目的观察平衡复位正脊法治疗急性低频感音神经性聋的临床疗效。方法将患者90例按随机数字表法分为西药组、普通手法组和平衡复位手法组,各30例。西药组予10%葡萄糖注射液250 m L加地塞米松注射液10 mg,并配合弥可保500μg静滴,5 d为1个...目的观察平衡复位正脊法治疗急性低频感音神经性聋的临床疗效。方法将患者90例按随机数字表法分为西药组、普通手法组和平衡复位手法组,各30例。西药组予10%葡萄糖注射液250 m L加地塞米松注射液10 mg,并配合弥可保500μg静滴,5 d为1个疗程。普通手法组在西药组治疗的基础上加用普通手法治疗,包括四指揉法、提拿双肩部等手法。平衡复位正脊法在西药组治疗的基础上加用平衡手法治疗。分别于治疗后3个疗程对各组进行纯音听阈听力值、Northwick Park颈部疼痛量表(NPQ)评估颈椎病疼痛情况及临床疗效进行对比。结果平衡复位正脊法组临床疗效总有效率93.33%,均高于西药组的70.00%和普通手法组63.33%(均P<0.05)。各组纯音听阈治疗后均较治疗前有所提高,但平衡复位正脊法听阈提高度均优于普通手法组和西药组(P<0.05),而普通手法组的纯音听阈提高度亦优于西药组(P<0.05)。治疗后NPQ评分分别为西药组(20.20±2.34)分、普通手法组(17.26±2.61)分、平衡正脊组(11.70±2.06)分,均较治疗前疼痛评分有所下降,平衡正脊组评分下降明显优于西药组和普通手法组(P<0.05),普通手法组也优于西药组(P<0.05)。结论平衡复位正脊法能有效治疗急性低频感音神经性聋患者,且治疗效果优于普通手法组和西药组。展开更多
Having for its object the relation between music and philosophy, the present article aims, on the one hand, to seek out the philosophical resources contained in foundational texts in terms of musical knowledge, and, o...Having for its object the relation between music and philosophy, the present article aims, on the one hand, to seek out the philosophical resources contained in foundational texts in terms of musical knowledge, and, on the other, to outline the musical resources enriching philosophical knowledge. With this end in view, three retrospects/perspectives are examined which can be traced throughout the history of the music-philosophy relation. The first looks back at the two basic words referring to music in Greek philosophy （armonia and musikg） in order to find out how the human ability for musical knowledge can be activated when these two are brought together. The second focuses on what lies at the heart of music, namely the thing which can be defined as the tone-ness of the tone. The third explores the art-and-science content of music, which allows for a further perspective to be drawn forth--a perspective on musical knowledge proceeding from, though at the same time remaining with music as a mode of human existence.展开更多
To investigate how a low tone （tone-3, T3） syllable in Chinese can be perceived to be focal accented or not, a total of 156 sentences containing tone-3 words were synthesized and used as stimuli in a perceptual stud...To investigate how a low tone （tone-3, T3） syllable in Chinese can be perceived to be focal accented or not, a total of 156 sentences containing tone-3 words were synthesized and used as stimuli in a perceptual study. The sentences differed in the falling value between the two high pitches, and in the duration and phonation types of the T3 syllables. Thirty-nine subjects were asked to judge where the focus or accent was for each sentence. The results show that at least three degrees of pitch drop are involved in the focus recognition： a big sized drop of about 10 semitones; a middle sized drop of about 6 semitones; a small sized drop of about 2 semitones. The results suggest that the three sizes of pitch drop have different indications in Chinese intonation, depending on both the tone and the tone combination. In perception, there are various ways to realize tone-3 focus in the Tx-T3-Ty sentences series, but in production or for text-to-speech synthesis, the rule simply is making a middle sized pitch drop with a long and creaky T3 syllable. Similarly, to focus on the low tone syllable in the T3-Tx-Ty sentences, a creaky T3 syllable is essential. However, a long T3 syllable is a strong determinant for a low tone focus in the Tx-Ty-T3 sentences.展开更多
文摘Having for its object the relation between music and philosophy, the present article aims, on the one hand, to seek out the philosophical resources contained in foundational texts in terms of musical knowledge, and, on the other, to outline the musical resources enriching philosophical knowledge. With this end in view, three retrospects/perspectives are examined which can be traced throughout the history of the music-philosophy relation. The first looks back at the two basic words referring to music in Greek philosophy （armonia and musikg） in order to find out how the human ability for musical knowledge can be activated when these two are brought together. The second focuses on what lies at the heart of music, namely the thing which can be defined as the tone-ness of the tone. The third explores the art-and-science content of music, which allows for a further perspective to be drawn forth--a perspective on musical knowledge proceeding from, though at the same time remaining with music as a mode of human existence.
基金the National Office for Teaching Chinese as a Foreign Language (No. HBK01-05/17)
文摘To investigate how a low tone （tone-3, T3） syllable in Chinese can be perceived to be focal accented or not, a total of 156 sentences containing tone-3 words were synthesized and used as stimuli in a perceptual study. The sentences differed in the falling value between the two high pitches, and in the duration and phonation types of the T3 syllables. Thirty-nine subjects were asked to judge where the focus or accent was for each sentence. The results show that at least three degrees of pitch drop are involved in the focus recognition： a big sized drop of about 10 semitones; a middle sized drop of about 6 semitones; a small sized drop of about 2 semitones. The results suggest that the three sizes of pitch drop have different indications in Chinese intonation, depending on both the tone and the tone combination. In perception, there are various ways to realize tone-3 focus in the Tx-T3-Ty sentences series, but in production or for text-to-speech synthesis, the rule simply is making a middle sized pitch drop with a long and creaky T3 syllable. Similarly, to focus on the low tone syllable in the T3-Tx-Ty sentences, a creaky T3 syllable is essential. However, a long T3 syllable is a strong determinant for a low tone focus in the Tx-Ty-T3 sentences.
