitative research project explores the identity, economic mobility, representation, and experiences of immigration and discrimination among the Asian population in the United States. The analysis is based on 66 focus groups we conducted virtually in the fall of 2021 and included 264 participants from across the U.S. More information about the groups and analysis can be found in this appendix .

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Musical Notation

• Michael Dickson (University of South Carolina)

The main goal of this essay is to propose and make plausible a framework for developing a philosophical account of musical notation. The proposed framework countenances four elements of notation: symbols (abstract objects that collectively constitute the backbone of a ‘system’ of notation), their characteristic ‘forms’ (for example, shapes, understood abstractly), the concrete instances, or ‘engravings’, of those forms, and the meanings of the symbols. It is argued that these elements are distinct. Along the way, several preliminary arguments are given for how one ought to understand them—for example, it is suggested that engravings represent symbols rather than instantiate forms, although they are characteristically seen to represent a symbol by being seen to instantiate an associated form. Having proposed this framework, the essay explores the nature of musical instructions, as the meanings of symbols, and offers an argument in favor of the commonly held (but recently challenged) view that those meanings are imperative. Specifically, composites of musical notation (paradigmatically, musical scores) primarily express instructional meaning, and denote something like ‘sonic structures’ only secondarily, in virtue of their primary, imperative, meaning.

Dickson, M., (2024) “Musical Notation”, Ergo an Open Access Journal of Philosophy 11: 1. doi: https://doi.org/10.3998/ergo.5706

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Published on 04 may 2024, peer reviewed, creative commons attribution-noncommercial-noderivs 4.0, 1. introduction.

The understanding of musical notation as performing instructions—as the composer Tom Phillips ( 2013 ) says, “signs to tell you what to do and when to do it”—is both natural and widespread. 1 Even so (or perhaps because so), although there are a few somewhat recent philosophical discussions of notation, 2 largely focused on the objects (mainly scores) built from it, there are philosophical issues to be addressed concerning the nature of notation itself (prior to consideration of scores or other composites of notation), the manner in which it expresses instructions, and the nature of those instructions. 3 Indeed, as natural as it is, even the bare claim that musical notation expresses instructions—henceforth called Instructional Meaning —is itself in need of some clarification and defense.

Goodman’s ( 1968 ) extensive account of notation illustrates some of the issues that might be addressed, although it is easy to agree with Kivy’s ( 2001: 12 ) assessment that Goodman’s “valiant attempt to make hard-edged, logical sense of” musical notation was “defeated” by the complexity of the phenomenon. Indeed, the situation remains much as it was when Kivy hoped for “a real philosophy of musical notation, something that, in spite of the pioneering attempt of Nelson Goodman, we do not yet possess” ( 2001: 15 ).

This paper is of course not an attempt to provide a full-fledged philosophy of musical notation, but it is an attempt to make headway. To that end, it proposes a general framework for understanding musical notation and its meaning, one that strives for clarity and a degree of precision appropriate to the phenomenon, but is not committed to Goodman’s “hard-edged, logical” methodology, in an acknowledgment that musical notation is not a formal language and will therefore not succumb to the methods applicable to formal languages. Nor is the present work committed to Goodman’s nominalism (or any other general metaphysical view), though nothing here in principle rules it out either.

Section 2 begins with some initial distinctions, leading to four desiderata for any theory of musical notation (to be revisited later), then focuses on aspects of musical notation apart from its meaning, outlining a general framework for understanding notation. Section 3 discusses instructional meaning, clarifying some aspects of what it means to say that musical symbols express instructions, characterizing the nature of the instructions thus expressed, and arguing for Instructional Meaning . Section 4 briefly revisits the desiderata of Section 2 in light of the preceding, and concludes with a speculation about musical pieces.

2. Composites, Symbols, and Engravings

To get started, we need to establish some basic terminology and distinctions. While that work has in some ways already been done by Goodman ( 1968 ), it is done there explicitly in the service of nominalism, which is not a background assumption of the present discussion. Indeed, below we will encounter reasons for rejecting a nominalist approach to notation, at least provisionally. 4

Musical notation typically appears as a composite of musical symbols, intended to be interpreted by one familiar with the usual meaning of the notation. There are diverse purposes that such composites may serve. Davies ( 2001: ch. 3 ) reserves the term ‘score’ for a composite of musical notation intended, prescriptively, to delineate a musical piece. In addition to that purpose for composites, Davies mentions the purposes of reminding performers how to play a piece (‘mnemonics’), and representing a performance (‘transcriptions’), 5 and there are other (for example pedagogical and analytic) uses for composites. One desideratum for any theory of musical notation is that it explain, in a natural way, the possibility of these diverse uses for composites ( Diverse Uses ), as well as how, in some uses, musical notation easily combines with other information (the name of a composer, a style, a suggestive title, dedication, or programmatic description) to serve the given purpose ( Extra-notational Interaction 6 ).

In addition to diverse uses, there are diverse systems of musical notation. These systems may be (and perhaps typically are) deeply entangled with the musical practices in which they are used, a point that has been consistently emphasized by musicologists. 7 For example, the rhythmic notation used for the music of the Notre Dame school of polyphony in the thirteenth century would be opaque without (at least implicit 8 ) knowledge of the rhythmic modes of that practice. The point is not only an historical one—the meaning of a more modern piece of notation such as ‘Fm7’, for example, relies on a background structure of tonality that is specific to some (and not all) musical practices. That understanding may be implicit, for example by being more or less built in to the physical instrument one uses to execute ‘Fm7’ (along with the conventional manner of performing on that instrument), but it is nonetheless required to make sense of the notation. A further desideratum for any theory of musical notation is that it make sense for a wide range of systems of notation ( Diverse Systems ), and that it explain how and why notation has this intimate relationship with practices ( Entanglement with Practices ). (There is no pretense, here, that all readers will agree that these four desiderata are such. They are presented mainly as background information about what is, in part, motivating the present account; they will reappear briefly at the end but otherwise remain in the background.)

While remaining committed to Diverse Systems , for the sake of convenience and familiarity this essay focuses on the notation that has been used by composers in the Western tradition, and used by musicians to aid in the practice and performance of those compositions. (Even this restricted focus encompasses quite some diversity—see Grier 2021 .) Evaluation of the proposed scheme in the context of systems of notation outside that context is a project for another time (and for experts on those systems). Our next task is to describe that scheme.

Musical notation consists of individuable symbols that bear some musical meaning. ‘Symbol’ is ambiguous (much as ‘word’ is). It can refer to an engraving , that is, a concrete physical manifestation of the symbol, or to a kind of which engravings may be members. 9 Henceforth, ‘symbol-form’ (or just ‘form’) refers to the latter, and ‘symbol-engraving’ (or just ‘engraving’) to the former. In the cases familiar to many musicians, symbol-forms are typically geometric shapes (a dot, a line, a circle, certain combinations of them, etc.), although for musical notation engraved as braille, for example, symbol-forms are configurations of raised dots. We thus countenance (at least) two distinct kinds of object: symbol-forms and symbol-engravings. 10 For specific symbols, for example, a slur, we may say ‘slur-form’, and ‘slur-engraving’. When context makes the intention clear, or when we mean to refer to both concepts at once, we may drop the suffixed ‘-form’ or ‘-engraving’. That we can do so naturally is itself an interesting observation—the English word ‘symbol’ carries (at least) both meanings.

As used, here, ‘symbol-form’ refers to objects that somehow (to be discussed below) express some musical meaning, in standard practice, and whose proper parts do not, with an exception to be noted below. (While this section focuses on symbols and not their meanings, some appeal to meaning is helpful at the outset—the next section takes up specifically the instructional meaning of symbols.) Exactly which objects are bona fide symbol-forms in this sense may be difficult to specify with complete precision or confidence, and innovations may introduce new meanings, or erase old ones, that will alter an object’s status. The quarter-rest-form generally used in printed music today probably evolved from two eighth-rest-forms, but musicians may not generally ‘see two eighth-rests’ in a quarter-rest any longer. Context matters as well. In much contemporary printed music, the stems attached to noteheads have no musical meaning, 11 by which is meant that a competent musician will do the same thing (or interpret the notation in the same manner) whether the stem is present or not 12 —but in some music, stems indicate musical voices (for example, upward stems for the sopranos, downward stems for the altos). These dependencies on who is reading the music and for what purpose, and in what (musical and historical) context, warn us against treating musical notation as if it were a formal language. At the same time, in practice it is usually clear, in specific cases, what counts as a ‘complete and non-composite’ symbol-form; the differences among musicians and contexts do not generally cause any ambiguities that are not easily resolved in practice.

Considered purely as shapes (or configurations of raised dots, or whatever), symbol-forms may ‘accidentally’ have musically meaningful proper parts, in the sense of having the same shape as some other symbol-form—the shape of the top half of a wholenote-form is also the shape of a slur—but these parts do not contribute their (potential) meaning to the meaning of the whole, and in that sense they are not ‘musical parts’ of the symbol-form. An exception, foretold above, must be made for ‘continuous’ symbol-forms, such as crescendo-forms and slur-forms, which contain, as proper parts, crescendo-forms and slur-forms. (The initial segment of a crescendo is again a crescendo.) To handle this kind of case, we could distinguish ‘discrete’ from ‘continuous’ symbol-forms, noting that the latter are bona fide symbol-forms even though they contain bona-fide symbol-forms as proper parts, but that point, having been noted, will not play a role in what follows.

For some symbols, a suitably able performer can, in virtue of understanding it, produce a sound (or a stretch of silence) in accordance with the meaning of the symbol, even if symbols typically leave much undetermined. Presented with a wholenote-engraving, and nothing else, I may hum a pitch for ‘four beats’. Of course, the wholenote symbol does not completely fix what I do (nor does any other symbol or composite of symbols)—in this case, I would choose what counts as four beats (and I might share my understanding of the latter with you if you are in doubt that I have produced the sound correctly), which pitch to hum, how loudly to hum it, and so on. In contrast, presented with an empty stave-form, there is no sound (or silence) that I can make that would generally be accounted ‘in accordance with the symbol’. 13

Nothing crucial turns on whether the distinction between these two types of symbol is a matter of degree or a matter of kind, but it does prompt a provisional division of symbols into several categories. Some (‘sonic’) symbols are more or less immediately translatable, by any performer familiar with the relevant conventions of interpretation, into an action that will produce some characteristic perceptible feature of a relatively brief stretch of musical sound. Other (‘supporting’) symbols serve as scaffolding that enable sonic symbols to have the specific meaning that they do (in a given context). Notes, articulations, tempo markings, and dynamics are in this sense sonic, while staves, clefs, and time signatures are in this sense supporting. Some authors have identified a third type of (‘explanatory’) symbol, those that give information about the expressive interpretation of a piece or passage (e.g., ‘cantabile’), and a fourth (‘didactic’) type, those that give explicit instruction or suggestion to the performer about technique (e.g., fingerings or bowings 14 ). In addition to these notations, composites may include other markings (such as the title of a piece or the name of a composer or the location of a performance) that provide circumstantial information, which may interact with the (other) musical notation in complex ways. Some may wish to consider them essential to the composite itself (at least in some contexts), so that they are, in effect, another type of (‘biographical’ 15 ) musical notation.

