泰戈尔
创新互联是专业的汝州网站建设公司，汝州接单;提供做网站、成都做网站,网页设计,网站设计,建网站,PHP网站建设等专业做网站服务;采用PHP框架,可快速的进行汝州网站开发网页制作和功能扩展;专业做搜索引擎喜爱的网站,专业的做网站团队,希望更多企业前来合作!
1
夏天的飞鸟，飞到我的窗前唱歌，又飞去了。
秋天的黄叶，它们没有什么可唱，只叹息一声，飞落在那里。
stray birds of summer come to my window to sing and fly away.
and yellow leaves of autumn, which have no songs, flutter and fall
there with a sign.
2
世界上的一队小小的漂泊者呀，请留下你们的足印在我的文字里。
o troupe of little vagrants of the world, leave your footprints in my words.
3
世界对着它的爱人，把它浩翰的面具揭下了。
它变小了，小如一首歌，小如一回永恒的接吻。
the world puts off its mask of vastness to its lover.
it becomes small as one song, as one kiss of the eternal.
4
是大地的泪点，使她的微笑保持着青春不谢。
it is the tears of the earth that keep here smiles in bloom.
5
无垠的沙漠热烈追求一叶绿草的爱，她摇摇头笑着飞开了。
the mighty desert is burning for the love of a bladeof grass who
shakes her head and laughs and flies away.
6
如果你因失去了太阳而流泪，那么你也将失去群星了。
if you shed tears when you miss the sun, you also miss the stars.
7
跳舞着的流水呀，在你途中的泥沙，要求你的歌声，你的流动呢。你肯挟瘸足的泥沙而俱下么？
the sands in your way beg for your song and your movement, dancing
water. will you carry the burden of their lameness?
8
她的热切的脸，如夜雨似的，搅扰着我的梦魂。
her wishful face haunts my dreams like the rain at night.
9
有一次，我们梦见大家都是不相识的。
我们醒了，却知道我们原是相亲相爱的。
once we dreamt that we were strangers.
we wake up to find that we were dear to each other.
10
忧思在我的心里平静下去，正如暮色降临在寂静的山林中。
sorrow is hushed into peace in my heart like the evening among
the silent trees.
11
有些看不见的手，如懒懒的微（风思）的，正在我的心上奏着 潺（氵爰）的乐声。
some unseen fingers, like an idle breeze, are playing upon my heart
the music of the ripples.
12
“海水呀，你说的是什么？”
“是永恒的疑问。”
“天空呀，你回答的话是什么？”
“是永恒的沉默。”
what language is thine, o sea?the language of eternal question.what language is thy answer, o sky?the language of eternal silence.
13
静静地听，我的心呀，听那世界的低语，这是它对你求爱的表示呀。
listen, my heart, to the whispers of the world with which it makes
love to you.
14
创造的神秘，有如夜间的黑暗－－是伟大的。而知识的幻影却不过如晨间之雾。
the mystery of creation is like the darkness of night--it is great.delusions of knowledge are like the fog of the morning.
15
不要因为峭壁是高的，便让你的爱情坐在峭壁上。
do not seat your love upon a precipice because it is high.
16
我今晨坐在窗前，世界如一个路人似的，停留了一会，向我点点头又走过去了。
i sit at my window this morning where the world like a passer-by stops
for a moment, nods to me and goes.
17
这些微（风思），是树叶的簌簌之声呀；它们在我的心里欢悦地微语着。
there little thoughts are the rustle of leaves; they have their
whisper of joy in my mind.
18
你看不见你自己，你所看见的只是你的影子。
what you are you do not see, what you see is your shadow.
19
神呀，我的那些愿望真是愚傻呀，它们杂在你的歌声中喧叫着呢。
让我只是静听着吧。
my wishes are fools, they shout across thy song, my master.
let me but listen.
20
我不能选择那最好的。
是那最好的选择我。
i cannot choose the best.
the best chooses me.
21
那些把灯背在背上的人，把他们的影子投到了自己前面。
they throw their shadows before them who carry their lantern on
their back.
22
我的存在，对我是一个永久的神奇，这就是生活。
that i exist is a perpetual surprise which is life.
23
“我们萧萧的树叶都有声响回答那风和雨。你是谁呢，那样的沉默着？”
“我不过是一朵花。” we, the rustling leaves, have a voice that answers the storms,
but who are you so silent?"i am a mere flower.
24
休息与工作的关系，正如眼睑与眼睛的关系。
rest belongs to the work as the eyelids to the eyes.
25
人是一个初生的孩子，他的力量，就是生长的力量。
man is a born child, his power is the power of growth.
26
神希望我们酬答他，在于他送给我们的花朵，而不在于太阳和土地。
god expects answers for the flowers he sends us, not for the sun
the earth.
27
光明如一个裸体的孩子，快快活活地在绿叶当中游戏，它不知道人是会欺诈的。
the light that plays, like a naked child, among the green leaves
happily knows not that man can lie.
28
啊，美呀，在爱中找你自己吧，不要到你镜子的谄谀去找寻。
o beauty, find thyself in love, not in the flattery of thy mirror.
