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The 30 Day Mental Challenge

為了解決Sounds like的問題，作者Horowitz, Mitch 這樣論述：

What Would You Give to Lead a Bold, Satisfying, and Successful Life?Author Mitch Horowitz (＂solid gold＂--David Lynch) asks you to give one thing: your mental focus for just 30 days. In The 30-Day Mental Challenge, Mitch guides you through one simple exercise--so simple, in fact, that you may not

believe it can change anything. But, like thousands who have tried, you will be surprised. You are to direct your thoughts for 30 days toward what is productive, forwarding, and promising--and to believe that every reasonable ambition is within your reach. That’s it. Simple as it sounds, however, t

his exercise places you in front of tremendous and unforeseen challenges. Hence, Mitch guides you--with realism, bluntness, and authentic ideals--through each day to help you stay on track, contend with pitfalls (which are many), and witness concrete results.Effort is all it takes. Will you try? Man

y have said yes only to drop off. Many others have stayed on. Their testimonies appear in the book, including: ＂I always dismissed the ’positive thought’ movement as something somehow beneath me, preferring complicated and arduous meditation and nuanced esoteric rituals for my own self-improvement j

ourney...These meditations have been a lifesaver during a very challenging time. No lie.＂ ＂This has been transformative beyond expectation.＂ ＂The 30-day challenge has helped me overcome so many obstacles and I feel so grateful. Magick is real and man, it is such a beautiful, positive thing!＂ Your ti

me is now. Join The 30-Day Mental Challenge.

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音樂類型與音量對中高齡者之再認記憶與反應時間研究

為了解決Sounds like的問題，作者林嫦娥 這樣論述：

音樂帶給人們生活上的娛樂，除了享受音樂旋律與節奏帶來的愉悅感，人們也常在工作時聆聽音樂來舒緩情緒與壓力，但音樂類型與不同的音量大小會帶給人們不一樣的感受與心情，此一現象是否影響工作的專注度與績效，成為一重要之課題，因此本研究主要想了解，中高齡者於辦公室之音樂偏好與現況以及不同音樂之偏好程度與音量大小對於判讀不同資訊量時之再認記憶與反應時間是否有差異，本研究以問卷調查法與實驗法來進行，首先以問卷調查法針對 62 位年齡在 45 歲~65 歲之中高齡者進行調查，了解喜歡與不喜歡之音樂類型，結果發現在問卷調查結果 (1) 中高齡者習慣的音樂類型依序為經典流行類、純音樂/純樂器演奏及時下流行音樂；而

偏好的音樂為流行通俗音樂、民歌及鄉村民謠音樂與古典音樂；(2) 不喜歡的音樂則為嘻哈、RAP、饒舌樂 / 電子舞曲 (EDM) 電音音樂 / R&B、靈魂節奏藍調、靈魂樂；(3) 聽音樂主要是令人心情快樂、愉悅，且紓壓、陶冶性情、培養興趣；(4) 聽音樂的習慣以智慧手機為主；(5) 工作時播放音樂的主導權在於自己；(6) 而工作與音樂的關係均呈現正向肯定的態度。實驗方法則根據問卷之結果挑選喜歡與不喜歡之音樂各三首作為音樂樣本，並搭以3種音量 (40、50、60dB)，以耳罩式耳機聆聽的同時進行4種訊息數量之圖片再認任務，並將圖片呈現時間以1.5、2.5、3.5秒進行測量，針對41位45至 65

歲中高齡者進行實驗，以了解對其再認記憶與反應時間是否有差異，實驗結果發現 (1) 音樂類型對正確率與反應時間無顯著影響；(2) 音量對正確率無顯著影響，對反應時間有顯著影響；(3) 圖片呈現時間與圖片數量對正確率與反應時間均有顯著影響。

