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表达式(Fix(32.4)+Int(-32.4)+Sgn(32.4))的值为______。
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在窗体中画一个命令按钮，然后编写以下时间过程： Private Sub Command1_Click() For i=1 To 4 x=1 For j=1 To 3 x=2 For k=1 To 2 x= x+6 Next k Next j Next i Print x End Sub程序运行后，单击命令按钮，输出结果是______。
After making a great effort, we finally ______ the plan.
What accounts for the great outburst of major inventions in early America-breakthroughs such as the telegraph, the steamboat and the weaving machine Among the many shaping factors, I would single out the country’’s excellent elementary schools; a labor force that welcomed the new technology; the practice of giving premiums to inventors; and above all the American genius for nonverbal," spatial" thinking about things technological. Why mention the elementary schools Because thanks to these schools our early mechanics ,especially in the New England and Middle Atlantic states, were generally literate and at home in arithmetic and in some aspects of geometry and trigonometry. Acute foreign observers related American adaptiveness and inventiveness to this educational advantage. As a member of a British commission visiting here in 1853 reported," With a mind prepared by thorough school discipline, the American boy develops rapidly into the skilled workman." A further stimulus to invention came from the "premium" system, which preceded our patent system and for years ran parallel with it. This approach, originated abroad, offered inventors medals, cash prizes and other incentives. In the United States, multitudes of premiums for new devices were awarded at country fairs and at the industrial fairs in major cities. Americans flocked to these fairs to admire the new machines and thus to renew their faith in the beneficence of technological advance. Given this optimistic approach to technological innovation, the American worker took readily to that special kind of nonverbal thinking required in mechanical technology. As Eugene Ferguson has pointed out," A technologist thinks about objects that cannot be reduced to unambiguous verbal descriptions; they are dealt with in his mind by a visual, nonverbal process. The designer and the inventor are able to assemble and manipulate in their minds devices that as yet do not exist." This nonverbal "spatial" thinking can be just as creative as painting and writing. Robert Fulton once wrote," The mechanic should sit down among levers, screws, wedges, wheels, etc., like a poet among the letters of the alphabet, considering them as an exhibition of his thoughts, in which a new arrangement transmits a new idea." When all these shaping forces-- schools, open attitudes, the premium system, a genius for spatial thinking -- interacted with one another on the rich U. S. mainland, they produced that American characteristic, emulation. Today that word implies mere imitation. But in earlier times it meant a friendly but competitive striving for fame and excellence. A technologist can be compared to an artist because______.
Why do you listen to music If you should put this question to a number of people, you might receive answers like these: "I like the beat of music," "I look for attractive tuneful- ness," "I am moved by the sound of choral singing," "I listen to music for many reasons but I could not begin to describe them to you clearly." Answers to this question would be many and diverse, yet almost no one would reply, "Music means nothing to me." To most of us, music means something; it evokes some response. We obtain some satisfaction in listening to music. For many, the enjoyment of music does not remain at a standstill. We feel that we can get more satisfaction from the musical experience. We want to make closer contact with music in order to learn more of its nature; thus we can range more broadly and freely in the areas of musical style, form, and expression. This book explores ways of achieving these objectives. It deals, of course, with the techniques of music, but only in order to show how technique is directed toward expressive aims in music and toward the listener’’s musical experience. In this way, we may get an idea of the composer’’s intentions, for indeed, the composer uses every musical device for its power to communicate and for its contribution to the musical experience. Although everyone hears music differently, there is a common ground from which all musical experiences grow. That source is sound itself. Sound is the raw material of music. It makes up the body and substance of all musical activity. It is the point of departure in the musical experience. The kinds of sound that can be used for musical purposes are amazingly varied.Throughout the cultures of the world, East and West, a virtually limitless array of sounds has been employed in the service of musical expression. Listen to Oriental theatre music, then to an excerpt from a Wagner work; these two are worlds apart in their qualities of sound as well as in almost every other feature, yet each says something of importance to some listeners. Each can stir a listener and evoke a response in him. All music, whether it is the pulsation of primitive tribal drums or the complex coordination of voices and instruments in an opera, has this feature: it is based upon the power of sound to stir our senses and feelings. Yet sound alone is not music. Something has to happen to the sound. It must move forward in time. Everything that takes place musically involves the movement of sound. If we hear a series of drumbeats, we receive an impression of movement from one stroke to the next. When sounds follow each other in a pattern of melody,we receive an impression of movement from one tone to the next. All music moves; and because it moves, it is associated with a fundamental truth of existence and experience. We are stirred by impressions of movement because our very lives are constantly in movement. Breathing, the action of the pulse, growth, decay, the change of day and night, as well as the constant flow of physical action- these all testify to the fundamental role that movement plays in our lives. Music appeals to our desire and our need for movement. What is the common ground for musical experience to develop
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