There is not necessarily a sharp categorization to be made, here (see, e.g., note 14). Nonetheless, these distinctions are helpful, at least for specifying the main target of the present analysis, and to that end, let us notice that at least (but not only) in the context of the Western European tradition, composites such as scores and transcriptions crucially include unambiguously sonic symbols. In particular, any musical score that lacks such notation is an anomaly, whose analysis is best left to after we have some grasp of the paradigm cases, 16 that is, composites that unambiguously contain sonic symbols and whatever supporting symbols are needed to render the sonic symbols interpretable at the level of specificity required by the purpose at hand. Explanatory and didactic (and biographical) symbols are optional (for present analytical purposes, but not for all purposes—an edition of Beethoven’s Piano Sonata 32 lacking the initial, explanatory, ‘Maestoso’ is incomplete). These cases are taken as paradigmatic, here, because they are performable composites of notation, where ‘performable’ does not mean that there is any musician capable of performing it, but that those who understand the notation thereby understand what would be required to perform it (even if nobody can do what is required—the case of unperformable scores is briefly addressed below).

One of the chief contentions of the present section is that the story as we have told it to this point is incomplete. Specifically, in addition to (concrete) symbol-engravings and the (abstract) symbol-forms that they instantiate, there is a third (abstract) object, ‘the symbol itself’ (and a fourth—the meaning of the symbol, to be considered in Section 3). The symbol itself is a created, abstract, artefact (like a novel or a blueprint or a word 17 ), with three features: it is associated with symbol-forms; it has a meaning; and it is made for use in the context of a system of notation, and as such generally bears important relationships to other symbols in the system. (Below these relationships will be called the ‘grammatical’ properties of the symbol.) A symbol is created by intentionally associating a meaning with a symbol-form, with the intention to be used in some system of notation. Both the meanings and the symbol-forms associated with a symbol (in the present sense) can and often do change over time and from one context of practice to another. Symbols can also be adopted into new systems of notation. Individuals or groups may have intentions directed at or informed by symbols, and it is in virtue of those intentions that the symbol may take on new meanings or forms. (“I shall now write a quarter-rest in this new fashion.” “When some jazz composers write ‘FMaj’ they mean to play the triad F-A-C plus the seventh, E.”)

An example of such creation might help to illustrate the general idea. The thirteenth century treatise De mensurabili musica 18 ( DMM ) introduces, apparently for the first time in the history of Western music, the general idea of symbolically representing metric duration, an idea that remains part of Western musical practice, albeit in a radically altered manner. 19 Hence, for example, the ‘recta brevis’, whose form was a square, was (intended by the author of DMM , normally, in the practice of Notre Dame polyphony, to be) accounted twice the duration of the ‘semibrevis’, whose form was a diamond.

But what exactly did the author of DMM introduce, or invent, or construct? The physical thing that he or she initially produced—sitting, let us imagine, at a desk, quill in hand—was a particular trail of ink, an object of antiquarian interest, perhaps, but not one that plays any direct role in musical practice. (Indeed, it probably no longer exists.) Neither did DMM introduce the forms ‘square’ and ‘diamond’—those forms had already played a (different) role in musical notation. 20 Instead, the author of DMM invented a new musical symbol —an abstract object endowed with musical meaning, representable by engravings, and bearing certain relationships to other symbols in the system of notation in virtue of the theory of rhythm that was developed in the treatise. (For example, precisely which sequences of the new symbols are admissible depends on that theory.)

Subsequent uses of or appeals to, for example, the semibrevis, are uses of and appeals to the same symbol because those uses bear the correct relationship to the invention. The invention of the semibrevis in DMM thus constitutes a kind of principle of individuation. Two symbols differ (just as, we might think, two words differ, even when, for example, they sound the same or are spelled the same—see note 17) when they are related ‘in the right way’ to two different origins (inventions). Exactly what that relationship is, is a matter for further investigation. In the context of words, Kaplan ( 1990 ), for example, seems to think that there is a chain of intentions to repeat prior occurrences of the word. One might say the same of musical symbols—the author of DMM created the symbol called ‘semibrevis’ and used it for the first time; an editor or composer intends to repeat it; another editor or composer intends to repeat that one , and so on; and a chain of intentions of that kind makes it the case that later uses are uses of the same symbol that was created in DMM . As noted earlier, such intentions also underwrite the possibility of changing forms or meanings (while the symbol is otherwise unchanged).

However, this view (about both words and musical symbols), while correctly emphasizing the importance of intention, is an implausible account of what people are doing. More plausibly, they intend to use the symbol (or word), but not necessarily to ‘repeat earlier uses’—one might, for example, have learned about the symbol (including its meaning) while knowing nothing about earlier uses (or indeed whether there are any), hence unable to intend to repeat those uses. 21 The matter will not be settled here, in any case, and the only claim on which the present account rests is that there is something (very likely involving intentions) about the history of usage of a symbol that ties later uses to the initial invention and makes them uses of the same symbol. In the present example, the initial invention is conveniently attributable to the author of DMM , but in general (again similar to the creation of words), it may be the result of collective activity on the part of members of a musical (or linguistic) practice, and not easily pinpointable in time or space.

But do we really want ‘symbols’ in our account of notation? Aren’t forms and associated meanings enough? One way to avoid countenancing symbols would be to say that what DMM introduced was a new association of meaning and form. Specifically, DMM articulated a theory of rhythm and proposed an association between a (pre-existing—see note 20) form and a meaning expressed in terms of that theory. In that case, one could say that symbols have been ‘reduced’ to just symbol-forms together with a meaning. So what we have called a ‘symbol’ is really just a symbol-form-plus-meaning.

The challenge to this reductive view is that it creates difficulties for finding a principle of individuation for symbols. (Recall that historical creation-events do the work of individuating symbols on the proposed account.) The obvious places to look for such a principle are in forms and meanings. Let’s examine each in turn.

Individuating symbol-forms is theoretically, and sometimes practically, quite challenging, even if we restrict our account to a single modality (such as printed notation). What is a quarternote-form? That is, in virtue of what are all (printed) quarternote-forms categorized as such? The obvious place to start is with something like morphological similarity, so that the identifying features of quarternote-forms would be spelled out somewhat as: “every instance of a quarternote-form is a more or less elliptical shape, filled in, with a vertical line (the ‘stem’) tangent to it”. But this description is wrong. Stems are often left off. Notation for percussion instruments often uses crosses or other shapes in place of the ‘more or less elliptical’ notehead; strumming patterns for guitar often use a slanted line only, or a line (a ‘stem’) with a kind of numerical tablature as the notehead. In light of such observations, one might try to formulate a disjunctive description, but that approach will be frustrated by even a brief look at the handwritten manuscripts of famous (or not-so-famous) composers, 22 which reveals a morphological rat’s nest of quarternote-engravings, not to mention whatever the future holds for quarternote-forms. 23

Nor will it do to deny that ‘deviant’ engravings are genuinely quarternote-engravings. Consider, for example, that musicians, composers, editors, and so on are generally able to read and understand such engravings as ‘quarternotes’, without disruption to their understanding of the system of musical notation. Learning that an odd squiggle on a Janáček autograph score (see note 22) is a quarternote, one simply learns, and accepts, that it is so. I might say that Janáček “wrote quarternotes in an odd way,” but I will not say that he failed to write them. And yet he did fail to instantiate the morphological kind (if there be any) of the quarternote-engravings of my childhood music lessons, and very likely any adequate morphological kind that one could formulate, or at least would have formulated, prior to seeing how he wrote them. To make matters worse, consider another composer, Janáček*, who wrote nearly as Janáček did, except the former’s squiggle is a halfnote . Any ‘morphological’ account of quarternote-forms would then need to distinguish between Janáček-squiggles and Janáček*-squiggles, identical in appearance, but belonging to different ‘morphological forms’ nonetheless. In short, the prospect for any account of the relation of morphological similarity among the various objects that in fact serve as quarternote-engravings, in virtue of which they are quarternotes, feels hopeless. 24 One might of course hold out for such an account—and the nominalist move of asserting that some set, however unruly, exists and constitutes the morphological kind, is admittedly also available—but it is hard to see why we should, nor what explanatory power those accounts would have.

In light of the lack of promise of finding a morphological principle of individuation (i.e., individuating symbols by their forms), the reductive theory could take a different tack, individuating symbols not morphologically, but semantically. In that case, again, one could reduce symbols to symbol-forms, appealing to meaning (rather than some inaccessible morphological account of forms) to ‘unite’ the disparate symbol-forms into an individual ‘symbol’. There is something correct about that approach, inasmuch as symbols are indeed (on the present view) the bearers of meaning. However, tying the identity of a symbol to its meaning exacts the price of denying that symbols can change meaning, or mean different things in different contexts. But it is natural and common to say that the meanings of symbols are variable in those ways. For example, the flat accidental in Gregorian chant means ‘lower this pitch by a half-step until the end of the present word, or a barline, whichever comes first’, while in contemporary music one ignores the clause about the word (even in music with lyrics). One could say that the Gregorian accidental and the modern accidental are ‘homonyms’ of a sort, but the more natural understanding, perhaps, is that the meaning of the accidental symbol evolved over time, or that the symbol means different things in different contexts, and, again, this idea is naturally captured by distinguishing the symbol from its meaning(s).

While the preceding considerations might not be conclusive, they tell strongly against the reduction of symbols to symbol-form plus meaning. Therefore we shall continue to use the scheme that distinguishes engravings, forms, symbols, and their meanings. In this scheme, symbols are (at least prima facie—see note 4) abstract objects that have at least three distinguishing and essential features. First, they bear musical meaning. Second, they are representable or instantiable concretely (as engravings). Third, they are embedded in systems of notation, meaning in part that they may bear certain relations of ‘grammaticality’ to one another. For example, just as a transitive verb like ‘to throw’ must take a direct object (e.g., ‘the disc’), certain symbols, such as a slur, must be properly associated with certain other symbols, such as notes. Finally, there is (mentioned above) the suggestion that symbols are individuated by ‘creation-events’ together with later uses of the symbols being appropriately connected to those events. Exactly what that connection may be is a matter beyond the scope of this essay, but plausibly it involves the intentions of the users of symbols, and specifically the intention to use the same symbol that was created, or the intention to use the same symbol that was used by one who intended to use the same one that was created, or . . . (and so on). Once a symbol gets taken up into a musical practice, one can summarize the preceding ‘chain’ of intentions as simply the intention to use the symbol that has become a symbol for the community of practitioners. Henceforth this way of categorizing elements of musical notation will be called the ‘notational scheme’.

