泰戈爾
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1
夏天的飛鳥，飛到我的窗前唱歌，又飛去了。
秋天的黃葉，它們沒有什么可唱，只嘆息一聲，飛落在那里。
stray birds of summer come to my window to sing and fly away.
and yellow leaves of autumn, which have no songs, flutter and fall
there with a sign.
2
世界上的一隊小小的漂泊者呀，請留下你們的足印在我的文字里。
o troupe of little vagrants of the world, leave your footprints in my words.
3
世界對著它的愛人，把它浩翰的面具揭下了。
它變小了，小如一首歌，小如一回永恒的接吻。
the world puts off its mask of vastness to its lover.
it becomes small as one song, as one kiss of the eternal.
4
是大地的淚點，使她的微笑保持著青春不謝。
it is the tears of the earth that keep here smiles in bloom.
5
無垠的沙漠熱烈追求一葉綠草的愛，她搖搖頭笑著飛開了。
the mighty desert is burning for the love of a bladeof grass who
shakes her head and laughs and flies away.
6
如果你因失去了太陽而流淚，那么你也將失去群星了。
if you shed tears when you miss the sun, you also miss the stars.
7
跳舞著的流水呀，在你途中的泥沙，要求你的歌聲，你的流動呢。你肯挾瘸足的泥沙而俱下么？
the sands in your way beg for your song and your movement, dancing
water. will you carry the burden of their lameness?
8
她的熱切的臉，如夜雨似的，攪擾著我的夢魂。
her wishful face haunts my dreams like the rain at night.
9
有一次，我們夢見大家都是不相識的。
我們醒了，卻知道我們原是相親相愛的。
once we dreamt that we were strangers.
we wake up to find that we were dear to each other.
10
憂思在我的心里平靜下去，正如暮色降臨在寂靜的山林中。
sorrow is hushed into peace in my heart like the evening among
the silent trees.
11
有些看不見的手，如懶懶的微（風思）的，正在我的心上奏著 潺（氵爰）的樂聲。
some unseen fingers, like an idle breeze, are playing upon my heart
the music of the ripples.
12
“海水呀，你說的是什么？”
“是永恒的疑問?！?/p>
“天空呀，你回答的話是什么？”
“是永恒的沉默。”
what language is thine, o sea?the language of eternal question.what language is thy answer, o sky?the language of eternal silence.
13
靜靜地聽，我的心呀，聽那世界的低語，這是它對你求愛的表示呀。
listen, my heart, to the whispers of the world with which it makes
love to you.
14
創(chuàng)造的神秘，有如夜間的黑暗－－是偉大的。而知識的幻影卻不過如晨間之霧。
the mystery of creation is like the darkness of night--it is great.delusions of knowledge are like the fog of the morning.
15
不要因為峭壁是高的，便讓你的愛情坐在峭壁上。
do not seat your love upon a precipice because it is high.
16
我今晨坐在窗前，世界如一個路人似的，停留了一會，向我點點頭又走過去了。
i sit at my window this morning where the world like a passer-by stops
for a moment, nods to me and goes.
17
這些微（風思），是樹葉的簌簌之聲呀；它們在我的心里歡悅地微語著。
there little thoughts are the rustle of leaves; they have their
whisper of joy in my mind.
18
你看不見你自己，你所看見的只是你的影子。
what you are you do not see, what you see is your shadow.
19
神呀，我的那些愿望真是愚傻呀，它們雜在你的歌聲中喧叫著呢。
讓我只是靜聽著吧。
my wishes are fools, they shout across thy song, my master.
let me but listen.
20
我不能選擇那最好的。
是那最好的選擇我。
i cannot choose the best.
the best chooses me.
21
那些把燈背在背上的人，把他們的影子投到了自己前面。
they throw their shadows before them who carry their lantern on
their back.
22
我的存在，對我是一個永久的神奇，這就是生活。
that i exist is a perpetual surprise which is life.
23
“我們蕭蕭的樹葉都有聲響回答那風和雨。你是誰呢，那樣的沉默著？”
“我不過是一朵花?！? we, the rustling leaves, have a voice that answers the storms,
but who are you so silent?"i am a mere flower.