29
我的心把她的波浪在世界的海岸上冲激着，以热泪在上边写着她的题记：“我爱你。”
my heart beats her waves at the shore of the world and writes upon
it her signature in tears with the words, "i love thee."
30
“月儿呀，你在等候什么呢？”
“向我将让位给他的太阳致敬。” moon, for what do you wait?to salute the sun for whom i must make way.
31
绿树长到了我的窗前，仿佛是喑哑的大地发出的渴望的声音。
the trees come up to my window like the yearning voice of the dumb earth.
32
神自己的清晨，在他自己看来也是新奇的。
his own mornings are new surprises to god.
33
生命从世界得到资产，爱情使它得到价值。
life finds its wealth by the claims of the world, and its worth
by the claims of love.
34
枯竭的河床，并不感谢它的过去。
the dry river-bed finds no thanks for its past.
35
鸟儿愿为一朵云。
云儿愿为一只鸟。
the bird wishes it were a cloud.
the cloud wishes it were a bird.
36
瀑布歌唱道：“我得到自由时便有了歌声了。”
the waterfall sing, "i find my song, when i find my freedom."
37
我说不出这心为什么那样默默地颓丧着。
是为了它那不曾要求，不曾知道，不曾记得的小小的需要。
i cannot tell why this heart languishes in silence.
it is for small needs it never asks, or knows or remembers.
38
妇人，你在料理家务的时候，你的手足歌唱着，正如山间的溪水歌唱着在小石中流过。
woman, when you move about in your household service your limbs sing
like a hill stream among its pebbles.
39
当太阳横过西方的海面时，对着东方留下他的最后的敬礼。
the sun goes to cross the western sea, leaving its last salutation
to the east.
40
不要因为你自己没有胃口而去责备你的食物。
do not blame your food because you have no appetite.
41
群树如表示大地的愿望似的，踮起脚来向天空窥望。
the trees, like the longings of the earth, stand atiptoe to peep
at the heaven.
42
你微微地笑着，不同我说什么话。而我觉得，为了这个，我已等待得久了。
you smiled and talked to me of nothing and i felt that for this
i had been waiting long.
43
水里的游鱼是沉默的，陆地上的兽类是喧闹的，空中的飞鸟是歌唱着的。
但是，人类却兼有海里的沉默，地上的喧闹与空中的音乐。
the fish in the water is silent, the animal on the earth is noisy,
the bird in the air is singing.
but man has in him the silence of the sea, the noise of the earth and
the music of the air.
44
世界在踌躇之心的琴弦上跑过去，奏出忧郁的乐声。
the world rushes on over the strings of the lingering heart making
the music of sadness.
45
他把他的刀剑当作他的上帝。
当他的刀剑胜利的时候他自己却失败了。
he has made his weapons his gods.
when his weapons win he is defeated himself.
46
神从创造中找到他自己。
god finds himself by creating.
47
阴影戴上她的面幕，秘密地，温顺地，用她的沉默的爱的脚步，跟在“光”后边。
shadow, with her veil drawn, follows light in secret meekness,
with her silent steps of love.
48
群星不怕显得象萤火那样。
the stars are not afraid to appear like fireflies.
49
谢谢神，我不是一个权力的轮子，而是被压在这轮子下的活人之一。
i thank thee that i am none of the wheels of power but i am one with
the living creatures that are crushed by it.
50
心是尖锐的，不是宽博的，它执着在每一点上，却并不活动。
the mind, sharp but not broad, sticks at every point but does not move.
51
你的偶像委散在尘土中了，这可证明神的尘土比你的偶像还伟大。
you idol is shattered in the dust to prove that god's dust is greater
than your idol.
52
人不能在他的历史中表现出他自己，他在历史中奋斗着露出头角。
man does not reveal himself in his history, he struggles up through it.
53
玻璃灯因为瓦灯叫它做表兄而责备瓦灯。但明月出来时，玻璃
灯却温和地微笑着，叫明月为－－－“我亲爱的，亲爱的姐姐。”
while the glass lamp rebukes the earthen for calling it cousin the
moon rises, and the glass lamp, with a bland smile, calls her,---my dear, dear sister.
54
我们如海鸥之与波涛相遇似地，遇见了，走近了。海鸥飞去，波涛滚滚地流开，我们也分别了。
like the meeting of the seagulls and the waves we meet and come near.
the seagulls fly off, the waves roll away and we depart.
Edgar Allan Poe的诗，The Raven. 全诗如下
你说的那句话在最后两句
Once upon a midnight dreary, while I pondered weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
`'Tis some visitor,' I muttered, `tapping at my chamber door -
Only this, and nothing more.'
Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels named Lenore -
Nameless here for evermore.
And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
`'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more,'
Presently my soul grew stronger; hesitating then no longer,
`Sir,' said I, `or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you' - here I opened wide the door; -
Darkness there, and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the darkness gave no token,
And the only word there spoken was the whispered word, `Lenore!'
This I whispered, and an echo murmured back the word, `Lenore!'
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
`Surely,' said I, `surely that is something at my window lattice;
Let me see then, what thereat is, and this mystery explore -
Let my heart be still a moment and this mystery explore; -
'Tis the wind and nothing more!'
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door -
Perched upon a bust of Pallas just above my chamber door -
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
`Though thy crest be shorn and shaven, thou,' I said, `art sure no craven.
