MELODIE输液泵在头颈部恶性肿瘤时辰化疗中的应用及护理

[目的]探讨MELODIE输液泵在头颈部恶性肿瘤时辰化疗中的应用,总结护理措施。[方法]总结66例次MELODIE输液泵在头颈部恶性肿瘤时辰化疗中的应用及护理方法,包括MELODIE输液泵的原理及构造、使用方法、化疗泵的观察、心理护理、导管的护理、化疗药物的配制、化疗药物毒副反应的观察及护理。[结果]无一例出现严重不良反应与并发症。[结论]使用MELODIE输液泵时辰化疗减轻了化疗药物的毒副反应,为头颈部恶性肿瘤病人开辟一种新的既保证疗效又降低毒副反应的治疗护理模式。

Melody Generator: A Device for Algorithmic Music Construction

This article describes the development of an application for generating tonal melodies. The goal of the project is to ascertain our current understanding of tonal music by means of algorithmic music generation. The method followed consists of four stages: 1) selection of music-theoretical insights, 2) translation of these insights into a set of principles, 3) conversion of the principles into a computational model having the form of an algorithm for music generation, 4) testing the “music” generated by the algorithm to evaluate the adequacy of the model. As an example, the method is implemented in Melody Generator, an algorithm for generating tonal melodies. The program has a structure suited for generating, displaying, playing and storing melodies, functions which are all accessible via a dedicated interface. The actual generation of melodies, is based in part on constraints imposed by the tonal context, i.e. by meter and key, the settings of which are controlled by means of parameters on the interface. For another part, it is based upon a set of construction principles including the notion of a hierarchical organization, and the idea that melodies consist of a skeleton that may be elaborated in various ways. After these aspects were implemented as specific sub-algorithms, the device produces simple but well-structured tonal melodies.

A Comparative Analysis of the English Versions of Prelude to Water Melody in Light of Eco-Translatology

Eco-translatology is an original translation theory proposed by Hu Gengshen,a Chinese scholar.Su Shi’s masterpiecePrelude to Water Melody is a famous Chinese classic poetry.From the perspective of eco-translatology,the study tries to make acomparative analysis of two English versions of Prelude to Water Melody,based on some core concepts including environment oftranslation,central position of translator and three-dimensional transformation.Through comparative analysis,the study finds thatthe eco-env’ironment of two versions has different impacts on them,but both reflect the central position of translator well.And XuYuanchongs translation is easier for readers to accept in terms of linguistic and cultural dimensions,while Burton Watson’s translation can better reflect communicative intention.It is hoped that the study will shed some new light on the research of translationof Chinese classic poetry and more scholars will pay attention to eco-translatology.

The Lateral Occipital Complex is Activated by Melody with Accompaniment: Foreground and Background Segregation in Auditory Processing

Objective: Most of the western music consists of a melody and an accompaniment. The melody is referred to as the foreground, with the accompaniment the background. In visual processing, the lateral occipital complex (LOC) is known to participate in foreground and background segregation. We investigated the role of LOC in music processing with use of positron emission tomography (PET). Method: Musically na?ve subjects listened to unfamiliar novel melodies with (accompaniment condition) and without the accompaniment (melodic condition). Using a PET subtraction technique, we studied changes in regional cerebral blood flow (rCBF) during the accompaniment condition compared to the melodic condition. Results: The accompanyment condition was associated with bilateral increase of rCBF at the lateral and medial surfaces of both occipital lobes, medial parts of fusiform gyri, cingulate gyri, precentral gyri, insular cortices, and cerebellum. During the melodic condition, the activation at the anterior and posterior portions of the temporal lobes, medial surface of the frontal lobes, inferior frontal gyri, orbitofrontal cortices, inferior parietal lobules, and cerebellum was observed. Conclusions: The LOC participates in recognition of melody with accompaniment, a phenomenon that can be regarded as foreground and background segregation in auditory processing. The fusiform cortex which was known to participate in the color recognition might be activated by the recognition of flourish sounds by the accompaniment, compared to melodic condition. It is supposed that the LOC and fusiform cortex play similar functions beyond the difference of sensory modalities.

Melody音乐咖啡屋可行性调查研究

通过问卷、访谈和实地调研,对Melody音乐咖啡屋的可行性进行了深入分析,并提出具体实施方案。从主题、特色服务、产品、环境及选址方面进行探讨发现,Melody咖啡屋以"咖啡+书+音乐+外语"为主题,项目具有较高的可行性。咖啡屋的主题与类型、店址、装修细节、人员招募、经营产品及宣传手法明确,为咖啡屋店铺经营提供了一定参考。

快乐精灵My Melody

暖色调的征服粉红色的小帽子、乌黑的大眼睛、可爱的小嘴,就算是闭上眼睛,她可爱的样子也是如此清晰地浮现在我脑海中,个子小小的她可是日本三丽鸥公司的大明星呢。

Melody- Usul - Poetic Prosodic Meter Relations in Ottoman-Turkish Music

Language, literature, customs and traditions, music and art are cultural items that were transmitted from generation to generation throughout history. In this context, literature is an important source of music culture that takes inspiration from the customs and traditions of a society. Prosodic meter is echoed in form, usul and general structure in works composed from the divan literature and almost lives in the work. In the same way, when examples of folk literature composed by composers and performed by poets and a^lks are examined, it is observed that there are parallels between literary features and form, structure and rhythmic features. The aim of this paper is to reveal the integral link between Melody-Usul and Meter in Ottoman Turkish Music

Memory of Familiar Melodies： Comparison Between Original and Transposed Keys

The long-term memory for musical keys of familiar melodies was investigated. An experiment was conducted focusing on memory strength, music familiarity, and key transposition using musical pieces. Participants were eighty-one Japanese undergraduate and graduate students. Eight were absolute pitch （AP） possessors and seventy-three were non-AP possessors. Two pieces of well-known classical music were selected as stimuli. These pieces were played in seven different keys： One was an original key and the other six were transposed keys in which the linear distance and harmonic distance were varied. Participants rated their strength of long-term memory for a particular segment of well-known music by comparing it with their memory of this piece. Importantly they were not required to identify the musical key of the melody. Results indicated that the strength of memory for these musical segments depended mainly on the pitch range associated with the transposed piece and partially on its key. We discussed participants＇ memory of melodies in the light of linear distance between original and transposed keys, harmonic distance between these factors, and the possibility of absolute tonality.