24
休息與工作的關系，正如眼瞼與眼睛的關系。
rest belongs to the work as the eyelids to the eyes.
25
人是一個初生的孩子，他的力量，就是生長的力量。
man is a born child, his power is the power of growth.
26
神希望我們酬答他，在于他送給我們的花朵，而不在于太陽和土地。
god expects answers for the flowers he sends us, not for the sun
the earth.
27
光明如一個裸體的孩子，快快活活地在綠葉當中游戲，它不知道人是會欺詐的。
the light that plays, like a naked child, among the green leaves
happily knows not that man can lie.
28
啊，美呀，在愛中找你自己吧，不要到你鏡子的諂諛去找尋。
o beauty, find thyself in love, not in the flattery of thy mirror.
29
我的心把她的波浪在世界的海岸上沖激著，以熱淚在上邊寫著她的題記：“我愛你?！?/p>
my heart beats her waves at the shore of the world and writes upon
it her signature in tears with the words, "i love thee."
30
“月兒呀，你在等候什么呢？”
“向我將讓位給他的太陽致敬?！? moon, for what do you wait?to salute the sun for whom i must make way.
31
綠樹長到了我的窗前，仿佛是喑啞的大地發(fā)出的渴望的聲音。
the trees come up to my window like the yearning voice of the dumb earth.
32
神自己的清晨，在他自己看來也是新奇的。
his own mornings are new surprises to god.
33
生命從世界得到資產，愛情使它得到價值。
life finds its wealth by the claims of the world, and its worth
by the claims of love.
34
枯竭的河床，并不感謝它的過去。
the dry river-bed finds no thanks for its past.
35
鳥兒愿為一朵云。
云兒愿為一只鳥。
the bird wishes it were a cloud.
the cloud wishes it were a bird.
36
瀑布歌唱道：“我得到自由時便有了歌聲了?！?/p>
the waterfall sing, "i find my song, when i find my freedom."
37
我說不出這心為什么那樣默默地頹喪著。
是為了它那不曾要求，不曾知道，不曾記得的小小的需要。
i cannot tell why this heart languishes in silence.
it is for small needs it never asks, or knows or remembers.
38
婦人，你在料理家務的時候，你的手足歌唱著，正如山間的溪水歌唱著在小石中流過。
woman, when you move about in your household service your limbs sing
like a hill stream among its pebbles.
39
當太陽橫過西方的海面時，對著東方留下他的最后的敬禮。
the sun goes to cross the western sea, leaving its last salutation
to the east.
40
不要因為你自己沒有胃口而去責備你的食物。
do not blame your food because you have no appetite.
41
群樹如表示大地的愿望似的，踮起腳來向天空窺望。
the trees, like the longings of the earth, stand atiptoe to peep
at the heaven.
42
你微微地笑著，不同我說什么話。而我覺得，為了這個，我已等待得久了。
you smiled and talked to me of nothing and i felt that for this
i had been waiting long.
43
水里的游魚是沉默的，陸地上的獸類是喧鬧的，空中的飛鳥是歌唱著的。
但是，人類卻兼有海里的沉默，地上的喧鬧與空中的音樂。
the fish in the water is silent, the animal on the earth is noisy,
the bird in the air is singing.
but man has in him the silence of the sea, the noise of the earth and
the music of the air.
44
世界在躊躇之心的琴弦上跑過去，奏出憂郁的樂聲。
the world rushes on over the strings of the lingering heart making
the music of sadness.
45
他把他的刀劍當作他的上帝。
當他的刀劍勝利的時候他自己卻失敗了。
he has made his weapons his gods.
when his weapons win he is defeated himself.
46
神從創(chuàng)造中找到他自己。
god finds himself by creating.
47
陰影戴上她的面幕，秘密地，溫順地，用她的沉默的愛的腳步，跟在“光”后邊。
shadow, with her veil drawn, follows light in secret meekness,
with her silent steps of love.
48
群星不怕顯得象螢火那樣。
the stars are not afraid to appear like fireflies.