Ghastly grim and ancient raven wandering from the nightly shore -
Tell me what thy lordly name is on the Night's Plutonian shore!'
Quoth the raven, `Nevermore.'
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning - little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door -
Bird or beast above the sculptured bust above his chamber door,
With such name as `Nevermore.'
But the raven, sitting lonely on the placid bust, spoke only,
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered - not a feather then he fluttered -
Till I scarcely more than muttered `Other friends have flown before -
On the morrow he will leave me, as my hopes have flown before.'
Then the bird said, `Nevermore.'
Startled at the stillness broken by reply so aptly spoken,
`Doubtless,' said I, `what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful disaster
Followed fast and followed faster till his songs one burden bore -
Till the dirges of his hope that melancholy burden bore
Of "Never-nevermore."'
But the raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore -
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking `Nevermore.'
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
`Wretch,' I cried, `thy God hath lent thee - by these angels he has sent thee
Respite - respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil! -
Whether tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted -
On this home by horror haunted - tell me truly, I implore -
Is there - is there balm in Gilead? - tell me - tell me, I implore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil!
By that Heaven that bends above us - by that God we both adore -
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels named Lenore -
Clasp a rare and radiant maiden, whom the angels named Lenore?'
Quoth the raven, `Nevermore.'
`Be that word our sign of parting, bird or fiend!' I shrieked upstarting -
`Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! - quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!'
Quoth the raven, `Nevermore.'
And the raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore!
The Raven
by Edgar Allan Poe
Once upon a midnight dreary, while I pondered weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
`'Tis some visitor,' I muttered, `tapping at my chamber door -
Only this, and nothing more.'
Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels named Lenore -
Nameless here for evermore.
And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
`'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more,'
Presently my soul grew stronger; hesitating then no longer,
`Sir,' said I, `or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you' - here I opened wide the door; -
Darkness there, and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before
But the silence was unbroken, and the darkness gave no token,
And the only word there spoken was the whispered word, `Lenore!'
This I whispered, and an echo murmured back the word, `Lenore!'
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
`Surely,' said I, `surely that is something at my window lattice;
Let me see then, what thereat is, and this mystery explore -
Let my heart be still a moment and this mystery explore; -
'Tis the wind and nothing more!'
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door -
Perched upon a bust of Pallas just above my chamber door -
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
`Though thy crest be shorn and shaven, thou,' I said, `art sure no craven.
Ghastly grim and ancient raven wandering from the nightly shore -
Tell me what thy lordly name is on the Night's Plutonian shore!'
Quoth the raven, `Nevermore.'
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning - little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door -
Bird or beast above the sculptured bust above his chamber door,
With such name as `Nevermore.'
But the raven, sitting lonely on the placid bust, spoke only,
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered - not a feather then he fluttered -
Till I scarcely more than muttered `Other friends have flown before -
On the morrow will he leave me, as my hopes have flown before.'
Then the bird said, `Nevermore.'
Startled at the stillness broken by reply so aptly spoken,
`Doubtless,' said I, `what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful disaster
Followed fast and followed faster till his songs one burden bore -
Till the dirges of his hope that melancholy burden bore
Of "Never-nevermore."'
But the raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore -
What this grim, ungainly, gaunt, and ominous bird of yore
Meant in croaking `Nevermore.'
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
`Wretch,' I cried, `thy God hath lent thee - by these angels he has sent thee
Respite - respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil! -
Whether tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted -
On this home by horror haunted - tell me truly, I implore -
Is there - is there balm in Gilead? - tell me - tell me, I implore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil!
By that Heaven that bends above us - by that God we both adore -
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels named Lenore -
Clasp a rare and radiant maiden, whom the angels named Lenore?'
Quoth the raven, `Nevermore.'
`Be that word our sign of parting, bird or fiend!' I shrieked upstarting -
`Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! - quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!'
Quoth the raven, `Nevermore.'
And the raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore!
DEFRAGMENT: 整理碎片.整理硬盘上的文件,使它们尽可能连续存放,腾出尽可能多的连续空间.
DETENT: 定位点.一些控制器如声像,均衡旋钮的中心点备有感觉得到的定位点.
DI: Direct Inject的简写,直接注入.信号不经过麦克风直接注入音频链.
DI BOX: DI盒.匹配信号源与磁带录音机或调音台输入之间电平阻抗的设备.
DIGITAL: 数字的.用0和1表示信号数据的电子系统.
DIGITAL DELAY: 数字延迟.发生延迟和回声效果的数字处理器.
DIGITAL REVERB: 数字混响.模仿环境混响的数字处理器.
DIN CONNECTOR: DIN(德国工业标准)接插连接.用于消费市场的多针连接形式,MIDI电缆也使用它.除了MIDI的180度布局,DIN还有多种针脚分布规格.
DIRECT COUPLING: 直接耦合.两个连在一起的电路,交流和直流信号都能够通过.
DITHER: 抖动.一个为数字化音频信号加上低电平噪声的系统,能够扩展低电平的分解度.
DISC: 对塑胶唱片,CD唱片和MiniDiscs的统称.
