and uses of slang, professional terminology, and clichés.

One of the best-known dictonaries is the Dictionary of American Stang, compued by Harold Wentwort ang Stuart Berg Flexner For descriptions and prescriptions on Anierican English, see Hi Dichanary of Contemporary Usage, edited by William and Mary Morris; keep i the ohjective linguistic principles regarding usage as you read the personal opinions of authonities" quoted. British linguists have conducted fairly extensive, objectiver on situations and style; among the best nontechnical discussions of their work is Randolph Quirk in The Use of English.

Chapters 12 and 13, entitled Usage and "Style and Purpose. An objective and interesting discussion ofcriicsTEs about dictionaries is "Telling the Truth about Words (Kerr and Aderman 1971 by Philip B.

Gove, editor of the Webster's Third New Interiutional Dictionary of the English Language Unabridged. Thase readers who wish to pursue the topic in greater detail should consult the interesting collection of articles in Dictionaries and THAT Dictionary, edited by James Sledd and "Wilma R.

Ebbitt. Also relevant is Varient Spel lings in Modern American Dictionaries by Donald W. Emery and 1.

Draw up a list of five slang words that you use frequently and five slang words never use. Provide a brief definition for each. Is it easier to define the words you use Do the words that you do not use seem vague or particularly colorful? What do your answers reveal about your own attitudes regarding slang?

For your own speech and writing, describe the meaning and usage of the follow ing pairs of words.

bimonthly - semimonthly imply infer nauseated- nauseous -sensuOus Compare your answers to the descriptions provided in a usage guide (such as the Harper Dictionary of Contemporary Usage).

Explain any differences you discover 3. The following passage comes from the program notes supplied to the audience at a performance of Tchaikovsky's Concerto in D for Violin and Orchestra.

Find two instances of highly colloquial or slang usage in this otherwise formal writing [Tchakovsky's] brother Modeste had wamed him in Switzerland that he found the second movement, an Andante molto cantabile (now known as theMeditation" in d minor), far too elegiac and distracting from the whole, and now Tchaikovsky decided to chuck it.

In another day, he had written an entirely new second move ment, which is the one we hear this evening, the Canzonetta in g minor.

Tehaikovsky had already once run amuck with his first piano concerto, which he had planned to dedicate to his colleague (and chairman of the Cotservatory). Nicholas Rubinstein This pasne ia ned with permission of the author, Keoneth C. Beachler, Drector of the Lecturt Concert Michign Stae Uaivenity