49
謝謝神，我不是一個權力的輪子，而是被壓在這輪子下的活人之一。
i thank thee that i am none of the wheels of power but i am one with
the living creatures that are crushed by it.
50
心是尖銳的，不是寬博的，它執(zhí)著在每一點上，卻并不活動。
the mind, sharp but not broad, sticks at every point but does not move.
51
你的偶像委散在塵土中了，這可證明神的塵土比你的偶像還偉大。
you idol is shattered in the dust to prove that god's dust is greater
than your idol.
52
人不能在他的歷史中表現出他自己，他在歷史中奮斗著露出頭角。
man does not reveal himself in his history, he struggles up through it.
53
玻璃燈因為瓦燈叫它做表兄而責備瓦燈。但明月出來時，玻璃
燈卻溫和地微笑著，叫明月為－－－“我親愛的，親愛的姐姐?！?/p>
while the glass lamp rebukes the earthen for calling it cousin the
moon rises, and the glass lamp, with a bland smile, calls her,---my dear, dear sister.
54
我們如海鷗之與波濤相遇似地，遇見了，走近了。海鷗飛去，波濤滾滾地流開，我們也分別了。
like the meeting of the seagulls and the waves we meet and come near.
the seagulls fly off, the waves roll away and we depart.
Edgar Allan Poe的詩，The Raven. 全詩如下
你說的那句話在最后兩句
Once upon a midnight dreary, while I pondered weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
`'Tis some visitor,' I muttered, `tapping at my chamber door -
Only this, and nothing more.'
Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels named Lenore -
Nameless here for evermore.
And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
`'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more,'
Presently my soul grew stronger; hesitating then no longer,
`Sir,' said I, `or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you' - here I opened wide the door; -
Darkness there, and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the darkness gave no token,
And the only word there spoken was the whispered word, `Lenore!'
This I whispered, and an echo murmured back the word, `Lenore!'
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
`Surely,' said I, `surely that is something at my window lattice;
Let me see then, what thereat is, and this mystery explore -
Let my heart be still a moment and this mystery explore; -
'Tis the wind and nothing more!'
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door -
Perched upon a bust of Pallas just above my chamber door -
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
`Though thy crest be shorn and shaven, thou,' I said, `art sure no craven.
Ghastly grim and ancient raven wandering from the nightly shore -
Tell me what thy lordly name is on the Night's Plutonian shore!'
Quoth the raven, `Nevermore.'
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning - little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door -
Bird or beast above the sculptured bust above his chamber door,
With such name as `Nevermore.'
But the raven, sitting lonely on the placid bust, spoke only,
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered - not a feather then he fluttered -
Till I scarcely more than muttered `Other friends have flown before -
On the morrow he will leave me, as my hopes have flown before.'
Then the bird said, `Nevermore.'
Startled at the stillness broken by reply so aptly spoken,
`Doubtless,' said I, `what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful disaster
Followed fast and followed faster till his songs one burden bore -
Till the dirges of his hope that melancholy burden bore
Of "Never-nevermore."'
But the raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore -
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking `Nevermore.'
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
`Wretch,' I cried, `thy God hath lent thee - by these angels he has sent thee
Respite - respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil! -
Whether tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted -
On this home by horror haunted - tell me truly, I implore -
Is there - is there balm in Gilead? - tell me - tell me, I implore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil!
By that Heaven that bends above us - by that God we both adore -
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels named Lenore -
Clasp a rare and radiant maiden, whom the angels named Lenore?'
Quoth the raven, `Nevermore.'
`Be that word our sign of parting, bird or fiend!' I shrieked upstarting -
`Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! - quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!'
Quoth the raven, `Nevermore.'
And the raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore!
The Raven
by Edgar Allan Poe
Once upon a midnight dreary, while I pondered weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
`'Tis some visitor,' I muttered, `tapping at my chamber door -
Only this, and nothing more.'
Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels named Lenore -
Nameless here for evermore.