DISK: Diskette的简写,现在称呼电脑软盘,硬盘和可移动磁盘(光盘)等
DMA: Direct Memory Access(存储器直接访问)的缩写.一部分电脑操作系统允许外围设备不经过CPU直接访问计算机存储器.
DOLBY: 杜比.一种商业应用的编/解码磁带噪声消除系统.录音时扩大低电平的高频信号,放音时还原.杜比有用于半专业机器的B, C和S和用于专业机器的A与SR几种类型,互相不兼容.用一种系统录音必须同一系统回放.
DOS: Disk Operating System(磁盘操作系统)PC电脑或兼容机使用的一种操作系统.
DSP: Digital Signal Processor数字信号处理器.一种强有力的微芯片,用来处理数字信号.
DRIVER: 驱动器.处理主程序和硬件外围如声卡,打印机,扫描仪等之间通讯的软件.
DRUM PAD: 鼓垫.合成的演奏表面,通过鼓槌击打产生电子触发信号.
DRY: 乾.没有加效果的声音.
DUBBING: 配音.在已有的录音上增加更多的材料.
DUCKING: 闪避.用一种音频信号控制另一种音频信号电平的系统.例如一个声音出现时,背景音乐闪避.
DUMP: 倾倒.数字信号从一个设备到另一个设备.系统专用信息的
Sysex dump或Bulk Dump是通过MIDI传输一件乐器或模块的内部的音色,设置等信息,以便存储或编辑.
DYNAMIC MICROPHONE: 动圈话筒.一类靠振膜带动线圈在磁场中运动产生电信号的麦克风
DYNAMIC RANGE: 动态范围.表述的一件设备能处理的最高电平与噪声地板之上最小信号之间的分贝值.
DYNAMICS: 力度.表述乐曲强弱的方法.
EARLY REFLECTIONS: 早期反射.最初从墙面,地面和天花板反射回来,紧跟原声的声音,建立起混响环境.
EFFECT: 效果.处理音频信号的设备,可以创造性的改变声音,经常包括造成混响和回声的延迟电路.
EFFECTS LOOP: 效果环路.允许外部信号处理器接入音频链路的连接系统.
EFFECTS RETURN: 效果返回.调音台额外的输入,连接到效果器的输出.
ELECTRET MICROPHONE: 驻极体麦克凤.一类使用永久充电振膜(不需要极化电压)的电容麦克风.
ENCODE/DECODE: 编码/解码.
ENHANCER: 增强器.利用动态均衡,相位变换和谐波发生等技术使声音变得明亮的设备.
ENVELOPE: 包络.声音的电平随时间而变化的情形.
ENVELOPE GENERATOR: 包络发生器.一个能够发生控制信号描绘出你所希望创建的声音包络的电路,它也能用于控制滤波器或调制设定.最常见的例子是ADSR发生器.
EQUALISER: 均衡器.有选择性的削弱或提升频谱中某些成分的设备.
ERASE: 抹去.从模拟磁带中移去录音素材,或从数字存储媒介中移去记录数据.
EVENT: 事件.在MIDI中用以表述单独的MIDI数据,例如一个音符的开或关,一个控制信息,一个程序变换等.
EXCITER: 激励器.完成合成新高频谐波的工作.
EXPANDER: 扩展器.用来减少低电平信号和增加高电平信号的设备,由此扩大信号的动态范围.
EXPANDER MODULE: 扩展模块.没有键盘的合成器,经常放在机架上.
FADER: 推子.滑动电位器,常用于调音台和其他处理器.
FERRIC: 铁的.一类磁带,使用氧化铁涂复.
FET: Field Effect Transistor的简写,场效应晶体管.
FIGURE-OF-EIGHT: 8字型.描述麦克风前后方向具有相同灵敏度的极性响应,忽略来自侧面的信号.
FILE: 用数字形式存储的一组数据.标准MIDI文件是允许在不同的音序器之间交换信息的统一规格文件.
FILTER: 滤波器.用来强调或削弱规定范围频率的电路.
FLANGING: 凸缘.使用反馈调制的延迟效果,建立一种戏剧性的扫频声音.
FLOPPY DISK: 软盘.使用柔性磁介质制作的计算机磁盘,装在一个塑料保护套中.常见的3.5寸软盘最大容量1.44Mbytes,更早的软盘只有一半容量.
FLUTTER ECHO: 飘动回声.共鸣的回声,声音在两个平行的反射表面之间多次反射造成的效果.
FOLDBACK: 折回.重叠录音中为演奏者送回全部或部分混合信号,又称为提示混合(Cue mix).
FORMANT: 共振峰.一件乐器或人声当中并不随着音高而改变的频率成分或共鸣.例如一把木吉他琴身的共鸣特性并不因为演奏的音符而改变.
FORMAT: 格式化.磁盘给计算机使用前必须进行的准备工作,在磁盘表面做上表示位置的电子记号,以便与数据的读,写.不同的计算机经常有不同的格式化系统.
FRAGMENTATION: 碎片.由于多次存储和删除操作使磁盘上的文件变成不连贯的片断,导致多占用空间和延缓读写操作的不良后果.
FREQUENCY: 频率.1秒钟之间波形重复出现的次数,例如1秒钟出现1次的波形,频率就是1赫(1Hz).
