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    1/12/2008

    ☈Canon In D Sheet Music

                                             
     
    Canon In D Sheet Music
    also known as Kanon in D Dur, Pachelbel's Canon in D Major, Kanon und Gigue in D-Dur für drei Violinen und Basso Continuo, Cannon in D Sheet Music
    Artist and Writer: Johann Christoph Pachelbel

    Pachelbel's Canon (a. k. a. Canon in D and Canon in D major) is Johann Pachelbel’s most famous piece. Its full German title is “Kanon und Gigue in D-Dur für drei Violinen und Basso Continuo”. The piece is not strictly speaking a Canon (as the opening bass line is not strictly copied) but a passacaglia. The piece consists of a two bar (eight note) bas line, which is repeated over and over. In a string quartet setting this part would be played by the cellist. The piece is therefore not the most popular piece amongst cellists. Unfortunately for them Pachelbel's Canon in D is one of the most requested wedding tunes. Strangely enough the work was widely unknown until the 1970s, when a recording by Stuttgart Chamber Orchestra is thought to have made it famous. The bass line and harmony of Pachelbel's Canon in D are so appealing that it can be found - either by imitation or accidentally - in hundreds of other pieces, including: The Streets of London, All Together Now, Don’t Look Back In Anger and Jolly Old St Nicholas.

     Level 3.5 is very close to the original.
     Level 3 does not have the tricky semiquavers of the middle section.
     Level 2.5 does not have the octaves in the left hand of the middle section (you can hear the difference in the playback).
     Level 2 is once again shorter by one section and the left hand consists of single notes throughout.
     Level 1.5 is in the easier key of C major, and the melody does not use the quavers of the previous Levels.

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    ☈喜歡

    常常有一種“喜歡”留在心頭,喜歡咖啡在舌尖喉際回繞,喜歡一個人與音樂談心分享作者的情結,喜歡看咖啡在透明的壺內沸騰。喜歡一個人風馳電掣霧里云來...
    喜歡,是的,即使在午夜,只是自己一個人,也仍然喜歡用最小的音量放一段音樂來體味一種惆悵,或者,清醒地聽著夜雨打在屋檐上,想一個相處時平平淡淡的女孩兒,如何使你激動;蕩氣迴腸。
    “閒來一試七弦琴,此曲少知音”,有一回在燈下看一個朋友彈琴,纖纖務弄扶于黑白之間雲卷雲舒,忽然細細看她,真是這樣安靜的人,卻有種真趣相逼,使人要在昏黃的燈下恍惚起來。
    是的,眼前的一切我喜歡,喜歡生命是這樣真實;身體是這樣溫暖,有骨肉的感覺去走,去看,去,去給與和接受。
    真的喜歡,喜歡終於和生命對視的這樣清醒和無奈。
    今生來世永遠都喜歡很巧或不巧地撞見了迎面而來的那個人和那個事了。
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    ☈The Chinese Piano(named guzheng)

    The Chinese Piano playing styles and performers
    There are many techniques used in the playing of the guzheng, including basic plucking actions (right or both hands) at the right portion and pressing actions at the left portion (by the left hand to produce pitch ornamentations and vibrato) as well as tremolo (right hand). These techniques of playing the guzheng can create sounds that can evoke the sense of a cascading waterfall, thunder and even the scenic countryside. Plucking is done mainly by the right hand with four plectra (picks) attached to the fingers. Advanced players may use picks attached to the fingers of both hands. Ancient picks were made of ivory and later also from tortoise shell.

    The guzheng's pentatonic scale is tuned to Do, Re, Mi, So and La, but Fa and Ti can also be produced by pressing the strings to the left of the bridges. Well known pieces for the instrument include Yu Zhou Chang Wan (Singing at night on fishing boat), Gao Shan Liu Shui (High mountains flowing water) and Han Gong Qiu Yue (Han palace autumn moon).

    Two broad playing styles (schools) can be identified as Northern and Southern, although many traditional regional styles still exist. The Northern styles is associated with Henan and Shandong while the Southern style is with the Chaozhou and Hakka regions of eastern Guangdong. Both Gao Shan Liu Shui (High mountains flowing water) and Han Gong Qiu Yue (Han palace autumn moon) are from the Shandong school, while Han ya xi shui (Winter Crows Playing in the Water) and Chu shui lian (Lotus Blossoms Emerging from the Water) are major pieces of the Chaozhou and Hakka repertories respectively. 
                                              
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    ☈August

                            
                            When you are absent

                            I don't know why it is always

                            raining in the August I don't know

                            why the evening rain clouds up my windows

                            Transitorily enjoyment occurrs to me that just to

                            catch sight of you are having the best day in my life just

                             to receive your message is having the best day in my life

                             I thank you for giving me the best day wholeheartedly

                             to dance , to dance to sing , to sing for the

                             content love singing for the content love

                             dancing for the content are

                             always the merry .