And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
`'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more,'
Presently my soul grew stronger; hesitating then no longer,
`Sir,' said I, `or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you' - here I opened wide the door; -
Darkness there, and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before
But the silence was unbroken, and the darkness gave no token,
And the only word there spoken was the whispered word, `Lenore!'
This I whispered, and an echo murmured back the word, `Lenore!'
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
`Surely,' said I, `surely that is something at my window lattice;
Let me see then, what thereat is, and this mystery explore -
Let my heart be still a moment and this mystery explore; -
'Tis the wind and nothing more!'
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door -
Perched upon a bust of Pallas just above my chamber door -
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
`Though thy crest be shorn and shaven, thou,' I said, `art sure no craven.
Ghastly grim and ancient raven wandering from the nightly shore -
Tell me what thy lordly name is on the Night's Plutonian shore!'
Quoth the raven, `Nevermore.'
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning - little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door -
Bird or beast above the sculptured bust above his chamber door,
With such name as `Nevermore.'
But the raven, sitting lonely on the placid bust, spoke only,
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered - not a feather then he fluttered -
Till I scarcely more than muttered `Other friends have flown before -
On the morrow will he leave me, as my hopes have flown before.'
Then the bird said, `Nevermore.'
Startled at the stillness broken by reply so aptly spoken,
`Doubtless,' said I, `what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful disaster
Followed fast and followed faster till his songs one burden bore -
Till the dirges of his hope that melancholy burden bore
Of "Never-nevermore."'
But the raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore -
What this grim, ungainly, gaunt, and ominous bird of yore
Meant in croaking `Nevermore.'
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
`Wretch,' I cried, `thy God hath lent thee - by these angels he has sent thee
Respite - respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil! -
Whether tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted -
On this home by horror haunted - tell me truly, I implore -
Is there - is there balm in Gilead? - tell me - tell me, I implore!'
Quoth the raven, `Nevermore.'
`Prophet!' said I, `thing of evil! - prophet still, if bird or devil!
By that Heaven that bends above us - by that God we both adore -
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels named Lenore -
Clasp a rare and radiant maiden, whom the angels named Lenore?'
Quoth the raven, `Nevermore.'
`Be that word our sign of parting, bird or fiend!' I shrieked upstarting -
`Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! - quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!'
Quoth the raven, `Nevermore.'
And the raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore!
DEFRAGMENT: 整理碎片.整理硬盤上的文件,使它們盡可能連續(xù)存放,騰出盡可能多的連續(xù)空間.
DETENT: 定位點.一些控制器如聲像,均衡旋鈕的中心點備有感覺得到的定位點.
DI: Direct Inject的簡寫,直接注入.信號不經過麥克風直接注入音頻鏈.
DI BOX: DI盒.匹配信號源與磁帶錄音機或調音臺輸入之間電平阻抗的設備.
DIGITAL: 數字的.用0和1表示信號數據的電子系統(tǒng).
DIGITAL DELAY: 數字延遲.發(fā)生延遲和回聲效果的數字處理器.
DIGITAL REVERB: 數字混響.模仿環(huán)境混響的數字處理器.
DIN CONNECTOR: DIN(德國工業(yè)標準)接插連接.用于消費市場的多針連接形式,MIDI電纜也使用它.除了MIDI的180度布局,DIN還有多種針腳分布規(guī)格.
DIRECT COUPLING: 直接耦合.兩個連在一起的電路,交流和直流信號都能夠通過.
DITHER: 抖動.一個為數字化音頻信號加上低電平噪聲的系統(tǒng),能夠擴展低電平的分解度.
DISC: 對塑膠唱片,CD唱片和MiniDiscs的統(tǒng)稱.
DISK: Diskette的簡寫,現在稱呼電腦軟盤,硬盤和可移動磁盤(光盤)等
DMA: Direct Memory Access(存儲器直接訪問)的縮寫.一部分電腦操作系統(tǒng)允許外圍設備不經過CPU直接訪問計算機存儲器.
