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赣州胎记医院排行榜于都县人民医院做祛疤手术多少钱They bought Harry#39;s school books in a shop called Flourish and Blotts where the shelves were stacked to the ceiling with books as large as paving stones bound in leather; books the size of postage stamps in covers of silk; books full of peculiar symbols and a few books with nothing in them at all. Even Dudley, who never anything, would have been wild to get his hands on some of these. Hagrid almost had to drag Harry away from Curses and Countercurses (Bewitch Your Friends and Befuddle Your Enemies with the Latest Revenges: Hair Loss, Jelly-Legs, Tongue-Tying and Much, Much More) by Professor Vindictus Viridian.他们在一家叫做;弗拉立与布洛斯;的书店里买到了哈利需要的课本,店里的书架都是从天花板悬挂下来的,有用羽毛装饰的像铺路石一般大小的书,也有丝绒封面的像邮票一般大小的书,还有一些全是奇怪符号的书,以及一些里面什么也没有的书,即使从未读过书的达力也会禁不住伸出手来摸摸这些书的。海格不得不把哈利从万迪塔斯bull;维里迪安教授所写的《咒语与反咒语》这本书中拎出来。;I was trying to find out how to curse Dudley.;;我只是想找到诅咒达力的方法。;;I#39;m not sayin#39; that#39;s not a good idea, but yer not ter use magic in the Muggle world except in very special circumstances,; said Hagrid. ;An#39; anyway, yeh couldnrsquo; work any of them curses yet, yeh#39;ll need a lot more study before yeh get ter that level.;;我不是说那样不好,但是除了在非常特殊的情况之下,你不能在麻瓜世界使用魔法。;海格说,;无论如何你现在都不可以使用任何咒语,在你达到这个水平之前还需要更多的学习。;Hagrid wouldn#39;t let Harry buy a solid gold cauldron, either (;It says pewter on yer list;), but they got a nice set of scales for weighing potion ingredients and a collapsible brass telescope. Then they visited the Apothecary, which was fascinating enough to make up for its horrible smell, a mixture of bad eggs and rotted cabbages. Barrels of slimy stuff stood on the floor; jars of herbs, dried roots, and bright powders lined the walls; bundles of feathers, strings of fangs, and snarled claws hung from the ceiling. While Hagrid asked the man behind the counter for a supply of some basic potion ingredients for Harry, Harry himself examined silver unicorn horns at twenty-one Galleons each and minuscule, glittery-black beetle eyes (five Knuts a scoop).海格也不允许哈利买一口坚固的金色大锅(条上所提的是白蜡的),但他们买到了一套称量药方的配料非常好的天平,和一架折叠式的黄铜望远镜。接下来他们去了一家药房。这间药房看来对用臭蛋和腐烂的卷心菜的混合物来制可怕的气味十分着迷,一桶桶的黏状物放在地板上,一坛坛药草、干树根、闪亮的粉状物挨着墙排列着,一捆捆的羽毛,一串串的牙齿和爪子悬挂在天花板上。当海格向店员买一些哈利所需的药方配料时,哈利自己正在研究大约21个帆船币一根的银麒麟角以及微小、闪亮的黑色甲虫眼睛(每勺五克拉)。Outside the Apothecary, Hagrid checked Harry#39;s list again.走出药房,海格又把哈利的单子检查了一遍。;Just yer wand left ; A yeah, an#39; I still haven#39;t got yeh a birthday present.;;只剩下魔杖没有买了;;对了,我还没给你买生日礼物呢。;Harry felt himself go red.哈利的脸有点红了。;You don#39;t have to;;;你不必;;;;I know I don#39;t have to. Tell yeh what, I#39;ll get yer animal. Not a toad, toads went outta fashion years ago, yeh#39;d be laughed at ; an#39; I don#39; like cats, they make me sneeze. I#39;ll get yer an owl. All the kids want owls, they#39;re dead useful, carry yer mail anrsquo; everythin#39;.;;我知道我不必,告诉你,我将给你买一只宠物,并不是癞蛤蟆。蛤蟆好多年前就已经不流行了,你会被笑话的。我又不喜欢猫,它们会让我打喷嚏,所以我给你买一只猫头鹰,所有的小孩子都喜欢猫头鹰。它们非常有用,可以帮你送任何东西。;二十分钟之后,他们离开了猫头鹰店。Twenty minutes later, they left Eeylops Owl Emporium, which had been dark and full of rustling and flickering, jewel-bright eyes. Harry now carried a large cage that held a beautiful snowy owl, fast asleep with her head under her wing. He couldn#39;t stop stammering his thanks, sounding just like Professor Quirrell.哈利拎着一只大鸟笼,宠子里关着一只十分漂亮的雪白的猫头鹰,它的头深深地埋在翅膀里,正在呼呼大睡。哈利不停地向海格道谢,都有点口吃,好像屈拉教授那样。;Don#39; mention it,; said Hagrid gruffly. ;Don#39; expect you#39;ve had a lotta presents from them Dursleys. Just Ollivanders left now ; only place fer wands, Ollivanders, and yeh gotta have the best wand.;;不要再提了。;海格扳着脸孔说。现在只剩下奥利万德斯;;卖魔杖的地方了。奥利万德斯的手杖是最好的。A magic wand; this was what Harry had been really looking forward to.一根魔杖;;这才是哈利真正想要的东西。赣州同济医院玻尿酸隆鼻多少钱 有声名著之吸血鬼 Chapter21吸血鬼Dracula英语原版下载 相关名著:有声名著之查泰莱夫人的情人有声名著之简爱有声名著之呼啸山庄有声名著之傲慢与偏见有声名著之儿子与情人有声名著之红与黑有声名著之歌剧魅影有声名著之了不起的盖茨比有声名著之远大前程有声名著之巴斯史维尔猎犬 Article/200809/49730赣州玻尿酸丰唇