The notational scheme leaves open the question of the relationship between symbols and symbol-forms, and for the reasons just rehearsed, that relationship is not easy to understand. One might even be tempted to eliminate the category of symbol-forms from the notational scheme altogether, but to do so would be to go too far. Symbol-forms play an important intermediary role between symbols and their engravings, specifically, in one’s ability to associate symbol-engravings with symbols. What follows from the notational scheme and the considerations (about morphological variability of engravings and semantic variability of symbols) just above is not that symbol-forms do not typically and characteristically play this role, but that they do not essentially play this role—to associate a symbol-engraving with a symbol is not ipso facto to recognize it as an instance of some type of shape (for example), that is, as an instance of a symbol-form.

Instead, motivated by a suggestion of Szabó ( 1999 ) regarding the relationship between words and tokens of them, 25 let us add to the notational scheme the idea that symbol-engravings represent symbols (as a picture of a dove may represent peace). One’s recognition of this representation may be (and typically is) aided by, but is not constituted by, one’s recognition of a type of shape (a symbol-form) to which the engraving belongs. Other things also contribute to one’s ability to recognize that a given engraving represents a given symbol, including, especially, one’s recognition of the intention to use the engraving to bring to mind the symbol and its meaning, a recognition that is itself enabled by familiarity with and participation in the relevant musical practice. One advantage of the notational scheme, in fact, is that it both avoids the implausible (indeed, as we noted, empirically false) claim that engravings are associated with symbols solely in virtue of their shape, and thus makes room for other factors, especially perceived intention, to be relevant.

The notational scheme has other merits as well. It explains how practitioners may be ready and able to associate unfamiliar engravings with existing symbols. One need not accept their morphological similarity to known engravings of the symbol (which might be a hard pill to swallow), nor need one reconceive the symbol-form associated with the symbol in a manner that admits the unfamiliar engravings. Instead, one need only accept that the unfamiliar engravings are intended to represent the symbol (which may be easy to accept, as new representational conventions are generally). It also explains a phenomenon not yet mentioned, namely, that the same shape may be used to represent different symbols in different circumstances. Moreover, those circumstances are not always characterizable in purely syntactic, or more generally morphological, terms. Instead, we must appeal to things like authorial intention and the expectations of the relevant musical practice. In mensural rhythmic notation, for example, the ‘dot’ plays several different roles, not always disambiguated by its position relative to other symbols—instead, one must infer meaning based on the inferred intention of the composer, an inference that would plausibly rely on a common understanding of the relevant musical practice. The scheme thus addresses the desideratum Entanglement with Practices , inasmuch as correct recognition of an engraving as representing a symbol can require familiarity with the relevant musical practice. (If association of engravings with symbols were simply a matter of shape-recognition, then no familiarity with practice would be required for identification, though might still be needed for understanding meaning.)

To sum up: On the proposed scheme, our account of musical notation (especially the sonic symbols and whatever supporting symbols are needed to complete their meaning) countenances four objects of interest: symbols, symbol-forms, symbol-engravings, and the meanings of symbols. The engravings represent symbols, characteristically but not essentially with the intermediary aid of (i.e., by being seen as instances of) symbol-forms. Symbol-forms are associated with symbols inasmuch as instances (engravings) of the form are understood, as such, by competent practitioners, to be intentional representations of the symbol. To say that a symbol-engraving ‘conveys’ a meaning is to say that the symbol-engraving, in appropriate circumstances and by competent practitioners, is understood to represent the symbol, which bears the meaning—hence conveyance depends on representation. To say that a symbol-form ‘expresses’ a meaning is to say that the symbol-form, recognized as such by competent practitioners, is understood to be associated with a symbol, which bears the meaning—hence ‘expression’ depends on the association of a form with a symbol. Let us turn, now, to a consideration of those meanings.

3. Musical Instructions

According to Instructional Meaning , the meanings of symbols (and again, the focus here is on sonic symbols and whatever supporting symbols are needed to complete their meaning) are imperative, and specifically instructional. A complete account of instructional meaning would require a lengthy foray into the semantics of imperatives, an area of research where firm results are still forthcoming. 26 Even so, we can make several observations about the nature of instructional meaning and its representation that will help make the case that the natural view (paired with the notational scheme) fares quite well with respect to the desiderata mentioned at the beginning of Section 2.

In regular usage, ‘instruction’ (and, mutatis mutandis, ‘imperative’, which names a category that encompasses instruction 27 ) may refer to an instructional meaning, an utterance that conveys instructional meaning, or an utterance-type whose instances typically or standardly convey instructional meaning. The term ‘instruction’ is reserved, here, for instructional meaning . Utterance-types include symbol-forms, and utterances include engravings, but they are both more general—for example, an oral utterance of ‘crescendo’ may (linguistically rather than symbolically) convey the instruction to gradually increase volume, also conveyed by the appropriate musical symbol-engraving. 28

To help fix usage (with first occurrences of all semi-technical terms in italics): The sentence “place tab A in slot B” (understood as an utterance-type ) expresses an instruction (al meaning), one that presumably has something to do with the addressee’s arranging the tab and slot as described. (Precisely what an imperative meaning is remains an open question—see note 26.) Concrete utterances of that type may convey that meaning, although circumstances (in linguistics, ‘pragmatics’) can affect what meaning is conveyed, causing it to deviate from what is expressed by the type. In parallel, the composite of symbol-forms of which the composite in Figure 1 is (on the page or screen before you) a composite of symbol-engravings expresses an instruction, addressed to the performer known as ‘1st piano’, which has something to do with that addressee’s playing certain pitches (C3-D3, etc.) in a certain manner (forte, presto furioso). This composite of symbol-forms occurs (see note 10) in the score of Saint-Saens’s Hémiones , and in other places (such as this essay). The corresponding composite of symbol-engravings on the page or screen before you, or in concrete copies of Hémiones , convey that instruction (when they do) in virtue of their representing, to competent participants in the relevant musical practice, the corresponding musical symbols, with their attendant meanings.

Figure 1: The Opening of Saint-Saens’s Hémiones .

Utterance-types express (and their utterances may convey) imperative meaning in various ways. In addition to linguistic expression, there is iconic expression, in which meaning is expressed by means of figures or symbols that bear some resemblance to what is to be done. An image of a face with a mask, these days, may be understood (in the right context) to express, iconically, the same meaning that ‘wear a mask’ expresses linguistically. There is also symbolic expression, in which imperative meanings are expressed by means of a conventional association between some utterance-type and the meaning. 29 A red octagon by convention can express the meaning ‘stop here’. There are as well mixed cases, in which multiple modes of expression may be involved (e.g., an iconic sign with text), and multi-modal cases in which one and the same element may have (i.e., derive its meaning from) multiple sources, such as iconic and symbolic features. The shape of a right-hand arrow, for example, does not intrinsically ‘point to the right’ or instruct one to ‘go right’, but there might be some element of iconicity involved, inasmuch as actual objects of more or less that shape do tend to travel naturally (let us suppose) ‘with the pointy part leading the way’. If Scruton ( 2016: 46 ) is correct that hearing musical lines metaphorically as ‘moving up and down’ (among other things) is indispensable to hearing them as music, then there may be, in similar fashion, both iconic and symbolic aspects to the expression of meaning by notes in staff notation. And insofar as small things tend to be quiet and large things loud, crescendos and decrescendos may also be partially iconic, partially symbolic. (There are plenty more examples.)

Imperatives (i.e., imperative meanings) may also be conveyed by ostension. For example, either because of prior arrangement or convention, or because the context of a situation makes it clear what I am doing, I can convey an imperative to you simply by doing (or somehow gesturing at) the thing that I instruct (command, invite, etc.) you, also, to do. The right kind of arm-swing towards a doorway, in the right context, conveys an invitation to walk through the doorway. Simply walking through the doorway oneself can also convey that imperative to another, as can (in the right context) pointing to a person who has already gone through. In general, ostension may be used to convey instructions in (at least) two manners: by somehow indicating (including by displaying) what is to be done, or by indicating the result of having done it. A trained musician may thus ‘receive instruction’ in how to play a particular piece merely by hearing it.

Instructions always place a demand on addressees to bring their own expertise to bear. Even as simple an instruction as ‘raise your right hand’ presumes (among other things) that addressees are able to control their own bodies. The instruction “preheat the oven to 180°C” similarly presumes that addressees can supply the steps required to achieve the result. It can be important not to include a more fine-grained specification of those actions in the instructions (e.g., not to provide instructions, effectively, in ‘how to be a competent user of your oven’) because doing so could render them ineffective for some addressees—the actions that you undertake (with your digitally controlled oven) may differ significantly from mine (with my wood-burning oven). The instruction to “preheat to 180°C” is thus best read as something like “do whatever it takes to preheat your oven to 180°C”.

A corollary to the preceding point is that two distinct instructions may both be instances of a more general instruction, and from the point of view of the more general instruction (which may be merely implied and not explicitly expressed or conveyed), achieve the same outcome. (Consider “set the oven to 180” and “set the oven to gas mark 4”. They are finer-grained versions of a more general, normally not explicitly conveyed, instruction to bring about a certain thermal energy inside the oven, in a manner effective for cooking.)

Indeed, not only is there generally an appropriate level of detail (conversely, generality) for instructions (given the intention behind them, including the intended addressees), but also it is in general (and perhaps always) impossible to specify with complete precision what it takes to obey them—perhaps something will always be left to the competence of the recipient. If, instead of “set the oven to 180” I instruct you to “turn the dial until the arrow matches the 180-mark”, I still presume that you are competent in dial-turning, and matching arrows to marks, and so on.

Instructions have a per se aim (henceforth, ‘aim’), by which is meant whatever is supposed to be achieved solely in virtue of following the instructions. There are different types of aim. For example, the aim of the instructions for baking bread (as typically understood) is a thing, a loaf of bread. The aim of the instructions for operating a tractor is an activity, the activity of operating the tractor. In both cases, one may (and typically will) have further objectives that these aims serve (to eat the bread, to plow the field), but those ‘second-order’ objectives are not per se the aim of the instructions. I may wish to sell, rather than eat, the bread; I may wish to haul logs rather than plow the field. In both cases I would still follow the instructions for baking bread or operating a tractor, and I would take as an objective to achieve their aims, albeit in the service of some second-order objectives.