FREQUENCY RESPONSE: 频率响应.一个电气设备或扬声器能够处理的频率范围.
FSK: Frequency Shift Keying频移键控.用2个不同频率的声音构成可以录在磁带上的同步时钟信号.
FUNDAMENTAL: 基频.任何声音由基频加上若干更高的谐波组成.
FX: 效果的简称.
GAIN: 增益.电路对于信号的放大量.
GATE: 门.电子键盘上某个键被按下时发出的电信号,可以用来触发包络发生器和其他需要和键的动作同步的事件.
噪声门.一种电子设备,使很低电平的信号静音,这样来改善被处理信号停顿期间的噪声性能.
GENERAL MIDI: 简称GM.基本MIDI规定的添加部分,确保按照GM格式写作的乐曲有一个最起码的播放环境.规定明确了音色的分类和编号,最少声部和复音数,控制器响应等内容.
GLITCH: 小故障.描述信号短时间的意外中断,或者设备短时间的意外故障.例如DAT磁带突然出现的卡答声.
GM RESET: GM复位.一条通用系统专用信息命令,激活一件设备的GM状态,将全部控制器设置到缺省值,以All Notes Off命令的方式关闭所有正在发音的音符.
GRAPHIC EQUALISER: 图形均衡器.把音频频谱划分成若干较窄的部分,每一段可以用推子控制衰减/提升.推子的位置描绘出均衡曲线,故得名.
GROUND: 地.电气接地或0伏电压.在电源配线中,地线是通过长金属棒与大地作物理连接.
GROUND LOOP: 接地回路.音频电路中由于多重接地点的电位不尽相同(为0),造成可以听见的交流哼声干扰问题.
GROUP: 编组.调音台上被混合的一组信号,分别的推子一同得到控制.在多轨机调音台上各编组可能对应于不同的输入端.
GS: Roland公司自己制定的General MIDI标准.
HARD DISK: 硬盘.大容量计算机存储设备,使用旋转的刚性盘片,外面复有磁性材料.
HARMONIC: 谐波(泛音).复杂波形中的高频成分.
HARMONIC DISTORTION: 谐波失真.增加的谐波并不属于原来的信号.
HEAD: 磁头.磁带机的部件,完成对存储媒介的读/写数据工作.
HEADROOM: 动态余量.信号的最高峰值与一件设备能够处理的绝对最大值之间的分贝数.
HIGH PASS FILTER (HPF): 高通滤波器.一种削弱截止频率以下频率的滤波器.
HISS: "咝"声.由随机的电气波动造成的噪声.
HUM: "嗡"声.信号被增加的低频噪声污染,通常与交流电源所用的频率有关.
Hz: Hertz的简写,赫兹.频率单位.
IC: Integrated Circuit,集成电路.
IMPEDANCE: 阻抗.可以看作"对交流电的电阻",电路中同时包含电阻和电抗成分.
INDUCTOR: 电感.随着频率升高而阻抗变大的元件.
INITIALISE: 初始化.自动恢复一件设备出厂时的默认设置.
INSERT POINT: 插入点.连接器允许外部处理器进入信号通道,对信号进行处理.
INSULATOR: 绝缘体.不导电的材料.
INTERFACE:接口.两件以上设备之间的媒介设备.例如MIDI接口连接计算机和乐器,使它们可以通讯
INTERMITTENT: 间歇.描述偶然出现的故障.
INTERMODULATION DISTORTION: 互调失真.指由放大器所引入的一种输入信号的和及差的失真.例如,在给放大器输入频率为1kHz和5kHz的混合信号后,便会产生6kHz(1kHz和5kHz之和)及4kHz(1kHz和5kHz之差)的互调失真成份.
I/O: 输入/输出,通常用于数字领域.
IPS: Inches Per Second,英寸/每秒,描述带速.
IRQ: Interrupt Request,中断请求.计算机操作系统的一部分,允许连接的设备要求引起处理器的注意,以便传输数据.
ISOPROPYL ALCOHOL: 异丙基酒精.一类酒精,常用于清洁磁头和引导轮.
JACK: 插座.可以是立体声或单声道的.
JARGON: 行话.
k: 1000 (kilo)的简写.例如kHz: 1000Hz ,kOhm: 1000 ohms
LED: Light Emitting Diode的简写,发光二极管.
LCD: Liquid Crystal Display的简写,液晶显示器.
MACHINE HEAD: 吉他调弦机械的另一种称呼.
MEMORY: 记忆.计算机的RAM,用来存放程序和数据.这些数据在关机的时候会丢失,必须另存到磁盘或其他媒介.
MENU: 菜单.计算机或设备显示在窗口供用户选择的目录.
MIC LEVEL: 麦克风电平.麦克风产生的低电平信号,需要放大许多倍才达到线路电平.
MICROPROCESSOR: 微处理器.计算机的心脏.
NON REGISTERED PARAMETER NUMBER: 非注册参数号.MIDI控制器98和99号,可以发送特定合成器的非标准参数,代替一部分系统专用信息.
NON-LINEAR RECORDING: 非线性录音.描述数字录音系统允许录音的任何部分以任意的顺序回放,没有缝隙.相对而言传统的磁带录音是线性录音,因为只能按照录音的次序回放.