Charlie’s Gobstoppingly Great Sticker Activity Book

為了解決Sounds like的問題，作者Dahl, Roald/ Blake, Quentin (ILT) 這樣論述：

Packed with stickers, puzzles, and games, this activity book is filled with wonderful things--just like Willy Wonka's chocolate factory Bring all the amazing sights, sounds, and smells of Willy Wonka's chocolate factory to life in this fun-filled sticker activity book. Just like Wonka's own Inventin

g Room, readers can let their imaginations run wild on the page This book includes Quentin Blake's colorful art and excerpts from Roald Dahl's beloved story, Charlie and the Chocolate Factory. Roald Dahl (1916-1990) was born in Llandaff, South Wales, and went to Repton School in England. His pare

nts were Norwegian, so holidays were spent in Norway. As he explains in Boy, he turned down the idea of university in favor of a job that would take him to ＂a wonderful faraway place.＂ In 1933 he joined the Shell Company, which sent him to Mombasa in East Africa. When World War II began in 1939, he

became a fighter pilot and in 1942 was made assistant air attaché in Washington, where he started to write short stories. His first major success as a writer for children was in 1964. Thereafter his children’s books brought him increasing popularity, and when he died, children mourned the world over

, particularly in Britain where he had lived for many years. Quentin Blake’s first book, Patrick, was published in 1968 and was followed by classics such as Mister Magnolia, All Join In, and Clown. He is best known for illustrating Roald Dahl’s books. A patron of the Association of Illustrators, he

was awarded the Kate Greenaway Medal in 1980 and the international Hans Christian Andersen Award in 2002, and was the inaugural British Children’s Laureate from 1999 to 2001.

音樂劇各種不同時期女聲代表唱腔演繹詮釋變化之研究

為了解決Sounds like的問題，作者黃上秦 這樣論述：

音樂劇是一種多元文化的一起碰撞出的華麗時代產物，在音樂劇的領域中，除了觀賞華麗的歌舞、服裝、豐富的感情線、場景的佈置，歌手的唱功也是音樂劇中看點之一，在在都顯現出多重文化藝術堆疊出的藝術層次表現。音樂劇既有劇有唱有舞蹈，有些人甚至分不清它與歌劇的區分。根據筆者學習聲樂的歷程，音樂劇是由歌劇演進而來的一種表演方式，除了添加大量的舞蹈動作外，以戲劇演出為主線入歌;已經成了他演出的一種特色，而音樂的角色瞬間從原本的主角地位，轉為刻畫場景與人物抒發情ˇ緒的媒介。音樂劇透過舞蹈刻劃人物角色，以戲劇從原本古典音樂的典雅、高貴與莊嚴的故事題材，漸漸轉變到市井小民、與貼近時事的題材設計，故事中編織許多不言而

喻的情感線。而在音樂上，也從原本的管弦樂器演奏，漸漸地加入了爵士色彩嘻哈、大樂隊的色彩，再加上現代流行音樂的薰陶，逐漸與之同型。在主角演唱的音色上，也漸漸從原本歌劇的美聲唱腔的方式，漸漸的轉變成角色定位音色的變化，例如：公主唱腔、動物音色的模仿。表現風格也較接近流行音樂的演唱模式。而對我而言最神秘的領域就是音樂劇的多變的聲腔變化，因此萌生其研究的主題。音樂劇雖說以劇為主線，但在演唱的演員，需要能歌善，演又要會跳舞，其中又以女主角的演技與音色，是樂迷收看音樂劇的最大賣點。一個音樂劇的女主角接演音樂劇的條件除了本身有好的外在條件、舞蹈身段、戲劇底蘊外，最重要是有一副好歌喉，才能擔當得起如此重要角色

。除了需要消化大量台詞與各地的方言變化，多造型的服飾呈現，繁雜的情緒切換與複雜的舞蹈動作與臨危不亂的獨唱演出更是尤為難得。因此本文想要研究不同時期音樂劇的女主角以了解音樂劇中聲腔與角色變化的演變。在面對表演藝術也隨著VR、虛擬實境等時代產物結合時，筆者過去主修女高音，對於這種多樣形式的藝術表演一直存在著無比的興趣以及好奇，因為每一齣設計出來的音樂劇的表演及女主角的聲音角色變化都是新鮮的源頭活水，提供人類極高的娛樂價值；本文希望藉由各人的所學專業為音樂劇女高音唱腔的領域當中開闢一條研究之路，未來可以讓更多喜歡表演藝術的朋友有更多思考的空間！