赣州医院治疗祛痘多少钱Duke Ellington and His Jazz Orchestra Were Famous Around the WorldWritten by Paul Thompson (THEME)VOICE ONE:I'm Shirley Griffith. VOICE TWO:And I'm Ray Freeman with the VOA Special English program, People in America. Every week we tell about a person who was important in the history of the ed States. Today, we tell about the great jazz musician, Edward Kennedy Ellington. He was better known to the world as "Duke" Ellington.Duke Ellington (MUSIC) VOICE ONE:That was Duke Ellington's orchestra playing "Take the 'A' Train. " Just the first few notes of that song are enough to tell any music expert who is playing. It is like a musical sign. The sign says, "Listen! You are about to hear something by Duke Ellington's orchestra. " It was always the first song his orchestra played. "Take the 'A' Train" was only one of hundreds of songs he played all over the world. (MUSIC) VOICE TWO:Edward Kennedy Ellington was born on April twenty-ninth, eighteen ninety-nine, in Washington, D.C. His family lived in the African-American area of Washington. It was a time when racial separation was the law in much of the ed States. Racial laws and racial hatred were to follow Edward Kennedy Ellington all through his life. Young Edward liked clothes. A friend once looked at him and said, "You look like a duke. " He meant that Edward 's clothes were so good that he looked like a member of a royal family. Other friends laughed. Yet they all began calling him "Duke. " The name stayed with him the rest of his life. VOICE ONE:When he was about seven years old, Duke Ellington began to play the piano. When he was in high school, he began to paint. He became very good at both. A famous art school in New York City invited him to take classes there. But he had aly decided to become a musician. He got his first professional job in nineteen sixteen. He played music at night and painted business signs during the day. The most popular music back then was called ragtime. Duke listened to ragtime piano players who visited Washington. Then he tried to play as well or better than they did. Years later, he recorded a song that showed how well he could play the piano. It is a ragtime song called "Lots o' Fingers." (MUSIC) VOICE TWO: Duke Ellington moved to New York City in nineteen twenty-three. He had a small band. Soon it was playing at the famous Cotton Club, where it would play for many years. Duke and his band could play at the Cotton Club. But they could not come to hear anyone else, because they were black. Duke did not become angry. He did not become filled with hatred toward white people. He let his music speak for him.VOICE ONE:In time, Duke Ellington's band got bigger. It was a jazz orchestra. More people began hearing the orchestra's music. They could hear it on a radio program from the Cotton Club. The program often could be heard all over the ed States. At the same time, Duke Ellington and the members of his orchestra began recording their songs. Their first hit record was one of their most famous. It was recorded in October of nineteen thirty. It was called "Dreamy Blues. " Later, Duke changed the name. It is still considered a great blues song and is often played today. It is called "Mood Indigo. " (MUSIC) VOICE TWO:An orchestra is a team made up of individual players. Like any team, the individuals in an orchestra must cooperate to produce good music. The leader of a team, or an orchestra, must learn the strength and the weakness of each member. And a good leader will use this knowledge to make the team or orchestra produce the best result. In the nineteen twenties and nineteen thirties, members of a dance orchestra never stayed with one group