DOLBY: 杜比.一種商業(yè)應用的編/解碼磁帶噪聲消除系統(tǒng).錄音時擴大低電平的高頻信號,放音時還原.杜比有用于半專業(yè)機器的B, C和S和用于專業(yè)機器的A與SR幾種類型,互相不兼容.用一種系統(tǒng)錄音必須同一系統(tǒng)回放.
DOS: Disk Operating System(磁盤操作系統(tǒng))PC電腦或兼容機使用的一種操作系統(tǒng).
DSP: Digital Signal Processor數字信號處理器.一種強有力的微芯片,用來處理數字信號.
DRIVER: 驅動器.處理主程序和硬件外圍如聲卡,打印機,掃描儀等之間通訊的軟件.
DRUM PAD: 鼓墊.合成的演奏表面,通過鼓槌擊打產生電子觸發(fā)信號.
DRY: 乾.沒有加效果的聲音.
DUBBING: 配音.在已有的錄音上增加更多的材料.
DUCKING: 閃避.用一種音頻信號控制另一種音頻信號電平的系統(tǒng).例如一個聲音出現時,背景音樂閃避.
DUMP: 傾倒.數字信號從一個設備到另一個設備.系統(tǒng)專用信息的
Sysex dump或Bulk Dump是通過MIDI傳輸一件樂器或模塊的內部的音色,設置等信息,以便存儲或編輯.
DYNAMIC MICROPHONE: 動圈話筒.一類靠振膜帶動線圈在磁場中運動產生電信號的麥克風
DYNAMIC RANGE: 動態(tài)范圍.表述的一件設備能處理的最高電平與噪聲地板之上最小信號之間的分貝值.
DYNAMICS: 力度.表述樂曲強弱的方法.
EARLY REFLECTIONS: 早期反射.最初從墻面,地面和天花板反射回來,緊跟原聲的聲音,建立起混響環(huán)境.
EFFECT: 效果.處理音頻信號的設備,可以創(chuàng)造性的改變聲音,經常包括造成混響和回聲的延遲電路.
EFFECTS LOOP: 效果環(huán)路.允許外部信號處理器接入音頻鏈路的連接系統(tǒng).
EFFECTS RETURN: 效果返回.調音臺額外的輸入,連接到效果器的輸出.
ELECTRET MICROPHONE: 駐極體麥克鳳.一類使用永久充電振膜(不需要極化電壓)的電容麥克風.
ENCODE/DECODE: 編碼/解碼.
ENHANCER: 增強器.利用動態(tài)均衡,相位變換和諧波發(fā)生等技術使聲音變得明亮的設備.
ENVELOPE: 包絡.聲音的電平隨時間而變化的情形.
ENVELOPE GENERATOR: 包絡發(fā)生器.一個能夠發(fā)生控制信號描繪出你所希望創(chuàng)建的聲音包絡的電路,它也能用于控制濾波器或調制設定.最常見的例子是ADSR發(fā)生器.
EQUALISER: 均衡器.有選擇性的削弱或提升頻譜中某些成分的設備.
ERASE: 抹去.從模擬磁帶中移去錄音素材,或從數字存儲媒介中移去記錄數據.
EVENT: 事件.在MIDI中用以表述單獨的MIDI數據,例如一個音符的開或關,一個控制信息,一個程序變換等.
EXCITER: 激勵器.完成合成新高頻諧波的工作.
EXPANDER: 擴展器.用來減少低電平信號和增加高電平信號的設備,由此擴大信號的動態(tài)范圍.
EXPANDER MODULE: 擴展模塊.沒有鍵盤的合成器,經常放在機架上.
FADER: 推子.滑動電位器,常用于調音臺和其他處理器.
FERRIC: 鐵的.一類磁帶,使用氧化鐵涂復.
FET: Field Effect Transistor的簡寫,場效應晶體管.
FIGURE-OF-EIGHT: 8字型.描述麥克風前后方向具有相同靈敏度的極性響應,忽略來自側面的信號.
FILE: 用數字形式存儲的一組數據.標準MIDI文件是允許在不同的音序器之間交換信息的統(tǒng)一規(guī)格文件.
FILTER: 濾波器.用來強調或削弱規(guī)定范圍頻率的電路.