                                                                                   

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    ☈"要SEX;更要健康"

                             
     
             纵观欧洲的历史,由禁欲主义到纵欲主义的过程,并不是一夜之间就转变的,若从文艺复兴运动开始,
         它经历了数百年的历史,由一个完完全全的禁欲主义变成一个完完全全的纵欲主义。
      文艺复兴运动人们是赞美爱情,崇尚恋爱自由;
      而后来的诸如《茶花女》《怠丝》之类的文学作品,明显为女人堕落辨护,批判贞操观念。 
        最后由青年学生游行为开端,以《花花公子》等色情杂志的代表,爱情
    已经愈越了婚姻的底线。
      其实在色情与爱情之间,在淫邪与艺术之间并没有一个明显的界线。比其尼就性的诱惑性来讲,
             可能比赤裸更强烈。而人们并不把穿比基尼泳装的照片视为黄色,却把裸体照视为黄色。
      我们无法相信,画家对着裸体的模特;观众对着各种裸体的人体摄影和油画,他们只想着艺术,而不是丝毫没有淫
             邪。
      从进化的角度讲,女性之美是专为完成两性的结合和繁衍后代设计的,女性的乳房乃是由哺乳的需要,
             女性的宽大的盆骨是怀胎和分娩所必需的,她富含脂肪的肌肤是为后代贮藏了必需的能量。……而这一切在异性看
             来,却是一种美。
      准确的说,女性的美只在另人眼里才存在。公牛看到母牛是最美的,用它的眼看美女,可能和人看母牛一样。
      这种异性之美,如女性,先在脸庞,那并不能说是淫邪,而后在身材,曲线之美,那也能说是淫邪,而后是乳房,
             以及由观察到扶摸的冲动,直到想交结的程度。这是纯粹的淫邪了。
      这一过程是由人体的,下丘脑——垂体——性腺的反馈完成的。“上帝”设计了这样一个巧妙的的过程,以使人类
             完成配和繁衍。
      因此讲“色情”并没有一个清晰界线:低胸低背不叫色情,穿比基尼泳装的女也不叫色情,赤裸的背部也不叫色情
             ,全赤裸便叫色情了。而事实上前者在性的诱惑性上可能更胜于后者,后者也不一定就更有诱惑力,比如赤裸的老太
             婆,谁见谁恶心,更谈不上性的诱惑了。而青春少女即使是一个脸也叫人春心荡漾。
             亲爱的女士们,您在展示你的性感与美丽的时侯,你可为我们的孩子想过;亲爱的男士们,您在欣赏美丽的时侯,
             你可为我们的孩子想过。

              在艾滋病大传播的今天,我们更应为我们的孩子多想一想。色情可以不要,艺术可以不要,但我们不能不要健康.

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    ☈试论儒、道、法三家法律思想之异同

     不同的历史时期,人们对法律的理解各有不同。从夏商时代的神权法思想到孙中山的资产阶级革命派的法律思想,随着社会的不断进步,法律也在不断确立自己在社会生活中的主流地位。春秋以降,以孔子为代表的儒家思想开始得到社会的广泛认同,他所主张的贤人治国、德礼为主、刑罚为辅的治国原则作为一种朴素的法律精神在当时获得了可靠的市场支持。随后,以老子为代表的道家以及以韩非子为代表的法家在各自的学派中也详尽阐述了他们对于法律的理解和认识,为后来法律在中国的发展成熟奠定了坚实基础。