for long. Musicians moved from group to group. Yet, when a musician played with Duke Ellington, he usually stayed, sometimes for many years.VOICE ONE:This had an effect on the group's music. Duke would write music especially for musicians in the orchestra. His songs used the strengths of one or two individuals. The rest of the orchestra cooperated with them. This cooperation became the method Ellington used again and again to produce beautiful sound colors. His music could make people feel deep emotions -- feelings of happiness, or sadness, or loneliness, or joy. VOICE TWO:Some members of the Duke Ellington orchestra were the best jazz musicians of their day. Their cooperation produced a sound that is almost impossible for others to re-create. To create that same sound, you would need the musicians who first played the music. One of those musicians was "Cootie" Williams. He played the trumpet in the Duke Ellington orchestra for many years. Duke Ellington used the strength of Cootie Williams when he wrote a song called, "A Concerto for Cootie. " Critics said this work showed the unity between the music writer, the leader of the orchestra, and its members. Listen as Cootie Williams seems to lead the orchestra. Hear how the other members cooperate with him to produce a very beautiful and special sound.(MUSIC)VOICE ONE:This Special English program was written by Paul Thompson. It was produced by Lawan Davis. I'm Shirley Griffith.VOICE TWO:And I'm Ray Freeman. Join us again next week at this time for the second part of our People in America program about Duke Ellington on the Voice of America. Article/200803/30120赣州俪人整形美容医院激光美白 The new music was built out of materials aly in existence: blues, rock'n'roll, folk music. But although the forms remained, something completely new and original was made out of these older elements - more original, perhaps, than even the new musicians themselves yet realize. The transformation took place in 1966-1967. Up to that time, the blues had been an essentially black medium. Rock'n'roll, a blues derivative, was rhythmic dance music. Folk music, old and modern, was popular among college students. The three forms remained musically and culturally distinct, and even as late as 1965, none of them were expressing any radically new states of consciousness. Blues expressed black soul; rock was the beat of youthful energy; and folk music expressed anti-war sentiments as well as love and hope. In 1966-1967 there was spontaneous transformation. In the ed States, it originated with youthful rock groups playing in San Francisco. In England, it was led by the Beatles, who were aly established as an extremely fine and highly individual rock group. What happened, as well as it can be put into words, was this. First, the separate musical traditions were brought together. Bob Dylan and the Jefferson Airplane played folk rock, folk ideas with a rock beat. White rock groups began experimenting with the blues. Of course, white musicians had always played the blues, but essentially as imitators of the Negro style; now it began to be the white bands' own music. And all of the groups moved towards a broader eclecticism and synthesis. They freely took over elements from jazz, from American country music, and as time went on from even more diverse sources. What developed was a music ily taking on various forms and capable of an almost limitless range of expression. The second thing that happened was that all the musical groups began using the full range of electric instruments and the technology of electronic amplifiers. The electric guitar was an old instrument, but the new electronic effects were altogether different - so different that a new listener in 1967 might well feel that there had never been may sounds like that