韵

M. (1987). Commitment and the organization: The organizational man revisited.

黄韵如（2008）。台北县国民小学教师组织承诺与学校创新经营关系之研究。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城&2000中国古典音乐系列音乐会&委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

In the current cross-harbor bridge design and engineering of the southern starting point for the central urban area of the eastern end of东港区that rhyme Plaza, near the sea, and planning linked to the southern highway; Bridge across the Dalian Hong Kong routes, cargo anchorage on the 1st,甘井子Channel, tanker anchorage, monk Island Port waterways, and finally arrived in Dalian Development Zone Dagushan Peninsula West Tuen roots, land and sea bridge a total length of nearly 18 kilometers.

在当前两岸港湾大桥的设计和工程南起点为中心城区的东端东港区的韵广场附近的大海，和规划与南部公路；大桥在大连香港航线，货物锚地1日，甘井子频道，油轮锚地，和尚岛港口水路，终于抵达了大连开发区大孤山半岛西屯门根，陆地和海上桥梁总长度近18公里。

He used to utilize concise language and plain poetic form: vocabulary in his poems is mainly informal, and most of them belong to monosyllables; on syntax, Frost mainly adopts normal, prosaic lingual orders and strict and orthodox grammars; on the poetic form, he often writes traditional blank verse, sonnet and pays more attention to the phonetic natural rhythm, lines' musical effect and the relations between sound and meaning, which form his unostentatious artistic style.

他的诗歌通常运用简洁凝炼的语言和平淡的诗歌形式：诗歌中出现的大多是口语化的词语，并且大多数词都属于单音节词；在句法方面，大多的句式采用的都是正常的、散文化的语序和严格正统的语法；在诗歌形式上，他主要使用无韵诗和104行诗，他也10分重视语音的自然节奏和诗句的音乐效果以及音与义之间的联系，从而形成质朴无华的艺术风格。

Based on this files and linguistic geography, the analysis and the historical comparison of transverse distribution are made and the primary explanation is given, with all other dialects and the rhyme books , a historical frame of reference, involved.

以此为材料依据，运用历史比较法，参照方言地理学假定，分析其横向分布形式，比较差异，拟测历史发展序列，并联系其他方言和以韵书为代表的历史参照系给以初步的解释。

British writer known for his light verse in traditionally French forms such as the triolet and rondeau.

都布森，奥斯丁1840－1921以轻松诗著名的英国作家。其轻松诗用传统的法国诗体，如八行两韵等回旋体写成

As northmen slur their words like the same tone .But you listen to it carefully ,the tone is perfect at all .

北方人念字，总老象是层字，平平仄仄起来，这念错的岐韵，倒来得正好。

The evidence for the pronunciation of Middle Chinese comes from several sources: modern dialect variations, rhyming dictionaries, foreign transliterations,"rhyming tables" constructed by ancient Chinese philologists to summarize the phonetic system, and Chinese phonetic translations of foreign words.

为中古汉语发音的证据来自几个来源：现代方言的变化，押韵字典，外国译音，&韵表&的古代语言学家建造总结语音系统，和外来语中语音翻译。

The most famous "heroic couplet" is set by Chaucer and widely used by later poets.

乔叟使用的&英雄双韵体&&heroic couplet&被后世的诗人广泛运用，这是他对英语诗歌的又一大贡献。

Alexander Pope is one of the greatest poets in English Enlightenment and his long heroic couplet, An Essay on Man, is now regarded as an important part of the eighteenth-century literary tradition.

亚历山大·蒲伯是英国启蒙时期最伟大的诗人之一，他的双韵体长诗《论人》如今被视为十八世纪文学传统的重要组成部分。

Do you know, i need you to come back

你知道吗，我需要你回来

Yang yinshu、Wang xiangsheng、Li decang,The first discovery of haemaphysalis conicinna.

1〕 杨银书，王祥生，李德昌。安徽省首次发现嗜群血蜱。