In general, the aim of instructions (as the term is used here) is whatever objective typical authors and addressees of the instructions will understand to be adopted by those who genuinely follow the instructions, whatever other objectives they may have. The typical authors of recipes for bread expect (and their intended audience understands) that the addressee will (in following the instructions) seek the production of a loaf of bread, whatever else the addressee may have in mind.

One may also ‘proceed according to’ instructions without taking the aim as an objective. For example, one might proceed according to the instructions for baking bread not to produce a loaf of bread (not even instrumentally) but instead as an ironic commentary on the hegemony of the recipe in home baking (an act of performance art). Let us say that one ‘follows’ instructions when the actions are performed for the purpose of achieving the aim of the instructions (and perhaps other objectives downstream), while one (merely) ‘acts them out’ when one does not take the aim of the instructions as one’s objective (even instrumentally). 30 (Exactly how instructions get a canonical aim, and exactly what it means to take this aim as one’s objective, is tricky business. Settling these issues is not essential for present purposes.)

Some instructions may be ‘self-directed’ in the sense that they have as their aim only that they be followed. At first blush, such instructions may seem pointless. (“Why are you following these instructions?” “For the sake of doing what they say.”) However, sometimes following self-directed instructions is in fact the only, or a characteristic, or a desirable, way to achieve some downstream objective, which may be one’s motivating objective, achieved by instrumentally adopting the objective that the instructions merely be followed.

Consider, for example, the instructions for performing a push-up. (“Lie facing down. Place your hands palm-down on the ground roughly shoulder-width apart . . .”) They appear to be self-directed—that is, their aim is just that one’s body is moved in accordance with the instructions for doing a push-up—because there does not appear to be any other objective that is characteristic of genuine cases of performing push-ups, which are done sometimes for exercise, sometimes as punishment, sometimes as a demonstration of strength, and perhaps other purposes. 31 To put it the other way around, a typical issuer of the general instructions for doing a push-up expects of the addressee nothing beyond, but also nothing less than, taking the performance of the push-up as an objective, whether for exercise, punishment, or whatever. And yet one may have excellent reasons for following the instructions. (The modifier ‘nothing less than’ is important—one may achieve the aim of the instructions for bread-making in ways other than following the instructions, for example by purchasing bread; not so for push-ups.)

One might worry, then, that all instructions are of this sort. Could we say that all instructions are self-directed, but typically followed instrumentally, for some downstream purpose? Perhaps, for example, the instructions for baking bread should be understood merely as instructions for manipulating various ingredients and culinary implements in specified manners, instructions that one carries out, typically but not necessarily, for the purpose of producing bread. However, there is no obvious or compelling reason to adopt this kind of revisionism about instructions in general—authors of cookbooks do not compose instructions for manipulating ingredients and culinary implements in various ways; they compose instructions for making bread and spaghetti bolognese and so on. Some (perhaps most) instructions have some canonical aim that is not merely that the instructions be followed. I fail to achieve the aim of the instructions for breaking bread if I do not have a loaf of bread at the end. 32

Conversely, one may suppose that apparently self-directed instructions are like homonyms—they appear to be univocal but are in fact ‘instructions for doing push-ups as exercise’, ‘instructions for doing push-ups as punishment’, and so on. But this proposal is equally at odds with normal usage, in which both the army recruit who missed inspection and the body-builder are following the ‘instructions for doing push-ups’, that is, instructions whose canonical, per se, aim is that the instructions be followed, although they do so for different downstream purposes.

One of the main proposals of this section is that instructions associated with performance, including musical performance, ought to be understood as self-directed (even if one typically follows them in order to achieve further objectives, such as practice, entertainment, or aesthetic expression). Indeed, much as in the case of push-ups, it seems that the purpose that is common to all of the normal reasons that one might have for following musical instructions is just that the instructions are followed. As an extreme case, consider not just practice, but silent practice (as when an organist practices with the bellows turned off)—in that case, even the sounds typically associated with following the instructions are absent, and yet we might plausibly say that the instructions are followed. 33 In any case, the production of sound is not part of the organist’s immediate purpose, even though the organist (plausibly) ‘follows the instructions’ of the notation. (Of course the organist who practices silently will typically have the downstream objective of eventually following the instructions in a manner that leads to producing sounds, typically in the context of performance; still, the immediate objective is to follow certain instructions, the following of which seemingly does not require that any sounds are produced—but see note 33. Nor must it be that the organist has the downstream objective of producing sound; sometimes we practice a piece simply to develop technique, or for the fun of it, or to understand something about what performing the piece would involve.)

This notion that musical instructions are self-directed might help to answer, or defuse, questions about performance that have sometimes seemed pressing. 34 If a musician ‘plays through’ Liszt’s Piano Sonata in B Minor in the privacy of her practice room, did she ‘perform’ the piece? And what if she plays it for what she takes to be an audience when there is none? Or what if (improbable as it is) she plays exactly the notes of that piece by accident, as it were, in the course of noodling on her instrument? We may observe that the self-directed instructions of the piece were followed in the first two cases, without the second-order objective of presenting the piece to others in the first case, and with that goal, but frustrated, in the second case. Nothing appears to be seriously at stake in calling one of these activities ‘performance’ and the other not—it is sufficient that we have a theoretical framework for characterizing and thus understanding what is going on in each case. The third case does seem to be a case of non-performance, and the idea that scores prescribe musical pieces by conveying self-directed instructions captures this judgment, for in that case, she did not follow the instructions, because although she performed the relevant actions (conceived as ‘playing the notes’), she did not take the aim of the instructions as her objective—one cannot adopt as one’s objective that certain instructions be followed if one is unaware of the instructions in the first place. Note, further, that if the aim of the instructions were (contrary to their being self-directed) ‘that such and such pitches be sounded’ or ‘that such and such sonic structure be tokened’, then it becomes less clear why the third case is not a case of following the instructions, inasmuch as our pianist could (albeit improbably) adopt those aims in the course of her noodling.

Another potentially positive consequence of the proposal (that the musical instructions conveyed by notation are self-directed) relates to the conveyance of instructions by ostension. Earlier we noted two ways it can occur: by pointing to the activity of following the instruction, or by pointing to the aim of the instruction. In the case of self-directed instructions, this distinction disappears, a fact that might help explain how one can teach an appropriately trained person a piece of music by playing it—one is putting on display both the playing of it, and the instructions for playing it. 35

By means of considerations such as the preceding, Instructional Meaning together with a detailed account of the nature of instructions (some preliminary consideration towards which has just occurred) may give rise to a rich framework potentially descriptive of, or even explanatory of, a range of musical phenomena. That potential is an argument for at least taking the view seriously, and seeking its further elaboration, a goal whose completion is far beyond the scope of this essay (though it is hoped that some successful gesturing in directions of further elaboration has occurred). We leave those matters where they stand and conclude this section with a more focused positive argument in favor of Instructional Meaning , and a response to a recent criticism of it.

That argument must be prefaced, however, with an acknowledgment that (engraving of) musical notation need not, and presumably does not, always convey instructions. This softening of Instructional Meaning should come as no surprise. The word ‘house’ is normally and characteristically denotative, indicating a house, but can be used as a command (‘get into the house’) or a question (‘is it in the house?’). The latter types of usage are in a sense derivative—they depend on the primary denotative usage—but they are not for that reason denotative; they are imperative and interrogative uses of a word that is normally and characteristically used denotatively. Plausible versions of Instructional Meaning must acknowledge this type of phenomenon with musical notation as well, and thus at most claim that the primary meaning of musical notation is instructional, but that notation can be used and understood to convey other types of meaning.

Indeed, one can imagine a further softening of the view. Perhaps musical notation sometimes expresses instructions, sometimes denotes a sonic structure, and so on (for whatever other kinds of meaning one might attribute to notation), with no single usage being ‘primary’ in the sense of the previous paragraph. But given that these usages are clearly related—they are like the related uses of the word ‘house’ and not like the unrelated uses of the word ‘bank’ (as financial institution or riverside)—the hypothesis that they are related in virtue of being derived from a single, primary, use is at least theoretically attractive, for reasons of simplicity and economy of explanation.

Hence there are weaker and stronger versions of Instructional Meaning , the latter implying that when notation is used to represent, for example, a ‘sonic structure’ (whatever one might mean by that term), it does so in virtue of a primary imperative (instructional) meaning, so that reference (via notation) to a sonic structure is unpacked as ‘the sonic structure that results from following these instructions’. Similarly for other uses. In what follows, the stronger version is the one taken to be at issue, although similar arguments apply to the weaker version.

One objection to Instructional Meaning is that some musical notation affords ready inference to sonic structure, directly and not elliptically (by way instructional meaning). Ruta ( 2019: 351 ), specifically, notes that one can readily ascertain certain properties (such as being in C minor) “by looking at the notes written in the score, not by imagining what would have been the effect of performing certain actions,” a point that he takes to cast serious doubt on Instructional Meaning .

There is no real trouble for Instructional Meaning , here. The ease with which such inferences are afforded by a notation is orthogonal to the type of content the notation conveys. Consider, for example, the difference between the choreographic notation of the Renaissance, which consisted of letters taken from the names of dance moves, and the later 17 th century French notation found in Feuillet ( 1701 ), which consists of diagrams tracing the motions of the feet on the floor. Certain features of the dance associated with these later diagrams are quite evident from the images themselves, or at any rate are so once one understands the notation, while similar features of dances notated in the earlier Renaissance notation may be far from evident in the notation itself. It remains an open question whether these notations denote instructions or something else, perhaps ‘a pattern of bodily motion’ (parallel to ‘a sonic structure’). 36 A similar point holds about different orthographic notations for spoken words and inferences about rhyme. 37

Let us turn, finally, to sketch a positive argument for Instructional Meaning . The main point of the argument is that instructions have the right kind of open-endedness, flexibility, and context-dependence to make sense of the uses of notation, and typical evaluations of those uses (for example, the evaluation of performances of musical pieces). For concreteness, we shall put the point in terms of the performance of scores, but other uses for notation (such as for practice, for transcription, for analysis, and so on) could be considered, in a similar fashion.

We begin with the observation (or contention, if one prefers) that whether a particular performance is an instance of a musical piece can be vague, 38 potentially (and sometimes actually 39 ) controversial, or context-dependent. Is a performance of Bach’s Goldberg variations (written for a two-manual harpsichord) on a modern piano a ‘genuine performance’ of the piece? What about on a Moog synthesizer, with different timbres used for the different lines of counterpoint ( Carlos 1968 )? What about Radiohead songs played in the manner of classical piano ( O’Riley 2005 )? Or The Tokens’ ( 1961 ) doo-wop recording (“The Lion Sleeps Tonight”) of Solomon Linda’ s ( 1939 ) decidedly non-doo-wop song “Mbube”? These and many other examples, easily multiplied, suggest that there is often no easy answer to the question, or that the answer is context-dependent. Indeed, the most plausible response is that ‘the question’ is not well-defined: One needs to hear more about the context of performance, and especially the practices within which those performances (or recordings of them) occur and are disseminated, and then , perhaps, we can assess whether they are genuinely performances of the pieces in question.