in the world before. Electronics did, in fact, make possible sounds that no instrument up to that time could produce. And in studio recordings, new techniques made possible effects that not even an electronic band could produce live. Electronic amplifiers also made possible a fantastic increase in volume, the music becoming as loud and penetrating as the human ear could stand, and thereby achieving a "total" effect, so that instead of an audience of passive listeners, there were now audiences of total participants, feeling the music in all of their senses and all of bones. Third, the music becomes a multi-media experience; a port of a total environment. The walls of the ballrooms were covered with changing patterns of light, the beginning of the new art of the light show. And the audience did not sit, it danced. With records at home, listeners imitated these lighting effects as best they could, and heightened the whole experience by using drugs. Often music was played out of doors, where nature provided the environment. 新音乐 新音乐的素材来源于布鲁斯、摇滚和民间音乐,虽然保存了它们的形式,但从这些较早的音乐中却产生了一些全新而富有创意的东西--也许比新的音乐家所意识到的还有创意。这种变化发生于1966-1967年间,这之前布鲁斯一直是黑人音乐的基本表现形式。摇滚衍生于布鲁斯,是一种很有节奏的舞蹈音乐。而民间音乐,不论古老的还是现代的,都很受大学生们的喜爱。这三种形式一直保留着音乐和文化上和特色,甚至到了1965年,他们中也没有一种形式表达一些全新的意识形态。布鲁斯表达黑人的情感;摇滚是青春活力的跳动;而民间音乐表现爱、希望以及反战情绪。 1966-1967年这些音乐形势自然而然地发生了变化。这一变化在美国起始于旧金山演出的青年摇滚乐队,在英国则由甲壳虫乐队领先,他们当时已经成立了非常不错、极有个性的摇滚组合。当时所发生的一切尽可能诉诸文字如下。首先那些独立的音乐传统融合起来。鲍勃迪伦和杰菲逊飞机乐队演奏的民间摇滚将民歌的歌词配上了摇滚节奏。白人摇滚乐队也开始尝试布鲁斯。其实白人音乐家一直都在严奏布鲁斯,不过基本是模仿黑人的风范的折衷与融合。他们随意的从爵士乐、乡村音乐中吸取养分,随着时间的推移甚至从更多来源中各取所需,很快一种形式各异的极具有表现力的音乐形成了。 其次所有的音乐组合都开始使用全套电子乐器和电子扩间技术。吉他是旧式乐器,但是新的电子效果却完全不同,在1967年第一次听到它的人恐怕会感觉到以前世界上从来没有像这样的音响。电子技术确实制造出了此前乐器无法发出的各种声响。在录音室录音,新的技术能做出连电子乐队现场都演奏不出的效果。电子放大器也可以使音量大到极至,音乐显得洪亮而有穿透力,震耳欲聋,因而达到一种彻底的效果,使得听众不再是被动的接受者,而是完全地投入,用整个身心去感受音乐。 第三,音乐成为一种多媒体的感受、整个环境中的一部分。舞厅的墙上闪烁着变幻莫测的灯光。这是新的灯光艺术的开始。观众不是正襟危坐,而是跳动不已。家中有唱片的人会模仿那些灯光效果,并使用实物来加强整体的感觉。音乐还往往以大自然为背景室外演奏。 Article/200802/27803赣州附属医院修眉多少钱

赣州磨颧骨效果如何All That Jazz "爵"代风华You may have heard of Kenny G, but what do you really know about jazz? Jazz is a genuinely American art form that has blossomed into a worldwide phenomenon. It is certainly much more than mere background music.Jazz comes in a wide variety of styles, and has several defining features. The most important of these is improvisation. Jazz musicians do not follow a set piece of music note by note, but make up melodies and chord changes as they play. Such improvisation is based on a musician's creative impulses, and is often inspired by interactions with the other players or the audience. It is this energetic feedback and element of anticipation that gives jazz its incredible dynamism. A piece is never played the same way twice.The originators of jazz were African-Americans in the early 20th century who fused African rhythms with European ideas of harmony and melody. Jazz's use of rhythm is unique in that it is “syncopated”; that is, the rhythm is irregular. Jazz is also polyrhythmic, which means many rhythms revolve around one basic one.Another musical genre created by African-Americans, the blues, has heavily influenced jazz as well as rock and roll. About one third of jazz is in blues form with twelve measures in a song and uses ---blue notes,” the flatted third, fifth, and seventh notes of the musical scale. Jazz has inspired everything from slang such as “cool” and “jazzy”; to dance styles such as tap and swing; to art forms such as filmmaking and beat poetry. Its dynamic nature and strong individual performers have also given rise to different branches of jazz. Early jazz was centered in New Orleans and had trumpeter Louis Armstrong as its first great soloist. The '30s and '40s saw jazz's sound grow more forceful and invigorating, inciting people to dance. The master of this “big band” or “swing” style was Duke Ellington, thought to be one of America's greatest composers in any genre.