全音符

It was in the opening decades of the next century that music felt in a tactus(think of the modern time signature) of two semibreves-to-a breve began to be as common as that with three semibreves-to-a-breve, as had prevailed prior to that time.

接下来的几十年是一个开放的年代，音乐开始在全音符-二全音符的tactus（对有现今拍子记号的观念了）技法运用运用普及上加快了步伐（开始是与三个全音符-二全音符取得同样普遍的要运用），这种运用在那段时期之前就占据了优势。

In Franco's system, the relationship between a breve and a semibteves was equivalent to that between a breve and a long: and , since for him modus was always perfect, the temous of beat was also inherently perfect and therefore contained three semibreves.

这种新的风格清晰地体现在科隆的佛朗哥的研究中，在弗朗哥体系中，全音符与二全音符的关系等同于二全音符与longa的关系并且总是绝对的，节拍也是固有的，因此包含了3个全音符。

For Vitry the breve could be divided , for an entire composition, or section of one, into groups of two or three smaller semibreve this way, the tempus( the term that came to denote the division of the breve) could be either"perfect", with ternary subdivision, or "imperfect" with binary subdivision.

根据Vitry的观点，二全音符在一整首曲子或者其中的一部分中可以被分解为两个或者三个时值短些的全音符组，通过这种方式，这些节拍（这个术语来自于分解二全音符的标识）可以是绝对的三分法也可以是非绝对的二分法。

By now, tactus was generally two semibreves per breve with three per breve used for special effects and climactic sections; this was a nearly exact reversal of the prevailing technique a century before.

直到现在，tactus技法都普遍用于每二全音符有2个全音符与每二全音符有3个全音符一起进行的为特殊效果和高潮段落的运用。

It was in the opening decades of the next century that music felt in a tactus(think of the modern time signature) of two semibreves-to-a –breve began to be as common as that with three semibreves-to-a-breve, as had prevailed prior to that time.

$ J/ E l8 p# _8 }/ r《读者》杂志官方论坛，读者文章阅读交流——读者出版集团期刊论坛接下来的几十年是一个开放的年代，音乐开始在全音符-二全音符的tactus（对有现今拍子记号的观念了）技法运用运用普及上加快了步伐（开始是与三个全音符-二全音符取得同样普遍的要运用），这种运用在那段时期之前就占据了优势。

Note values were generally larger than are in use today; the primary unit of beat was the semibreve, or whole note. As had been the case since the Ars Nova, there could be either two or three of these for each breve(a double-whole note), which may be looked on as equivalent to modern "measure", thought it was itself a note value and a measure is not.

音符时值通常都比当今我们使用的要大，节拍的主要单位是全音符，它从中世纪起就是节拍的主要单位，也许以现代节拍度量的标准来看，2个或者3个全音符构成一个二全音符，虽然它本身是一个音符时值和一个。

It was in the opening decades of the next century that music felt in a tactus(think of the modern time signature) of two semibreves-to-a –breve began to be as common as that with three semibreves-to-a-breve, as had prevailed prior to that time.《读者》杂志官方论坛,读者文章阅读交流——读者出版集团期刊论坛1 f+ p;

接下来的几十年是一个开放的年代，音乐开始在全音符-二全音符的tactus（对有现今拍子记号的观念了）技法运用运用普及上加快了步伐（开始是与三个全音符-二全音符取得同样普遍的要运用），这种运用在那段时期之前就占据了优势。

Thus the whole note or semibreve has no stem, but the relative duration of the half note or minim, half the length of the whole note is indicated by the addition of a stem.

因此全音符没有符干，二分音符的时值，用在全音符上加一条符干来表示。

In a small fashion, the semibreve's division coule be divided into three minima(prolatio perfetus or major prolation) or two minima(prolatio imperfectus or minor prolation) and , at the higher level, the longs devision could be three or two breves(modus perfectus or perfect mode, or modus imperfectus or imperfect mode respectively).

类似的方式是全音符的分解（被称为prolation），全音符可以被分解成3个最小值（被称为prolatio perfectus 或者major prolation）或者2个最小值（被称为prolatio imperfectus or minor prolation），在一个更高的分级中，longa的分解，可以被分解成3个或者2个二全音符（被称为modus perfectus or perfect mode，或者modus imperfectus 或者imperfect mode respectively）。

These different permutations were called "perfect/imperfect tempus" at the level of the breve-semibreve relationship,"perfect/imperfect prolation" at the level of the semibreve-minim, and existed in all possible combinations with each other.

这种时值划分被称为&perfect/imperfect tempus&相当于全音符与二全音符的关系，而&perfect/imperfect prolation&则相当于全音符和minim的关系，并且可以相互组合使用。

The basic concept of FOP can be summarized as to further optimize effective prescription according to the standard of curative effects and with the aid of modern science and technology and theories of traditional Chinese medicine.

其基本内涵可概括为：以确有疗效的中药复方为研究对象，以现代科学技术和传统中医药理论为技术支持，以该复方所治病证的药效响应为评价标准，以优化重组疗效更优的新复方为研究目的。

Ever since our world has been a world, native forests have been indiscriminately exploited by man.

自从我们的世界一直是世界原生森林被任意剥削人。