The main point is that if the pieces in question are properly understood as prescribed by the instructions for performing them (which may be encoded in notation, but need not be—I can, and probably would, instruct you in how to play Radiohead’s song “No Surprises” without recourse to musical symbols, which is also, likely, how the band learned it), then vagueness, contentiousness, and context-dependence make sense, because instructions themselves have those characteristics. They are interpreted within a practice, the norms and aims of which in essence ‘complete’ otherwise incomplete or indeterminant instructional meaning. The point here is vaguely Wittgensteinian—no matter how precisely we may attempt to specify ‘what to do’, we will always leave something unspecified, and whether a given action satisfies a given instructional specification will ultimately be decided, at least in part, by what is taken to do so by practitioners. Instructional Meaning thus naturally explains the flexibility, contentiousness, and context-dependence of such judgments.

How can sonicism (the view that scores denote ‘sonic structures’) account for this phenomenon? The answer seems to come down to whether (on that view) scores denote sonic structures univocally.

If univocally, then whether a performance conforms to the sonic structure of a piece, and hence the score, is settled; any indeterminacy is only a matter of our failure to be able to judge the match between the sounds produced in performance and those of the sonic structure. Apparent context-dependance is illusory. Whether Carlos ( 1968 ) is a performance of Bach’s piece comes down to whether the sonic structure specified by Bach’s score includes certain facts about timbre, or perhaps the etiology of the sounds. One can of course take this hard-line position (as Goodman apparently did), but it does a poor job of explaining what those who (with their audiences) take themselves (but allegedly fail) to perform the pieces are doing. We are forced to conclude that they are mistaken, leaving us less with an understanding of their musical practice than a dismissal of it, and plunging us towards what Taruskin ( 1995: 76 ), in connection with certain strands of the ‘authentic performance movement’ (a particular version of the hard-line position), called “positivistic purgatory, literalistic and dehumanizing, a thing of taboos and shalt-nots.”

Perhaps, then, one should adopt a ‘soft’ view of scores and say that they denote sonic structures vaguely, or ambiguously? There is no space here to pursue that option in detail, 40 but, briefly, we may ask, in that case, how one comes to judge, or learn, which sonic structures count as instances, for in that case, there will be many concrete sonic events that are denoted by the score. How does one get from the score to the sonic structures that it denotes or permits, vaguely or ambiguously, and how is vagueness or ambiguity introduced in the first place? The most straightforward answer is that we appeal to the sonic structures that musicians generate in their genuine attempts to play in accordance with the score. Such attempts always occur, as Kivy ( 1993: 56 ) says, “under a given set of implicit conventions for interpreting the score—conventions which may be quite different in different historical contexts,” which nicely explains the ‘softness’ of the soft view of scores. But then, even if one thinks, with Kivy, that scores do somehow ‘pick out’ (vaguely, sets of) sonic structures, they do so (as Kivy himself seems to agree) in virtue of their denoting performing instructions. The competing notion, that scores directly denote a set (or perhaps a fuzzy set?) of sonic structures compatible with the score, and that performers somehow ‘pick out which one to instantiate’ is an entirely implausible account of what performers are actually doing, as Kivy ( 2002: 232 ) points out in his consideration of figured bass notation, when the instruction in the score is, in essence, to exercise (constrained) freedom. It is implausible because it attributes implausible cognitive powers and processes to performers, requiring them somehow to infer from the score (and not by considering how they might perform the score, but by grasping the sonic structures ‘directly, but vaguely, denoted’ by the score) a set of possibilities (if not an actual infinity, potentially a large number) and to alight upon one of them. In short, the most plausible manner in which scores denote sonic structures (if and when they are taken to do so) is via how those scores might be performed—performance practice tells us which sonic structures (whatever we might mean by such a thing) are denoted by scores.

The preceding considerations do not, of course, close the question, but they do weigh heavily in favor of Instructional Meaning . To maintain its prima facie viability as a view of notation, let us finish by addressing a loose end, 41 mentioned earlier, namely, that there are musical pieces, encoded by ‘scores’ of a kind, 42 that are constructed to be impossible, either literally (for example, logically) or effectively, to perform. One might worry, then, that the scores for these pieces cannot possibly convey instructions.

Cray ( 2016: 70 ) provides this example, among others: 43

Tribute to I.F. Kilmister : three musicians each, individually and simultaneously, play a single note (on electric guitar, electric bass, and drum kit, respectively) louder than the other two play their notes.

Note that in this example, and in all of the others cited or constructed by Cray, the piece in question is explicitly given in terms of instructions to the performer. Indeed, something like that observation seems to inform Cray’s argument that these pieces are, in fact, ‘for performance’ even though they are, in fact, unperformable. This conclusion seems correct. Indeed, if we were to understand the scores in question as denoting sonic structures, it seems the only option is an empty structure, the ‘null structure’, if one likes (because no actual sonic events could instantiate the ‘structure’ allegedly described by the score). It is difficult to see why the various ways of specifying a null structure illustrated in Cray’s various examples would be of interest to anybody, or why they would be taken to be interestingly different, if in the end their only purpose is to pick out a (i.e, the same, null) sonic structure. But if we understand the scores as instructions, then their impossibility, potential interest, and individual characters become clearer. ‘Tribute’ is specifically funny (as Cray 2016: 72 says) in part because of how one might imagine performers attempting (though of course failing) to follow the instructions. In contrast, there is simply nothing (apart from a ‘null structure’) to be the object of one’s imagination of three sounds, each louder than the others. In short: pieces intended to be unperformable are of interest (if they are) precisely because their scores convey instructions rather than denote (null) sonic structures.

Why does any of the preceding matter? 44 Apart from the intrinsic interest (if any) of the question of what sort of meaning notation bears, the account might matter for broader questions about music. The issue of performance was already briefly discussed. More generally, the position defended here may shed light on (or cast in a particular light) the so-called ‘performative turn’ as it has manifested in musicology, 45 broadly, as a shift away from the idea that musicology seeks “to arrive at the Urtext . . ., in essence, a notated text” the performance of which is “the reproduction of a meaning that is already in the notes” ( Cook 2008: 58 ), to the idea that “meaning . . . is something that emerges in the course of performance” ( Cook 2013:10 ). One motivation of the present account is to unify these two conceptions of musical scores, musical pieces, and musical performances, as they relate to meaning—if the strong version of Instructional Meaning is true, then these allegedly distinct understandings of meaning are in fact the same. In particular, to analyze a score in terms of how it is performed is just to analyze the score.

4. Conclusion

This essay has been necessarily exploratory, but it is, perhaps, at least plausible, now, that the notational scheme, together with Instructional Meaning , satisfies the desiderata of Section 2. In the same way that words such as ‘house’ may be used to represent meanings other than denoting houses, but in virtue of the latter, paradigmatic, meaning, so also musical notation can be used to express meanings other than instructions (e.g., denoting sonic structures), but in virtue of the latter ( Diverse Uses ). The account also appears to have no problem with the existence of diverse notational systems, and especially systems such as tablature for fretted instruments, that appear to depict instructions iconically. According to the present point of view, the composites of engravings in these various systems are all doing more or less the same thing, namely, conveying instructions, albeit in different ways ( Diverse Systems ).

Moreover, because instructions can be expressed in a variety of manners (linguistically, symbolically, iconically, ostensionally, etc.) there is no mystery about how non-notational instructions interact seamlessly with notational content ( Extra-notational Interaction ). Even the non -instructional elements of composites (for example, what we called ‘biographical’ elements of composites) make sense—as has been emphasized, the interpretation of instructions is highly context-dependent, and the information provided by such elements of a composite may be crucial to set the context of interpretation.

The context-dependence of instructions explains how and why musical notation is so closely tied to practice ( Entanglement with Practices ). The present account thus takes seriously Davies’s ( 2020: 5 ) helpful suggestion to pursue “ontologies sensitive to musical practices (and their historical contingencies).” Instructional Meaning is sensitive to musical practices because instructions are inherently tied to a practice of interpretation—what it means to satisfy a given instruction is tied to a community of practice. 46

Finally, here is a speculation, taking Instructional Meaning in a different ontological direction (also with an eye towards Davies’s suggestion): What if we followed the following simple (even, admittedly, simplistic) line of reasoning? Musical scores represent musical pieces (a claim not previously mentioned here, but also not outlandish). Musical scores express instructions. Therefore, musical pieces are instructions. Many of the advantages mentioned above for Instructional Meaning are also advantages for this ‘ontology’ of musical pieces. 47 Consider for example the standard lists of ‘facts that ontologies of musical pieces must respect’ 48 —that musical pieces are created, that they have instances, that what counts as an instance may be a highly contextual and practice-dependent fact, and so on. If notation operates in the manner described here, and if musical pieces are instructions, then many of these alleged facts about musical pieces may have a natural explanation.