Research on the Novel Pattern of Soft Music Creation based on High-Pitched Melody Element and Aesthetic Point of View

In this paper, we conduct research on the novel pattern of soft music creation based on high-pitched melody element and aesthetic point of view. Music is the music creation, music is a kind of creation and it is not a simple thing, because music is an expression of human thoughts and feelings which reflect the social life of an art. Music creation and other artistic creation need perceptual and rational psychological elements such as the creation principle of participation. This involves the music creation that the relationship between the perceptual thinking and rational thinking. Our research proposed the novel paradigm of art creation which will obtain significant meaning.

A History of Rhythm & Melody

One Chinese man’s decades-long passion for music and Africa by Liu Wei LIVING in the eastern port city of Tianjin,China,76-year-old Zhang Xiang is a history professor at Nankai University.Although officially retired for many years,he has never really stopped working. He spends his days attending Africa-related activities,shuttling between locations like Beijing,Tianjin and Hubei Province. He is also obsessed with music,writing songs that blend Chinese and African elements."I want to extend our two peoples’ friendship

Melody SP-3真空管合并式放大器

Melody SP-3真空管合并式放大器属于高性价比的入门机种。内部结构由一贯的人工搭棚改为PCB线路板方式，但设计师懂得将资金用在最重要的地方，所以元件的选用十分考究。整机所有插座均为大型的镀金制品，音量控制采用美国Dale金属膜电阻组成的24段级进式电位器，

奏响Melody的最强音 听Melody 1688Ⅱ前级／PM845后级旗舰组合

自听过SP3及H2A等靓样靓声兼令人大感超值的产品后，已经很长一段时间没有在我刊的试音室听过Melody的新作了。究其原因，不是我们不知道Melody近来新产品层出不穷;不是我们不乐意将这些优秀产品推荐给全国广大音乐爱好者，而是Melody近年市场发展势头强劲，但生产能力一直未能满足市场需求，生产线上每下来一批产品，老化测试合格后都要匆匆付运交货给全国乃至世界各地的经销商，

在旋律如歌性与交响戏剧性之间不懈探索——再论施光南歌剧创作及其当代启示

施光南堪称旋律大师,他的歌剧《伤逝》《屈原》体现了作曲家对歌剧之梦孜孜不倦的追寻,并在旋律如歌性与交响戏剧性之间苦苦探求中国歌剧腾飞的可行之路且取得了有目共睹的成就。当然,为各种主客观原因所决定,两部剧作仍有若干不足,从而给当代歌剧创作留下若干极可宝贵的启示。

南音活态旋律构建路径研究

南音独特的工乂谱记谱体系,只记录南音显性的骨干音和琵琶演奏法,而隐藏着丰富多元的唱腔旋律和其他乐器的演奏旋律。南音演唱、演奏者在工乂谱基础上,通过有规则的程式性和把握内在规律基础上的即兴性做韵融合,形成各自的唱奏旋律。做韵后的唱奏旋律,每一次、每一遍都有所不同,构成南音独特的多样性活态旋律。

古诗文吟诵教学法纲要——以唐调吟诵为核心的展开

古诗文吟诵教学法是以唐文治的吟诵理论为基础构建而成。该教学法分为生成原则、构形法则、鉴赏路径、教学宗旨四个部分。生成原则阐述了“性-情-声-辞”的发生过程。构形法则论述了在吟调程式的基础上进行鉴于字声、情感的微调。鉴赏路径则建立了以文统谱系为依据的文章选本和依次把握文章线索、命意、神气的三十遍读文法。构形法则是吟诵外在的声腔保障,鉴赏路径是吟诵内在的心灵提升。教学宗旨则揭示了吟诵除具有理解诗文、提升写作之功效外,还有修身养性、开物成务的高远目标。

忻府“山西八大套”及其音乐特征研究

半个多世纪以来,很多学者曾对山西八大套进行过探讨,相关研究涉及乐种、乐谱、宫调、音乐形态、文化传承等方面,已有研究对于人们认识山西八大套具有非常重要的作用。事实上,山西八大套的演奏场合在赵成贵逝世前后并不相同,从私家乐坊转向了民间乐事活动,忻府“山西八大套”就是在后一种演奏场合中传承下来的。“忻州八音艺术团”是当前山西地区能够完整演奏山西八大套的唯一班社,该文以“忻州八音艺术团”演奏的忻府“山西八大套”为主要研究对象,对其在曲体结构、宫调、旋法等音乐形态上的特征进行分析,探讨忻府“山西八大套”所具有的个性音乐特征问题。

论梅鼎祚“序跋”“题词”中的戏曲观

梅鼎祚是中晚明时期影响较大的戏曲作家,是“骈绮派”的代表人物。梅鼎祚在相关剧作的“序跋”“题词”中提出了“曲本诸情”的戏曲本源论,主张“兼参雅俗”的语言风格,并强调“累累而不绝”的音韵曲律等,从而形成了自己的戏曲观。中晚明时期是我国古代戏曲创作和理论的繁荣发展时期,梅鼎祚的戏曲观是其中的一个组成部分。