NORMALISE: 同Normalize,正常化,标准化.音频编辑时让一段波形的幅度达到最大.在调音台上指插销未插入之前的电路保持原始信号路径.
NYQUIST THEOREM: 奈奎斯特定理.表示数字音频系统的采样频率和可以存贮的最高音频信号之间的关系.认为采样频率必须比所录入的最高音频频率至少高出一倍,否则会产生锯齿状的混淆.
NUT: 弦枕.弦乐器的琴弦从轴箱出来到达指板前经过一个高于指板的木,竹,塑料等制作的小条.
OCTAVE: 八度.频率或音高升高一个八度,它的频率加一倍.
OFF-LINE: 离线,不在回放过程中进行的处理.例如电脑中的一些复杂的编辑,如果实时处理,将对电脑提出过高的要求.
OHM: 欧姆.电阻的单位.
OMNI: 全部.用于麦克风指全部方向具有相同的灵敏度.在MIDI中指全部通道认可的模式.
OPEN CIRCUIT: 开路.电路中断,阻止电流的流动.
OPEN REEL: 开盘.磁带卷绕在轴心而不是盒子内的磁带机.
OPERATING SYSTEM: 操作系统.
OPTO ELECTRONIC DEVICE: 光学电子设备.把电参数变成光强度变化的设备,经常使用各种光敏器件.
OSCILLATOR: 振荡器.发生周期性电波的电路.
OVERDUB: 重叠,配音.为多轨录音增加另外一部分或取代现有部分.
OVERLOAD: 超载.超过了电气或电子电路的操作能力.
PAD: 减少信号电平的阻抗电路.
PAN POT: 声像电位器.调音台上能够改变信号在立体声场左右位置的控制器.
PARALLEL: 并联.2个以上的电路连接,它们的输入端连在一起,输出端也联在一起.
PARAMETER: 参数.对一件设备的某些性能起作用的变量.
PARAMETRIC EQ: 参数均衡.可以分别控制频率,带宽和衰减/提升的均衡器.
PASSIVE: 无源.没有推动成分的电路.
PATCH: 程序的另一种称呼,在合成器中指一个可以用程序变换命令调用的编程声音.效果器中可能是一种效果,采样器中可能是一个采样音色.
PATCH BAY: 配线板.控制台上用于改变输入和输出路径的系统.
PATCH CORD: 配线.配线板使用的短电缆.
PEAK: 峰值.信号电平的最大瞬间.
PHASE: 相位.2个电波之间在时间上的差距
PHASER: 法兹器.联合一个信号与它带有相位差异的拷贝产生的过滤效果,经常用LFO做控制.
PFL: Pre Fade Listen的简写,推子前监听.监听信号与推子位置无关.
PPM: Peak Programme Meter的简写,能够短时间保留信号峰值的电平表
PHANTOM POWER: 幻像电源.通过平衡电缆向电容麦克风提供48V直流电.
PHONO PLUG: 唱机插头,俗称莲花头.RCA开发的Hi-Fi接插件,常用于半专业的不平衡录音设备.
PICKUP: 拾音器.吉他部件,把弦的振动转变为电信号.
PITCH: 音高.音乐界称呼音频频率.
PITCH BEND: 弯音.由弯音轮或弯音杆的运动产生一种变化音高的特定控制信息,可以象其他MIDI控制信息一样记录和编辑.
PITCH SHIFTER: 音高移动.改变音频信号的音高而不改变其长度的设备或软件.
POLYPHONY: 复音.乐器能同时演奏2个或更多音符的能力,一次只能演奏一个音符的称为单音(monophonic).
POLY MODE: 复音模式.当前最常用的MIDI模式,允许一件乐器在一条MIDI通道内同时响应多个音符信息.
PORT: 端口.数据输入或输出连接点.
PORTAMENTO: 滑音.一个琴键按下或一个MIDI音符事件送出时,声音逐渐而不是突然改变音高.
POST PRODUCTION: 后期制作.立体声录音完成后的其他工作.
POWER SUPPLY: 电源.将市电转变到设备使用电压的设备或电路.
POST-FADE: 推子后.辅助信号在推子后面发送,电平受推子控制.
PPQN: Pulsed Per Quarter Note每个四分音符脉冲数,用于MIDI时钟同步信号.
PRE-EMPHASIS: 预加重.利用在处理前提升声音中高频达到减小噪声的效果的系统,在回放端需要有相应的去加重处理恢复信号的原貌.
PRE-FADE: 辅助发送信号在推子之前送出,通道推子对发送电平没有影响,常用于返送和选听混合.
PRESET: 预置.效果器或合成器中用户不能改变的程序.
PRESSURE: 压力.触后的另一种称呼.
PRINT THROUGH: 透印.模拟录音磁带的磁迹转印到临近的磁带上,造成低电平的提前或错后回声.
PROCESSOR: 处理器.处理音频信号改变它的动态或频率内容,常见的处理包括压缩,门电路和均衡等.
PROGRAM CHANGE: 程序变换.MIDI信息,改变合成器音色或效果器效果的命令.
PULSE WAVE: 脉冲波.有点像方波但是不对称,声音比方波明亮而稍薄,常在簧片乐器合成时使用,音色随脉冲和空间的宽度而改变.