• Alperson ( 1984: 18 ) gives a relatively early expression of the view: “We usually think of the performer as executing or complying with a set of instructions encoded more or less completely by the composer, much as a baker might bake a cake according to a recipe created by someone else.” Cf., for example, Kivy ( 2002: 205 ). A long list of scholars who take this view is given by Davies ( 2001: 100, note 1 ), who takes it himself. Not only philosophers do so. Ewert et al. ( 2014:120 ) refer to “reading the instructions in the score” (encompassing all musical notation in the score, not solely directives and suggestions such as tempo markings and fingerings). ⮭
• Substantive discussions include Goodman ( 1968: ch. IV ), Kivy (2001: ch. 1 ; 2002: ch. 12 ), and Davies ( 2001: ch. 3 ). Ruta’s ( 2019 ) recent argument concerning notation as it appears in scores will be addressed below. ⮭
• Recent work in musicology goes some way in filling this gap, although, for obvious reasons, that work is not typically focused on philosophical issues. See, e.g., Treitler ( 2011 ), Rankin ( 2018 ), Magnusson ( 2019 ), and Grier ( 2021 ). ⮭
• Nothing here is meant to serve any argumentative purpose vis-à-vis ‘fundamental’ ontology. Nominalism is rejected not as a consequence of any metaphysical commitment, but because it is not a useful starting-point. Nor is it supposed, here, that there cannot be an ultimately successful nominalist understanding of musical notation that respects the various observations and proposals of this paper. ⮭
• Based on the distinction between ‘prescriptive’ and ‘descriptive’ uses, Seeger ( 1958 ) proposed a graphical notation to do the latter job. The distinction has proven influential, but not the proposal. Cf. Magnusson ( 2019: ch. 7 ) and Grier ( 2021: 1ff. ), the latter viewing Seeger’s uses of notation, plausibly, as extremes on a spectrum of possibilities. ⮭
• The modifier ‘extra-notational’ is not meant to deny that representation of information such as the name of the composer is ‘part of’ the musical notation—the scheme described below explicitly allows for that possibility. ⮭
• Seeger ( 1958: 193 ) observes that musical notation is a “matter of norms determined by the vast aggregate of practice and codified by generations of workers.” Cole ( 1974: 20 ) says that “only knowledge of the local situation tells us what is or is not allowable” by musical notation, citing several examples. Magnusson ( 2019: 96 ) says of musical scores that “the assumption is that the performer is embedded in the cultural context of the particular musical practice.” ⮭
• Exactly how the notation was used is difficult to reconstruct. Busse Berger ( 2005 ) makes a strong case that it was (at least at one time) largely mnemonic. Even so, singers must have had in mind (with explicit theoretical awareness or practical familiarity) a characterization of rhythmic possibilities (as described in the mensural theory of the day), limiting the possible referents of any given ligature (grouping of notes), without which the mnemonic purpose could not have been served. ⮭
• In order to avoid mistaken associations with his nominalist agenda, I am avoiding Goodman’s ( 1968 ) terminology, although there is a rough correspondence between his categories and mine. His ‘atomic inscription’ corresponds to my ‘symbol-engraving’. His ‘atomic character’ corresponds to my ‘symbol-form’. His use of ‘compound’ (of inscriptions or characters) corresponds to my use of ‘composite’ (of engravings or forms). ⮭
• There is a further distinction to be drawn, between tokens and occurrences ( Wetzel 2009: ch. 7 ). A token of a type is a concrete manifestation of the type in the world. In contrast, an occurrence of a type is an abstract manifestation of the type, typically as part of another type. Consider, for example, a composite of symbol-forms associated with the C-major arpeggio C1-E2-G2. It contains occurrences (but not tokens, i.e., not symbol-engravings) of the symbol-forms for the notes C1, E2, and G2. Tokens (engravings) of this arpeggio would then contain engravings of those latter symbol-forms. ⮭
• An anonymous referee helpfully points out that some engravings may exist purely to aid in readability. Such engravings would not count as bearing ‘musical meaning’ on this account, since they do not affect the content of one’s interpretation, but only the ease with which one recognizes the objects to be interpreted. (‘Interpretation’ here means ‘interpret the meaning of the musical symbol’ not ‘performatively interpret the musical piece’.) ⮭
• Stems were once used to indicate rhythmic organization. See Ovenden ( 2021: 37 ), and the manuscript example in Figure 1 , page 32. ⮭
• I might creatively make some sounds that suggest that I understand what staves contribute to the meaning of musical notation, but there is no standard type of sound that I could make that would be recognized as ‘doing what the stave (alone) says to do’. ⮭
• Didactic symbols may in principle be more than suggestive, and indeed serve sonic purposes. On many wind instruments, for example, many pitches can be played with any of two or more fingerings, and there can be subtle differences in the sound depending on which fingering is used. A composer who is aware of this fact, and desires a particular effect, could indicate the desired outcome by means of what appears to be a merely advisory instruction about the means of production, in essence using a didactic symbol for the purpose associated with sonic symbols. ⮭
• The term is intended to refer to the ‘biography’ of the composite (including events or circumstances that occasioned it, for example, the composition or performance of a musical piece). ⮭
• There are experimental scores that depart from standard musical notation in various ways. In many cases, these innovations resemble myriad such ventures over the centuries, some of which get taken up into practice, and some of which become historical curiosities. There are also scores whose creators attempt to depart entirely from the conventional use of musical symbols. It is the latter sort of notation that I am setting aside, here. (Consider the graphic scores of the mid to late 20 th century. Evarts [ 1968: 412 ] aptly describes performances of such scores as “the improvisations of instrumentalists reacting to graphic pictures”, i.e., as reacting, not reading.) ⮭
• The thought behind the proposal that there are symbols in addition to forms and engravings and meanings has interesting parallels in (and is partly informed by) debates about the ontology of words in the philosophy of language, which, however, cannot be carefully explored here (see Kaplan 1990 ; Hawthorne & Lepore 2011 ; Irmak 2019 ; Miller 2020 ). The notion that there can be created abstract objects is objectionable to some, though typical objections seem to be based on intuitions whose force is entirely unclear (to me). (Perhaps the notion of creation can be eliminated in favor of ‘discovery’. I set that possibility aside for present purposes.) See Friedell ( 2019 ) and references therein. ⮭
• The treatise has traditionally been attributed to Johannes de Garlandia, but his authorship has been questioned. See Pesce ( 2011 ) for a brief account of its historical significance, Roesner ( 2009 ) and Grier ( 2021: ch. 3 ) to get into the weeds, and Baltzer ( 2001 ) for a discussion of authorship. (I am simplifying the account—for example, there are notable differences between manuscript versions.) ⮭
• The point is not that we no longer (very often) use the shapes of DMM as notehead-forms, but that the background theory of rhythm is radically different. Nonetheless, the general idea of using symbols to represent metrical duration has persisted, and indeed proved to be extremely fruitful in the development of musical rhythm in Western practice. ⮭
• Such notation is attested, for example, in the Antiphonarium Sancti Dyonisii (ca. 1140–1160), in which the scribe follows the standard practice of writing square-shaped neumes in general, but often uses diamond-shaped neumes for descending notes (which would have been quite natural, for a right-handed scribe, because of the motion of the pen). The manuscript is available in digital form from gallica.bnf.fr. See, e.g., page 3r. ⮭
• The argument that I have in mind, here, is an analog of the argument made by Hawthorne and Lepore ( 2011: 461ff. ) regarding Kaplan’s parallel claim about words. ⮭
• Cole ( 1974: 24 ) displays an example of a page from an autograph score by Janáček (the engravings of which bear little discernible morphological resemblance to those of standard western notation; i.e., the score is very messy) and points out that with some care, knowledgeable readers (such as editors) can find the meaning in it. ⮭
• One could of course remain optimistic (as Bromberger [ 2011: 492ff. ] seems to suggest, mutatis mutandis, in his commentary on the parallel debate about words) about the possibility of a purely (though highly disjunctive) morphological account. Apart from a prior commitment to nominalism, it is hard to see what would motivate that optimism. (No even remotely promising account has been proposed.) ⮭
• The same point, with respect to the letters of the Roman alphabet, is made by Wetzel ( 2009: 61–65 ), who argues against what she calls the ‘shape theory’ of letters (i.e., the theory that all tokens of a letter are such in virtue of their having a common shape). ⮭
• Szabó’s main argument for his view is the ‘inverted-word’ argument. That argument can be adapted into an argument concerning musical notation. (Imagine an instrumentalist who learns the notes on the staff incorrectly, but also has learned incorrect fingerings in a manner that cancels out the first error and results in ‘correct’ playing.) However, the musical analog of the original argument does not strike me as particularly convincing. ⮭
• The observations made here about imperatives are intended to be neutral with respect to that ongoing discussion. For a review, see Kaufmann ( 2020: esp. section 4 ). At the same time, commitment to one or another semantics for imperatives could have interesting consequences for one’s understanding of musical instructions. Pursuing that point is beyond the scope of this essay. ⮭
• Imperatives also include commands, suggestions, invitations, and so on. In fact, as used here, ‘instruction’ is intended to encompass at least some of these other flavors of imperative, for example suggestions and invitations. (Sometimes instructions are merely suggestions, as in “optionally, add walnuts to the batter at this point”.) ⮭
• In linguistics, ‘utterance’ typically refers to concrete instances (paradigmatically, spoken instances, but also written instances) of linguistic entities such as words and sentences. We are extending the term to include symbol-engravings. ⮭
• The distinction between iconic and symbolic expression is famously made by Pierce, who also distinguished these types from ‘indexical’ expression, i.e, expression by means of some causal connection (for example between smoke and fire). See Liszka ( 1996 ) for details. Indexical expression does not normally occur in music, although one might understand Seeger’s ( 1958 ) advocacy (misguided, I would say) for his graphic notation in terms of a claim that it is closer to an indexical expression of music (making it what he called an ‘objective’ notation). ⮭
• The point here is not to provide an account of following instructions—other conditions might need to be met for bona fide ‘following’—but to distinguish ‘following’ from ‘acting out’. We are, of course, bumping up against difficult questions concerning action and intention, which cannot be pursued, here. For a helpful review see Setiya ( 2003 ). ⮭
• That push-ups are often done for exercise is probably obvious. That they are often done for punishment or correction is perhaps less well known to typical readers of philosophy journals. The (U.S.) Department of the Army ( 2020: ch. 4, section 6.b(1) ) is clear that push-ups may be imposed on a soldier to “correct deficiencies” such as “arriving late to formation”. In these cases, exercise is at best a downstream aim. What is common to both punitive and calisthenic reasons for doing pushups is just that the correct bodily motions, as given in the instructions, are performed. ⮭
• Typically, following instructions does not infallibly produce their aims; certain (not completely specifiable) ceteris paribus clauses must always be in effect. The instructions for baking bread do not (typically) include, for example, the directive to “make sure that nobody floods the oven.” ⮭
• It is my inclination to say that they are, but one could maintain that the instructions are to ‘make such and such a sounds in such and such a manner’. I prefer to understand them as ‘take such and such actions’ (actions that characteristically but not necessarily cause certain sounds). There are considerations in favor of both accounts. ⮭
• For reviews, see Kania and Gracyk ( 2013 ), Thom ( 2021 ). ⮭
• I see this dual aspect of performance (as putting on display both the aim of instructions and the activity of following those instructions, which are the same thing considered from different viewpoints) as connected to Walton’s ( 2011: 470 ) idea that musical performances naturally invite listeners to “make music our own,” in the sense of imagining it as somehow being produced by ourselves, and expressing our own emotions. The point is that in the case of musical performance, the audience has access to the productive activity, and thus, perhaps, the possibility (or the more readily accessible possibility) of imagining that activity to be one’s own. (An anonymous referee has questioned this connection, wondering whether witnessing a performance could enable the kind of activity that Walton had in mind, but we are already in a parenthetical remark in a footnote, so I’ll leave the matter there.) ⮭
• Here we need to acknowledge additional arguments in Ruta ( 2019 ) to the effect that Instructional Meaning does not even get off the ground. Ruta delineates several objections (directed specifically to the composites that are scores). However, the objections crucially ignore the point, discussed earlier, that instructions may be formulated at various levels of generality, depending on the intended addressee. Hence, for example, Ruta’s ( 2019: 350 ) observation that “musical scores for no instruments can be composed . . ., and such scores are playable and make sense” is of course true, but no more problematic than the observation that the instruction “set the oven to 180” can be intended simultaneously for, and successfully followed on, very different types of oven, even types unanticipated by the author of the instructions. ⮭
• Does ‘off’ rhyme with ‘cough’? Does ‘weight’ rhyme with ‘height’? Standard English spelling does not make the answers clear. The International Phonetic Alphabet is much better for this purpose. ⮭
• Goodman ( 1968: 148ff ) claimed differently, decreeing that notation is ‘unambiguous’, but he was more or less pressed into this view by other commitments, and this claim has been the most widely criticized aspect of his account. (Even friends of Goodman’s general view are inclined to modify it to avoid this consequence—see Predelli 1999 .) ⮭
• Ridley ( 2003 ) contends that such controversies are rare or non-existent, but he accepts that scores leave their (correct) performances underspecified at least in the sense that we might need to make such judgments post hoc, and having done so, effectively modify our understanding of the piece, and what its performances may be like. This much indeterminacy is sufficient to make the point at stake here. ⮭
• Clarifying this position would require taking a stand on several issues regarding vagueness (or ambiguity) that cannot be spelled out here. See Sorensen ( 2022 ). ⮭
• Thanks to an anonymous referee for raising this point and pointing me to work on unperformable works. ⮭
• It is telling that typical examples are encoded linguistically, either entirely or partially. Musical notation, having been developed to be performable, does not easily admit expression of impossibilities on its own. ⮭
• Some of Cray’s examples involve impossibilities (such as traveling backwards in time) that have nothing to do with music, and I would say are easily dismissed, or at least less interesting for present purposes, on those grounds. ⮭
• I am grateful to an anonymous referee who, rightly, continued to press me to say something on this matter. ⮭
• Musicology, perhaps even more than philosophy, is rife with hand-wringing about its self-conception; declarations of ‘turns’ of various kinds are frequent, and frequently taken to hail the end of the discipline. (For a recent, and perhaps somewhat extreme example, see Amico 2020 .) Nonetheless, the so-called ‘performative turn’ in musicology was a positive development, putting the analysis of performance in proper relation to the analysis of ‘works’, while not (necessarily) forgetting the importance of the latter. ⮭
• One of the important lessons from Davies’s ( 2001 ) discussion of notation is that we should keep clear the distinction between interpreting scores (as composites of musical symbols) and interpreting musical pieces. (Inasmuch as pieces may be represented by scores, the two are connected, but nonetheless should be kept analytically distinct.) At no point in this essay is the issue of interpreting pieces in play—all interpretation discussed here is interpretation of notation. Of course there are interesting (but unexplored, here) connections between the two. ⮭
• Why the scare-quote? A statement such as “musical pieces are instructions” might not be taken as ‘ontological’ in the sense intended by many ontologists. Perhaps it is ‘higher-level ontology’ ( Kania 2008 ) as opposed to ‘fundamental ontology’. ⮭
• For an example of such a list, see Killin ( 2018: 271 ). No claim is being made, here, about the authority of any such list. ⮭

