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Secondly, kinematics of the frameless stereotactic surgical robot is analyzed with D-H notation.

其次对课题开发的无框架立体定向手术机器人进行了运动学分析。

By analyzing the music form, the notation in all editions and also by comparing with the pianists' recordings, we may be able to find out how the diverse and interpretational this work can be. Through these we may then deconstruct the spirit of this work.

透过曲式分析、各版本谱相互对照，并比较各演奏家的音，以了解演奏此曲所能呈现出的差及多样性，藉此解构隐藏在音符中所蕴涵之。

Suzi notation records ancient Chinese music and,it is therefore,has special meaning in musicological study.According to the message left by Mr.

俗字谱是中国古代音乐的珍贵文献，在音乐史学研究上具有特殊的价值。

It should be noted that this basic neumatic notation could only specify the number of notes and whether they moved up or down. There was no way to indicate exact pitch, and rhythm, or even the starting note.

由上所述可知，这种最基本的纽姆谱只能详细的标识出音符的数量和他们是否升降，并不能指出准确的音高、节奏，甚至第一个音符。

These eventually evolved into the basic symbols for neumatic notation, the virgawhich indicates a higher note and still looked the acutus from which it came; and the punctumwhich indicates a lower note and , as the names suggests, reduced the gravis symbol to a point.

这些标识很明显是纽姆谱中最基本的符号，virga或者rod，表示一个更高的音符，这个符号的形状仍然和actus，/很相像，而punctum这个代表更低音符的标识，从标识名称上就能表明它是简化了的gravis，\符号。

Earlier medieval notation had no way to specify rhythm, although neumatic notations gave clear phrasing ideas, ahd somewhat later notations indicated rhymic modes.

据推测，在中世纪初期谱子上的音乐可能是使用合唱谱子的单声部演唱和合唱，并没有标记器乐如何演奏。，虽然早期纽姆谱有着清晰的分句概念，并且稍后还能标示出韵诗，可是早期的中世纪乐谱仍然都没有详尽地记录节奏。

The notation used to describe the sequence, the optionality, and the repetition of segments is described in Chapter 2, under Format for defining abstract message.

& *****用来描述段的顺序，可选择性和重复的符号在第二章的&摘要消息的格式一文中进行了说明。

The notation used to describe the sequence, the optionality, and the repetition of segments is described in HL7, Chapter 2, under Format for Defining Abstract Message.

& 在 HL7 中描述段的结果，选择性和可重复性的的符号在第 2 章的&摘要消息的格式节中有说明。

The notation used to describe the sequence, optionality, and repetition of segments is described in Chapter 2, Section 2.12, Chapter Formats for Defining HL7 Messages.

用于描述顺序的，任选的或复制的段的表记法在第 2 章第 2.12 节&定义 HL7 消息的格式&中说明。

The notation used to describe the sequence, optionality, and repetition of segments is described in Chapter 2, Section 2.12, Chapter Formats for Defining HL7 Messages.

用于描述信息段的顺序，选项及重复的标识已在第二章的 2.12 节&定义 HL7 信息的章节格式&中作了说明。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。