FLANGING: 凸緣.使用反饋調制的延遲效果,建立一種戲劇性的掃頻聲音.
FLOPPY DISK: 軟盤.使用柔性磁介質制作的計算機磁盤,裝在一個塑料保護套中.常見的3.5寸軟盤最大容量1.44Mbytes,更早的軟盤只有一半容量.
FLUTTER ECHO: 飄動回聲.共鳴的回聲,聲音在兩個平行的反射表面之間多次反射造成的效果.
FOLDBACK: 折回.重疊錄音中為演奏者送回全部或部分混合信號,又稱為提示混合(Cue mix).
FORMANT: 共振峰.一件樂器或人聲當中并不隨著音高而改變的頻率成分或共鳴.例如一把木吉他琴身的共鳴特性并不因為演奏的音符而改變.
FORMAT: 格式化.磁盤給計算機使用前必須進行的準備工作,在磁盤表面做上表示位置的電子記號,以便與數據的讀,寫.不同的計算機經常有不同的格式化系統(tǒng).
FRAGMENTATION: 碎片.由于多次存儲和刪除操作使磁盤上的文件變成不連貫的片斷,導致多占用空間和延緩讀寫操作的不良后果.
FREQUENCY: 頻率.1秒鐘之間波形重復出現的次數,例如1秒鐘出現1次的波形,頻率就是1赫(1Hz).
FREQUENCY RESPONSE: 頻率響應.一個電氣設備或揚聲器能夠處理的頻率范圍.
FSK: Frequency Shift Keying頻移鍵控.用2個不同頻率的聲音構成可以錄在磁帶上的同步時鐘信號.
FUNDAMENTAL: 基頻.任何聲音由基頻加上若干更高的諧波組成.
FX: 效果的簡稱.
GAIN: 增益.電路對于信號的放大量.
GATE: 門.電子鍵盤上某個鍵被按下時發(fā)出的電信號,可以用來觸發(fā)包絡發(fā)生器和其他需要和鍵的動作同步的事件.
噪聲門.一種電子設備,使很低電平的信號靜音,這樣來改善被處理信號停頓期間的噪聲性能.
GENERAL MIDI: 簡稱GM.基本MIDI規(guī)定的添加部分,確保按照GM格式寫作的樂曲有一個最起碼的播放環(huán)境.規(guī)定明確了音色的分類和編號,最少聲部和復音數,控制器響應等內容.
GLITCH: 小故障.描述信號短時間的意外中斷,或者設備短時間的意外故障.例如DAT磁帶突然出現的卡答聲.
GM RESET: GM復位.一條通用系統(tǒng)專用信息命令,激活一件設備的GM狀態(tài),將全部控制器設置到缺省值,以All Notes Off命令的方式關閉所有正在發(fā)音的音符.
GRAPHIC EQUALISER: 圖形均衡器.把音頻頻譜劃分成若干較窄的部分,每一段可以用推子控制衰減/提升.推子的位置描繪出均衡曲線,故得名.
GROUND: 地.電氣接地或0伏電壓.在電源配線中,地線是通過長金屬棒與大地作物理連接.
GROUND LOOP: 接地回路.音頻電路中由于多重接地點的電位不盡相同(為0),造成可以聽見的交流哼聲干擾問題.
GROUP: 編組.調音臺上被混合的一組信號,分別的推子一同得到控制.在多軌機調音臺上各編組可能對應于不同的輸入端.
GS: Roland公司自己制定的General MIDI標準.
HARD DISK: 硬盤.大容量計算機存儲設備,使用旋轉的剛性盤片,外面復有磁性材料.
HARMONIC: 諧波(泛音).復雜波形中的高頻成分.
HARMONIC DISTORTION: 諧波失真.增加的諧波并不屬于原來的信號.
HEAD: 磁頭.磁帶機的部件,完成對存儲媒介的讀/寫數據工作.
HEADROOM: 動態(tài)余量.信號的最高峰值與一件設備能夠處理的絕對最大值之間的分貝數.
HIGH PASS FILTER (HPF): 高通濾波器.一種削弱截止頻率以下頻率的濾波器.