Acknowledgments

Many of the ideas in this paper arose from lengthy and helpful discussions with Brett Sherman, who generously shared his expertise in philosophy of language and linguistics. I am also grateful to anonymous referees for giving this paper a careful read and commentary. Ideas related to this paper were presented at the Queen Street Symposium in Columbia, SC, and the American Society for Aesthetics Eastern Division meeting in Philadelphia, PA, and I am grateful for helpful discussions in those venues.

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The Model of Emergent Leadership

This essay about emergent leadership discusses how these leaders naturally rise to prominence in their groups, driven by necessity or their innate influence rather than formal authority. Focusing on characteristics such as adaptability, communication skills, and emotional intelligence, the essay highlights how emergent leaders thrive in dynamic environments like startups or during organizational crises. It also addresses potential challenges, such as tension with traditional leaders and role ambiguity. The essay advocates for organizational cultures that support emergent leadership through training, open communication, and recognition, suggesting that such environments enable companies to navigate complex business landscapes effectively. Ultimately, the essay posits that emergent leadership is crucial for modern organizational success, providing a blend of responsiveness and creativity needed in today’s fast-paced world.

How it works

In the vibrant realm of leadership scholarship, the notion of the emergent leader has gained ascendancy. This form of leadership stands in stark contrast to conventional paradigms that underscore hierarchical, predetermined roles. Emergent leaders do not inherently hold formal designations or positions; instead, they ascend organically within collectives, oft propelled by exigency or an innate adeptness to sway and shepherd others towards collective objectives. This treatise delves into the essence of emergent leadership, delineating its attributes and implications within organizational spheres.

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To nurture and harness emergent leadership effectively, organizations ought to pivot towards instilling cultures valuing transparency, adaptability, and proactive communication. Encouraging team constituents to seize the initiative and acknowledging their contributions can pave the path for emergent leaders to exert a constructive influence on their collectives. Additionally, pedagogical initiatives cultivating leadership acumen across all echelons can equip individuals with the wherewithal to rise to the occasion when leadership beckons, ensuring the organization boasts a resilient pipeline of potential leaders.

In summation, emergent leadership constitutes a pivotal impetus propelling organizations forward, particularly amidst swiftly mutating environs. These leaders bring to the fore a distinct skill set and perspective that complements formal leadership configurations. By apprehending and integrating emergent leadership into their stratagems, organizations can augment their adaptability and ingenuity, ensuring they are well-equipped to surmount both extant and impending challenges. As the commercial vista continues its metamorphosis, the recognition and cultivation of such leadership will be indispensable for sustained prosperity and fortitude.

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Guest Essay

I Thought the Bragg Case Against Trump Was a Legal Embarrassment. Now I Think It’s a Historic Mistake.

By Jed Handelsman Shugerman

Mr. Shugerman is a law professor at Boston University.

About a year ago, when Alvin Bragg, the Manhattan district attorney, indicted former President Donald Trump, I was critical of the case and called it an embarrassment. I thought an array of legal problems would and should lead to long delays in federal courts.

After listening to Monday’s opening statement by prosecutors, I still think the district attorney has made a historic mistake. Their vague allegation about “a criminal scheme to corrupt the 2016 presidential election” has me more concerned than ever about their unprecedented use of state law and their persistent avoidance of specifying an election crime or a valid theory of fraud.

To recap: Mr. Trump is accused in the case of falsifying business records. Those are misdemeanor charges. To elevate it to a criminal case, Mr. Bragg and his team have pointed to potential violations of federal election law and state tax fraud. They also cite state election law, but state statutory definitions of “public office” seem to limit those statutes to state and local races.

Both the misdemeanor and felony charges require that the defendant made the false record with “intent to defraud.” A year ago, I wondered how entirely internal business records (the daily ledger, pay stubs and invoices) could be the basis of any fraud if they are not shared with anyone outside the business. I suggested that the real fraud was Mr. Trump’s filing an (allegedly) false report to the Federal Election Commission, and that only federal prosecutors had jurisdiction over that filing.

A recent conversation with Jeffrey Cohen, a friend, Boston College law professor and former prosecutor, made me think that the case could turn out to be more legitimate than I had originally thought. The reason has to do with those allegedly falsified business records: Most of them were entered in early 2017, generally before Mr. Trump filed his Federal Election Commission report that summer. Mr. Trump may have foreseen an investigation into his campaign, leading to its financial records. He may have falsely recorded these internal records before the F.E.C. filing as consciously part of the same fraud: to create a consistent paper trail and to hide intent to violate federal election laws, or defraud the F.E.C.

In short: It’s not the crime; it’s the cover-up.

Looking at the case in this way might address concerns about state jurisdiction. In this scenario, Mr. Trump arguably intended to deceive state investigators, too. State investigators could find these inconsistencies and alert federal agencies. Prosecutors could argue that New York State agencies have an interest in detecting conspiracies to defraud federal entities; they might also have a plausible answer to significant questions about whether New York State has jurisdiction or whether this stretch of a state business filing law is pre-empted by federal law.

However, this explanation is a novel interpretation with many significant legal problems. And none of the Manhattan district attorney’s filings or today’s opening statement even hint at this approach.

Instead of a theory of defrauding state regulators, Mr. Bragg has adopted a weak theory of “election interference,” and Justice Juan Merchan described the case , in his summary of it during jury selection, as an allegation of falsifying business records “to conceal an agreement with others to unlawfully influence the 2016 election.”

As a reality check: It is legal for a candidate to pay for a nondisclosure agreement. Hush money is unseemly, but it is legal. The election law scholar Richard Hasen rightly observed , “Calling it election interference actually cheapens the term and undermines the deadly serious charges in the real election interference cases.”

In Monday’s opening argument, the prosecutor Matthew Colangelo still evaded specifics about what was illegal about influencing an election, but then he claimed , “It was election fraud, pure and simple.” None of the relevant state or federal statutes refer to filing violations as fraud. Calling it “election fraud” is a legal and strategic mistake, exaggerating the case and setting up the jury with high expectations that the prosecutors cannot meet.

The most accurate description of this criminal case is a federal campaign finance filing violation. Without a federal violation (which the state election statute is tethered to), Mr. Bragg cannot upgrade the misdemeanor counts into felonies. Moreover, it is unclear how this case would even fulfill the misdemeanor requirement of “intent to defraud” without the federal crime.

In stretching jurisdiction and trying a federal crime in state court, the Manhattan district attorney is now pushing untested legal interpretations and applications. I see three red flags raising concerns about selective prosecution upon appeal.

First, I could find no previous case of any state prosecutor relying on the Federal Election Campaign Act either as a direct crime or a predicate crime. Whether state prosecutors have avoided doing so as a matter of law, norms or lack of expertise, this novel attempt is a sign of overreach.

Second, Mr. Trump’s lawyers argued that the New York statute requires that the predicate (underlying) crime must also be a New York crime, not a crime in another jurisdiction. The district attorney responded with judicial precedents only about other criminal statutes, not the statute in this case. In the end, the prosecutors could not cite a single judicial interpretation of this particular statute supporting their use of the statute (a plea deal and a single jury instruction do not count).

Third, no New York precedent has allowed an interpretation of defrauding the general public. Legal experts have noted that such a broad “election interference” theory is unprecedented, and a conviction based on it may not survive a state appeal.

Mr. Trump’s legal team also undercut itself for its decisions in the past year: His lawyers essentially put all of their eggs in the meritless basket of seeking to move the trial to federal court, instead of seeking a federal injunction to stop the trial entirely. If they had raised the issues of selective or vindictive prosecution and a mix of jurisdictional, pre-emption and constitutional claims, they could have delayed the trial past Election Day, even if they lost at each federal stage.