PULSE WIDTH MODULATION: 脉冲宽度调制.改变脉冲波信号和空间的比率,能够改变基本音色.脉宽的LFO调制经常用于产生伪合唱效果.
PUNCH IN: 穿入.已经录音的音轨在回放中于准确的时间转入录音状态,以扩展或取代现有的素材.
PUNCH OUT: 穿出.磁带录音机或其他录音设备上的一种转变活动,退出穿孔录音状态.许多多轨机可以在磁带运转过程中执行穿孔录音.
PQ CODING: 为准备制作CD唱片的母带加上停顿,提示等附加信息的处理.
PZM: 压力场麦克风,可以消除录音环境中来自各种表面的多相位反射声.
Q: 滤波器谐振特性的标准.Q值越高,谐振强而通频带窄.
QUANTIZE: 量化.在MIDI音序器中将音符和其他事件排列到用户规定的小拍子上,例如16分音符.量化可以校正时间上的误差,但是过分的量化会使演奏失去人性感觉.
RAM: Random Access Memory的简写.计算机用来临时储存程序和数据的记忆,关断电源的时候记忆将消失.
R-DAT: 使用旋转磁头的DAT录音机.
REAL TIME: 实时.在录/放音过程中进行的音频处理.与实时相对的是"离线",非实时处理.
RELEASE: 释放.电平或增益回复到正常状态的时间.经常用于描述合成器的声音在琴键被放开后声音的消失阶段.
RESISTANCE: 电阻,单位欧姆.
RESOLUTION: 分解度.用数字表现模拟信号时使用的精度,比特数越多对于幅度的描述精度越高.另外还有一些影响精度的因素,高转换精度和高分解度是同样的意思.
RESONANCE: 共鸣,谐振.参见Q.
REVERB: 混响.在有限的空间里声音多次反射产生的声学环境.
RF: Radio Frequency的简写.无线电频率,射频.
RF Interference: 射频干扰.射频虽然不能被人类直接听到,但是射频干扰进入电路被检波后即生成可以听见的杂音.
RIBBON MICROPHONE: 带状麦克风.捕获声音的主要部件是一条悬浮在磁场中的薄金属带,它随声音振动的时候可以发生微小的电流.
ROLL-OFF: 滚降.信号在滤波器截止点以外的减弱比率.
ROM: Read Only Memory的简写.只读存储器.包含永久性非挥发数据的存储器,用户不能改写.操作系统使用的许多数据经常存放在ROM中,断电也不会影响到数据.
E-PROM: (Erasable Programmable Read Only Memory)与ROM相似, 但是芯片中的数据可以通过特别的设备抹去或改写.
RING MODULATOR: 环形调制器.一特别方法接受和处理2个输入信号的设备,输出信号不包含任何原来的信号而代之以2个输入频率之和与差基础上的新频率,可以是悦耳的乐音,也可以是极为刺耳的噪声.用环形调制产生的钟,铃声音非常有名,实际上Ring也暗示了这一点.
RMS: (Root Mean Square) 均方根值.一件电气设备在连续正弦波条件下的性能测试方法.
SAFETY COPY: 安全拷贝.原始录音磁带的拷贝或克隆,防备原始磁带丢失或损坏.
SAMPLE: 采样.使用A/D转换器每秒若干次(CD唱片为44.1kHz)对信号幅度瞬间测量.
样本:数字化的声音,在采样器或一些合成器中用作音乐声源
SAMPLE RATE: 采样率.A/D转换器每秒转换次数.
SAMPLE AND HOLD: 采样和保持.定期对一个随机值进行监测并用来控制其它功能,在老的模拟合成器中用来记忆弹奏过的音符.
SCSI: (发音如SKUZZY) Small Computer Systems Interface(小型机系统接口)的简写.一个用于硬盘,扫描仪,CD-ROM驱动器等计算机外围的接口系统,每个设备有自己的识别号(ID),同一个链路中不能出现2个相同的识别号.SCSI链路的最后一个设备是终端器,无论内置或外部,不可缺少.
SESSION TAPE: 录音棚收录的原始录音磁带.
SEQUENCER: 音序器.记录和回放数据的MIDI设备,通常为多轨格式,可以逐轨构成复杂的作品.
SHORT CIRCUIT: 短路.电流的低阻抗通路,一般形容电路发生故障引起的电流剧增.
SIBILANCE: 声乐录音中的高频哨声或齿音,也可能由于劣质麦克风或过分的均衡引起.
SIDE CHAIN: 旁链.按比例从主电路分出一部分信号另行处理.压缩器用旁链信号驱动它的控制信号.
SIGNAL: 信号.声音等输入的电子描述.
SIGNAL CHAIN: 信号链.一个系统中信号从输入到输出的路径.
SIGNAL-TO-NOISE RATIO: 信噪比.最大信号电平与剩余的噪声之比率,用dB表示.
SINE WAVE: 正弦波.没有谐波的纯净波形.
SINGLE ENDED NOISE REDUCTION: 信号末端噪声降低.一种不需要像Dolby或dbx一样预先编码的降噪设备.
SLAVE: 从属的.在主设备控制下的设备.
