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When Stockhausen was 18, and a music-student in war-devastated Cologne, he read Hermann Hesse's The Glass Bead Game.
He rounds on Hesse, who wrote his iconoclastic novel The Glass Bead Game, which Lindqvist adored, between 1931 and 1943.
When Stockhausen was an 18-year-old music student in war-devastated Cologne, he read Hermann Hesse's The Glass Bead Game.
Increasingly staffed by former X Factor contestants, it is an almost perfectly self-contained light-entertainment ecosystem – The Glass Bead Game of synthetic pop.
Farther north, beside a pair of in-line skates, Boris Bozhdarov had been reading Hermann Hesse's last novel, "The Glass Bead Game," which is set in a post-apocalyptic future among an elite cult of intellectuals.
Step by step, young Josef Knecht is initiated into the mysteries of the "glass bead game" that forms the focal point of Castalian social and academic life - until he starts to question its rules and falls out with the order.
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"Darmstadt" became a perjorative term used to describe arid abstract music, glass bead games with notes and, like all cliches, it contained some truth.
Many young composers still play the same glass-bead game with the past, upholding artificial differences in musical language rather than questioning them.
Interestingly, a recent imaging study of the Beads Game found that activity in the pPAR correlated with increased bead sampling across participants (Furl and Averbeck 2011).
No significant group effects were found on the dependent variables on the Beads Game (P > 0.1) or the Probability Adjustment Task (P > 0.4) (see Supplementary Table 1).
Furthermore, 2 control tasks measuring probabilistic reasoning (the Beads Game; Huq et al. 1988; Garety et al. 2005) and the processing of probabilities outside of a gambling context (the Probability Adjustment Task; Falk and Wilkening 1998) were administered.
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