“Bebop” appeared in the 1940s. It introduced more complex melodies, harmonies, and rhythms, as well as more expressive drumming. In the late '40s, Miles Davis ushered in “cool jazz”' s smoother, more harmonic sound. The last of the classic jazz styles, “hard bop,” was more soulful, and sometimes borrowed from Ramp;B and gospel themes. Later strains of jazz include “fusion,” “bossa nova,” and “funk.” “Smooth jazz,” with Kenny G at its forefront, has proved the most commercially viable form of jazz, although purists scoff at its slick production and lack of improvisation. Regardless of the jazz you have been exposed to, a wealth of it still awaits you. In this era of boy bands, jazz reminds us of what a sublime and rewarding experience listening to music can be.1. improvisation n. 即兴演出或创作2. impulse n. 冲动,兴致3. fuse v. 结合4. measure n. (此指)小节5. invigorating a. 令人振奋的6. strain n. 家系、曲7. purist n. 纯粹主义者8. sublime a. 卓越的你也许听说过凯丽·金,但是对爵士乐你真的了解多少呢?爵士乐是一种地道的美国艺术形式,它已经发展成为一种风靡全球的现象。爵士乐绝不仅仅只是背景音乐。爵士乐以多种风格出现,具有几种可用作定义的特点。其中最重要的一种是即兴演出。爵士乐手不会按照固定的乐谱一个音符一个音符地演奏,而是在演出的时候自编旋律及变化和弦。这样的即兴演出基于乐手的创作冲动,通常是由与其它乐手或与观众间的互动激发起来的。正是这种充满活力的回应和充满期待的成分赋予了爵士乐不可思议的活力。一首乐曲绝不会有两次相同的演奏。爵士乐的创始人是20世纪初期的非洲裔美国人,他们将非洲的节奏融入欧洲的和声和旋律的概念中去。爵士乐采用“切分”的演奏是很独特的;也就是说,节奏是不规则的。爵士乐也是多重节奏的,即多种节奏围绕一个基本节奏而进行。非洲裔美国人所创的另一种音乐类型──蓝调,对爵士乐和摇滚乐都有深远的影响。大约有三分之一的爵士乐采用蓝调形式,一首歌有12小节,使用“蓝音”,即把第三、五、七个音阶降半音(如C大调的E、G、B)。爵士乐激发了各种灵感,如:从俚语中的“酷”和“奔放”两个词,到舞蹈风格中的踢跶舞和摇摆舞(即兴爵士舞),以及电影制片和节拍诗等艺术形式。爵士乐富有活力的性质和有很强感染力的个人表演者也导致了不同流派爵士乐的产生。早期的爵士乐以新奥尔良为中心,并有出色的首席独奏者小号手路易斯·阿姆斯特朗。30和40年代的爵士乐的乐音变得更加强有力、更加振奋人心,把人们跳舞的情绪调动起来了。“大乐团”和“摇摆乐”的大师艾灵顿公爵,被公认为美国各种音乐类型中最伟大的作曲家之一。“咆哮爵士”出现在20世纪40年代。它引入了更复杂的曲调、和弦与节奏,还有更富有表现力的爵士鼓。40年代后期,迈尔士·戴维斯开创了乐音更流畅、更和谐的“酷派爵士乐”。最新风格的古典爵士乐“硬式咆哮爵士”就更加热情洋溢了,它有时还会从节奏蓝调和福音书中取材。此后的爵士曲调包括“融合爵士乐”、“波萨诺瓦爵士乐”,以及“方克”。尽管纯粹主义一派嘲笑它的作品媚俗且缺乏即兴创作,凯丽·金为先锋的“轻柔爵士乐”却明了它是最具商业竞争力的爵士乐类别。除了你曾接触过的爵士乐,它还有大量的爵士等待着你去发掘。在这个男孩乐队当道的年代,爵士乐让我们记起在聆听音乐时,那种超凡而愉悦的体验是多么美好。 Article/200803/30275 Evelyn and Jasper’s new condo certainly was small—1,200 square feet. It was on the first floor of a three-story building. They had no garage for their two cars. In fact, they didn’t even have one designated parking space. When Evelyn went grocery shopping, she often had to lug the groceries 100 feet from her car to her condo—sometimes less if she was lucky enough to find a parking spot close to her condo.Evelyn was on the phone with an old friend in New Mexico. “Now I really appreciate how convenient it was to park in my garage for 20 years and walk directly into the kitchen. Just think how much fun I have now when I’m caught with grocery bags in a rainstorm! And the neighbors. They all have their own friends—we’re outsiders. We go to the community pool regularly, but no one has stopped by to introduce themselves. Whatever happened to southern hospitality? And my sisters? They’re all working! What was the point of moving here if they work all week, and on the weekend they’re usually too tired to go out?“New Mexico was so much better; I had my own house, yard, and garage. I had a small garden in the back yard. I had a couple of good friends, including you. Here, I still don’t have a job, even though I’ve been willing to take almost anything. Jasper is gone six or seven days a week trying to sell Cadillacs in the middle of farm country. He should be trying to sell tractors! He comes home so tired that he hardly ever goes fishing. He must be kicking himself for being so thoughtful to me.” Her friend told Evelyn to stop being so negative. They'd only been in Georgia a year. Even their first couple of years in New Mexico were rough, she reminded Evelyn. Article/201106/138782赣州第一附属医院脱毛手术多少钱信丰县人民医院激光去痣多少钱



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