            孔子、老子、韩非子等人不仅是伟大的思想家,也可以认为是我国最早的法律工作者。 由于所处的社会阶级不同,儒、道、法三家的法律思想也明显带有各自阶级的色彩。儒家追求礼治,道家推崇无为而治,法家则坚定的信奉法治。儒家的礼治继承了西周以来的礼法传统,强调家国一体、孝悌为本的宗法观念。家族伦理、亲亲尊尊、明德慎罚、中庸之道成了儒家法律思想的核心和最高价值标准。孔子一生的大部分时间都献给了鲁国及春秋各国的教育事业,其所提倡的以仁为本的主体思想至今仍在深刻影响着中国人的道德行为规范。 跟儒家明显带有官方性质的传道、授业、解惑相比,作为史上最著名的隐士,老子的思想则更容易获得来自民间的支持与认同。在许多自然与社会现象无法得到足够的科学支持的背景下,老子的客观唯心主义思想开始在当时的社会中大行其道。老子认为“道”高于仁义礼法等一切规范,仁义礼法等社会人事的有为都不如“道”的无为,只有“道”才是人类社会的最高原则与最终归宿。对于儒家思想,尤其是道德观,道家批判起来绝不留情面。李耳、庄周等道派代表人物在一种自我营造的乌托邦的氛围中,怀疑一切、否定一切,为后人留下了道法自然、无为而治的法律虚无主义的光辉思想。

            春秋之后,土地私有制势不可挡,生产方式发生了翻天复地的变化,原有的社会关系开始逐渐被新的秩序所代替。儒家与道家所树立起来的法律规范已经不能适应和满足新兴地主阶级的需要,在这样一个时代更迭的历史时刻,法家出现了。他们坚定地团结在以君主专制为核心的封建新兴地主阶级周围,重新定义法的概念、性质、起源以及作用。推行“以法治国”的全新理念,彻底摒弃了儒家“贤人治国”方针政策。以韩非子为代表的法家学派认为,法是以刑罚为主要手段,依人们的等级名分而确定不同的权利和义务,由国家制定公布与执行,所有人都必须遵守的成文的行为规范。法家强调以国家暴力为后盾的法律的作用,必须树立法律的绝对权威,对儒家的道德教化以及道家的无为而治不屑一顾,极力主张法律的强制手段才是统治阶级江山永固的唯一法宝。

           当然,作为封建专制社会,儒、道、法三家的法律思想的根本都是试图最大限度地维护既定的社会等级制度。儒家治国的最高目标是要达到以宗法等级为核心的礼治局面,道家治国的最高目标是要通过无所为无所不为的理想主义方式实现江湖一统、秩序永存,而法家治国的最高目标则是要建立以郡主专制为核心的国家最高暴力机关,以达到法治的局面。现在看来,法家的法治主张更符合战国时期的时代要求,法律思想也基本概括了法的内部属性,初步完成了从神治到人治到法治的过渡,法家的法律思想已经依稀让我们看到了现代法律的影子.
                                                                
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    ☈爱得长久

    有一个挺漂亮的女孩儿,先后交了三个男朋友,结果都失败了,原因就是她把爱情的咖啡沏得太浓;糖也放得太多,滚烫滚烫的,总是在沸点燃烧,时间长了谁也受不 了,直到把爱情烤干.女孩儿不知道爱情也有疲倦的时候,也需要个枕头少憩, 女孩儿用全部的身心去爱,爱情却因为承受不了她的火热而融化掉了.一个多么令人遗憾的爱情悲剧!
     
    当然,不能回 避累垮爱情后面也有复 杂的动机.女孩 子 的主动积极;热情,收到的 效果往往适得其反,即使在今天,每临关键时刻,东方文明熏陶下的男 人便呈现出一个普遍的心态;她能对你主动,对别人呢?女伴可以开朗热情,娶妻则要慎重……,狭隘自私的心态,爱情 不能太浓,太浓就变 苦了,完美固然令人向往,但真达到了完美一切也就结束了,有多少沉 浸在 爱情当中的情侣 不懂得这个道理,只知道爱情的蓝天,白 云,风景 如画,不知道 刮风下雨会打湿爱 情鸟的翅膀;只知道爱得义无返 顾,轰 轰烈烈,荡气回肠,不知 道曲径通幽,含情默默 的爱情更加芬芳;只知道 耳鬓厮磨长相守,不知道暂离别 更具牵手时的温馨和魅力.为爱情死去 活来,感动则感动,但对女孩儿,凋零的玫瑰风光难再;对男孩儿,则难逃 缺少阳刚之气和鸿鹄之志的指责. 英雄总是气短,就不配再戴英雄的桂冠.
     
    月有阴情圆缺,爱情也不全是浪漫,节制奔放的心灵,动静相宜;张 弛有度,才能爱得长久.

     

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