Another reason a federal crime has wound up in state court is that President Biden’s Justice Department bent over backward not to reopen this valid case or appoint a special counsel. Mr. Trump has tried to blame Mr. Biden for this prosecution as the real “election interference.” The Biden administration’s extra restraint belies this allegation and deserves more credit.

Eight years after the alleged crime itself, it is reasonable to ask if this is more about Manhattan politics than New York law. This case should serve as a cautionary tale about broader prosecutorial abuses in America — and promote bipartisan reforms of our partisan prosecutorial system.

Nevertheless, prosecutors should have some latitude to develop their case during trial, and maybe they will be more careful and precise about the underlying crime, fraud and the jurisdictional questions. Mr. Trump has received sufficient notice of the charges, and he can raise his arguments on appeal. One important principle of “ our Federalism ,” in the Supreme Court’s terms, is abstention , that federal courts should generally allow state trials to proceed first and wait to hear challenges later.

This case is still an embarrassment, in terms of prosecutorial ethics and apparent selectivity. Nevertheless, each side should have its day in court. If convicted, Mr. Trump can fight many other days — and perhaps win — in appellate courts. But if Monday’s opening is a preview of exaggerated allegations, imprecise legal theories and persistently unaddressed problems, the prosecutors might not win a conviction at all.

Jed Handelsman Shugerman (@jedshug) is a law professor at Boston University.

The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips . And here’s our email: [email protected] .

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Sophia Bush comes out as queer, confirms relationship with Ashlyn Harris

Actor Sophia Bush came out as queer in an emotional essay in Glamour and confirmed she’s in a relationship with retired U.S. Women’s National Team soccer player Ashlyn Harris. 

“I sort of hate the notion of having to come out in 2024,” Bush wrote in a cover story for the fashion magazine published Thursday. “But I’m deeply aware that we are having this conversation in a year when we’re seeing the most aggressive attacks on the LGBTQIA+ community in modern history.” 

Bush noted that there were more than 500 anti-LGBTQ bills proposed in state legislatures last year and said this motivated her to “give the act of coming out the respect and honor it deserves.” 

“I’ve experienced so much safety, respect, and love in the queer community, as an ally all of my life, that, as I came into myself, I already felt it was my home,” she wrote. “I think I’ve always known that my sexuality exists on a spectrum. Right now I think the word that best defines it is queer . I can’t say it without smiling, actually. And that feels pretty great.”

The “One Tree Hill” star filed for divorce from entrepreneur Grant Hughes in August. People magazine first reported in October that Bush and Harris were dating, but neither confirmed nor commented on the report. The pair later attended an Oscar’s viewing party together in March . 

In the essay, Bush addressed online rumors that her relationship with Harris began before Harris had officially divorced from fellow soccer star Ali Krieger, in September. 

“Everyone that matters to me knows what’s true and what isn’t,” Bush wrote. “But even still there’s a part of me that’s a ferocious defender, who wants to correct the record piece by piece. But my better self, with her earned patience, has to sit back and ask, What’s the f------- point? For who? For internet trolls? No, thank you. I’ll spend my precious time doing things I love instead.”

Bush said that after news about her and Harris became public, her mom told her that a friend called and said, “Well, this can’t be true. I mean, your daughter isn’t gay .” 

“My mom felt that it was obvious, from the way her friend emphasized the word, that she meant it judgmentally,” Bush wrote. “And you know what my mom said? ‘Oh honey, I think she’s pretty gay. And she’s happy .’”

Bush wrote that she felt like she was wearing a weighted vest that she could finally put down. 

“I finally feel like I can breathe,” Bush wrote. “I turned 41 last summer, amid all of this, and I heard the words I was saying to my best friend as they came out of my mouth. ‘I feel like this is my first birthday,’ I told her. This year was my very first birthday.”

For more from NBC Out, sign up for our weekly newsletter.

Jo Yurcaba is a reporter for NBC Out.

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Campus - 03.05.2024 - 13:07 

Funke Aderonmu from the USA wins the Global Essay Competition 2024

On May 2nd, 2024, three young leaders were honored during a grand ceremony at the Global Essay Competition held during the 53rd St. Gallen Symposium. The three students were awarded a prize for their outstanding ideas and proposed solutions on the topic of "Confronting Scarcity" which they discussed in their essays. Open to students globally, the essay competition brings young leaders to St.Gallen to exchange ideas and engage in dialogue with 200 dedicated "Leaders of Tomorrow" from over 60 countries alongside 600 established "Leaders of Today".

What challenges do young generations encounter, and in what realms do they face scarcities?

This year, the St. Gallen Symposium received more than 750 essay submissions from ambitious talents all around the world. To spread the word about the competition, a team member from the organizing committee travels the world to speak to university students about the Symposium’s mission of fostering intergenerational dialogue. The authors of the best 100 essays are invited to St.Gallen as "Leaders of Tomorrow" to discuss their ideas with the "Leaders of Today". Following the conference theme, "Confronting Scarcity", this year's essay question was: "Striving for more or thriving with less – What pressing scarcity do you see, and how do you suggest to tackle it?" An award jury consisting of leading executives, journalists, and professors from all around the world and an academic jury headed by HSG Professor Heike Bruch and composed of young top academics from the University of St. Gallen and the ETH Zurich selected the winning ideas. One noticeable trend in this year’s top essays was the exploration of confronting scarcities with AI. However, the top essays reflected a multidisciplinary approach to understanding and solving a broad variety of scarcities ranging from resource, healthcare, information, social and knowledge, or technological scarcity.

Repurposing agricultural subsidies to conquer food scarcity

Oluwafunmike "Funke" Aderonmu, who is currently pursuing a master in public affairs at Princeton University, won this year’s competition with her essay "Cultivating Resilience: A Paradigm Shift in U.S. Agricultural Subsidies for a Food Secure Future ". Aderonmu discusses that climate change severely affects agricultural production endangering the global food supply. In return, agriculture is also a key driver of climate change. To tackle this mutual reinforcement, Aderonmu proposes three reforms for the U.S. agricultural subsidies: Investing in agricultural research and development, increasing conservation funding as a larger share of subsidies, and supporting sustainable, climate-smart agriculture. In addition, Aderonmu also advocates for broader agricultural subsidy reforms across the world. Aderonmu first became exposed to issues of food insecurity and hunger in the U.S. through an internship where she worked on a project with a local food bank in California. Aderonmu learned that “even though there is enough food produced to feed everyone in the U.S., people still face insecurity with regards to food because of how the food system is designed in ways that reflect a lot of economic inequalities, particularly people with low incomes often lack affordable food options”. Her internship also sparked her interest in the role of policies in shaping food security, leading her to complete a yearlong fellowship working on hunger issues in the U.S. after her undergraduate studies and work for the U.S. Agency for International Development (USAID). After completing her master’s degree, Aderonmu hopes to work at the intersection of inclusive economic development and advancing food security. With her prize money, Aderonmu wants to support organizations that provide immediate food security relief in addition to supporting more of the global advocacy and long-term policy changes. Fitting to the essay competition, Aderonmu encourages young people to look for opportunities to write and ensure that their ideas are spread, stating that "no opportunity is too small, whether it's at your local school newspaper or writing a blog".

Boosting climate change-exposed health systems with AI

Chan Wei Jun Sean is a master’s student in public health at the National University of Singapore. In his second-ranked essay "Mapping the Future of Global Health: Leveraging GeoAI to Optimise Resources in Climate -Resilient Healthcare Systems" he writes about using advancements in AI to effectively address health vulnerabilities stemming from climate variability and change. Coming from a background in policy analysis and global health, Chan set his mind to tackling the problem that inaction on climate change weakens the global health resilience to infectious illnesses, heat-related injuries, malnutrition, and mental health issues. He previously worked on a research project on using observational spatiotemporal analysis of routinely collected malaria surveillance data to evaluate elimination objectives in Bhutan, sparking the idea for his essay. GeoAI uses artificial intelligence and geospatial data to optimize healthcare resource allocation. It combines various data sources such as satellite imagery, electronic health data, and social media content to develop innovative public health strategies. It aids in predicting disease transmission, optimizing resource allocation and access to healthcare in vulnerable areas, and informing policy decisions. "I wanted to test my idea on a global scale", Chan reflects on his motivation to apply, "I wanted to see whether there is an audience that would relate to healthcare scarcity resulting from worsening climate calamity, and if GeoAI would be an interesting tool to help governments and NGOs better manage such scarcity efficiently". Chan advises young people to look for good mentors, participate in community initiatives, and be open, empathetic, yet respectful. He specifically values intergenerational dialogue as “one can see optimism and hope in the eyes of leaders of today towards the future generation, and that’s where young people are motivated to strive to do the best in their field".

Tackling misinformation overlead

Third-placed St.Gallen native and PhD student at the Nanyang Technological University in Singapore Andreas Kuster explores the challenges posed by the digital age's information overload, particularly regarding the verification of content flooding the internet. Titled "Beyond the Noise: Innovating Information Verification in the Digital Age", the essay argues for a multifaceted approach to combat misinformation. In a society where the rapid dissemination of news through social media platforms often prioritizes engagement over truth and where fake news websites and manipulated media content mislead audiences, Andreas sheds light on the critical scarcity of effective mechanisms for information verification. To solve this, Kuster proposes three solutions. First, Kuster advocates for leveraging the latest advancements in AI and machine learning to detect and flag misinformation. This includes the development of automated fact-checking tools and bots to verify information in real time. Second, Kuster suggests integrating digital and media literacy in educational curricula. Students should be empowered to assess the credibility of sources, understand the mechanisms behind the spread of misinformation, and evaluate the bias and intent behind content. Third, robust policy interventions can help bolster information verification. For example, policy interventions could promote transparency in digital advertising, hold digital platforms responsible for content they propagate, and mandate the adoption of verification technologies by these platforms. Kuster concludes by urging for a cultural shift towards more mindful information consumption and he envisions a more informed and resilient society capable of discerning truth from falsehood in the digital age. “Ensuring accurate information is one of the core pillars of research and essential to uphold the integrity of my work”, Kuster explains his connection to the essay topic. As next steps, Kuster shares that “at an individual level, reverting to a more deliberate approach to consuming and digesting information can be applied immediately, meaning shifting from short-attention-span videos and condensed information feeds to engaging with articles, books, or in-depth documentaries, allowing time to think critically about what you see, hear and read”. You can view and read the full winning essays and the top 25 entries here

Victoria Lorenzen studies Banking and Finance and International Management at the University of St.Gallen.

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