SMPTE: 电影工业开发的时间码,现在广泛用于音乐和录音.SMPTE为建立在时,分,秒,帧基础之上的实时编码,与音乐的速度,小节不同.
SOUND ON SOUND: 声上声.早期录音界使用的伪多轨技术.同时又是欧洲最有名的音乐录音杂志的名字.
S/PDIF:"Sony/Philips Digital InterFace"的简写.也被称为IEC958 (type-2),EIAJ CP-340 (type-2)现在又称CP-1201.S/PDIF与专业标准AES-EBU非常相像,通
常使用16或20-bit数据,除了音频数据,其他信息如音轨开始标记,资料辨认信息和时间数据也可以同时传输.电气接口使用不平衡RCA式,源阻抗75欧,信号频率在0.1 to 6MHz,要求使用高质量75-Ohm同轴电缆,信号幅度0.5V peak-to-peak决定了传输距离不大于10米.另有光学版本的S/PDIF,称为"TOSLink",传输与IEC958同样的信号,可以避免电磁干扰,但低质量的光纤同样能使传输不稳定和数据出错.
SPL: Sound Pressure Level声压电平,以dB为单位.
SPP: Song Position Pointer (MIDI)乐曲位置指针
STANDARD MIDI FILE: 标准MIDI文件.标准文件格式,允许文件在不同的音序器和MIDI文件播放器之间传送.
STEP TIME: 步长.非实时编写音序每一步的时值.
STEREO: 立体声.2通道系统分送左,右扬声器.
STRIPE: 条纹.称呼在多轨机上录时间码的操作.
SQUARE WAVE: 方波.对称的矩形波,包含大量奇次谐波.
SAWTOOTH WAVE: 锯齿波.波形类似锯齿而得名,包含奇次和偶次谐波.
SUB BASS: 超低音.低频率的监听扬声器.有人定义超低音是身体比耳朵感受更多的频率.
SUBCODE: CD和DAT中隐藏的数据,包括绝对时间位置,轨数,总运行时间等.
SUBTRACTIVE SYNTHESIS: 减法合成.一种处理,用过滤和成型技术处理复杂的波形得到新的声音.
SURGE: 浪涌.市电电压突然升高.
SUSTAIN: 保持.ADSR包络的一部分,在此阶段声音保持稳定直到琴键被放开 进入释放部分.踏板使声音慢慢衰退.
SWEET SPOT: 最佳听音点.对于麦克风或音箱前听音者的最佳位置.
SWITCHING POWER SUPPLY: 开关电源.高频振荡后变压,变压器可以做得很小很轻.计算机和一些合成器使用这样的电源.
SYNC: 同步.使2件或更多设备同步运行的系统.
SYNTHESIZER: 合成器.电子乐器,用来创造范围宽广从模仿到抽象的声音.
TAPE HEAD: 录放磁头.磁带录音机的部件,在录/放过程中做电-磁或磁-电变换.
TEMPO: 速度.每分钟的拍子数.
TEST TONE: 测试音.多轨机或立体录音机使用的具有稳定电平的参考信号.
THD: Total Harmonic Distortion总谐波失真
THRU: MIDI插座,传递MIDI in接受到的信号.
TIMBRE: 音色.
TOSLINK: 参见 "S/PDIF".
TRACK: 轨.多轨机上"轨"的概念是录音材料上沿着磁带方向具体的一条.
TRACKING: 跟踪.在MIDI领域经常指吉他拾音器的MIDI输出紧跟琴弦音高变化.
TRANSPARENCY: 透明.对音质的主观评价,指高频细节清晰,分别的声音容易区分.
TREMOLO: 振音.使用LFO对声音进行幅度调制.
TRANSDUCER: 变换器.使能量从一种形式转变到另一种形式.麦克风就是把机械能转变成电能的例子.
TRANSPOSE: 移调.把音乐信号以半音为单位上下移动.
TRIANGLE WAVE: 三角波.对称的三角形波,只包含奇次波,但是比方波多一些低的谐波.
TRS JACK: Tip, Ring,Sleeve俗称"大三芯",立体声接插件.
TRUSS ROD: 吉他琴颈内的金属棒,能抵消琴弦的张力.
UNBALANCED: 不平衡.用2条导线的信号连接,经常是热端(或+极)在内;冷端(或-极)围绕在外层形成屏蔽.
UNISON: 齐奏.2件或更多不同的乐器演奏同样的旋律.
USB: (Universal Serial Buss) 高速串行通讯规定,理论上可以用菊花链连接127个外围,允许热插拔设备并且不需要再启动计算机.当前已经有许多打印机,扫描仪等使USB用连接.
你好，根据资料记载，C语言诞生前还有B语言和BCPL语言，C语言源自Ken Thompson发明的 B语言，而B语言则源自BCPL语言。C语言的诞生是和UNIX操作系统的开发密不可分的，原先的UNIX操作系统都是用汇编语言写的，1973年UNIX操作系统的核心用C语言改写，从此以后，C语言成为编写操作系统的主要语言。1978年美国电话电报公司（ATT）贝尔实验室正式发布C语言，1983年由美国国家标准局开始制定C语言标准，于1989年12月完成，并在1990年春天发布，称之为ANSI C，有时也被称为 C89 或 C90。