HISS: "咝"聲.由隨機的電氣波動造成的噪聲.
HUM: "嗡"聲.信號被增加的低頻噪聲污染,通常與交流電源所用的頻率有關.
Hz: Hertz的簡寫,赫茲.頻率單位.
IC: Integrated Circuit,集成電路.
IMPEDANCE: 阻抗.可以看作"對交流電的電阻",電路中同時包含電阻和電抗成分.
INDUCTOR: 電感.隨著頻率升高而阻抗變大的元件.
INITIALISE: 初始化.自動恢復一件設備出廠時的默認設置.
INSERT POINT: 插入點.連接器允許外部處理器進入信號通道,對信號進行處理.
INSULATOR: 絕緣體.不導電的材料.
INTERFACE:接口.兩件以上設備之間的媒介設備.例如MIDI接口連接計算機和樂器,使它們可以通訊
INTERMITTENT: 間歇.描述偶然出現的故障.
INTERMODULATION DISTORTION: 互調失真.指由放大器所引入的一種輸入信號的和及差的失真.例如,在給放大器輸入頻率為1kHz和5kHz的混合信號后,便會產生6kHz(1kHz和5kHz之和)及4kHz(1kHz和5kHz之差)的互調失真成份.
I/O: 輸入/輸出,通常用于數字領域.
IPS: Inches Per Second,英寸/每秒,描述帶速.
IRQ: Interrupt Request,中斷請求.計算機操作系統(tǒng)的一部分,允許連接的設備要求引起處理器的注意,以便傳輸數據.
ISOPROPYL ALCOHOL: 異丙基酒精.一類酒精,常用于清潔磁頭和引導輪.
JACK: 插座.可以是立體聲或單聲道的.
JARGON: 行話.
k: 1000 (kilo)的簡寫.例如kHz: 1000Hz ,kOhm: 1000 ohms
LED: Light Emitting Diode的簡寫,發(fā)光二極管.
LCD: Liquid Crystal Display的簡寫,液晶顯示器.
MACHINE HEAD: 吉他調弦機械的另一種稱呼.
MEMORY: 記憶.計算機的RAM,用來存放程序和數據.這些數據在關機的時候會丟失,必須另存到磁盤或其他媒介.
MENU: 菜單.計算機或設備顯示在窗口供用戶選擇的目錄.
MIC LEVEL: 麥克風電平.麥克風產生的低電平信號,需要放大許多倍才達到線路電平.
MICROPROCESSOR: 微處理器.計算機的心臟.
NON REGISTERED PARAMETER NUMBER: 非注冊參數號.MIDI控制器98和99號,可以發(fā)送特定合成器的非標準參數,代替一部分系統(tǒng)專用信息.
NON-LINEAR RECORDING: 非線性錄音.描述數字錄音系統(tǒng)允許錄音的任何部分以任意的順序回放,沒有縫隙.相對而言傳統(tǒng)的磁帶錄音是線性錄音,因為只能按照錄音的次序回放.
NORMALISE: 同Normalize,正常化,標準化.音頻編輯時讓一段波形的幅度達到最大.在調音臺上指插銷未插入之前的電路保持原始信號路徑.
NYQUIST THEOREM: 奈奎斯特定理.表示數字音頻系統(tǒng)的采樣頻率和可以存貯的最高音頻信號之間的關系.認為采樣頻率必須比所錄入的最高音頻頻率至少高出一倍,否則會產生鋸齒狀的混淆.
NUT: 弦枕.弦樂器的琴弦從軸箱出來到達指板前經過一個高于指板的木,竹,塑料等制作的小條.
OCTAVE: 八度.頻率或音高升高一個八度,它的頻率加一倍.
OFF-LINE: 離線,不在回放過程中進行的處理.例如電腦中的一些復雜的編輯,如果實時處理,將對電腦提出過高的要求.
OHM: 歐姆.電阻的單位.
OMNI: 全部.用于麥克風指全部方向具有相同的靈敏度.在MIDI中指全部通道認可的模式.
OPEN CIRCUIT: 開路.電路中斷,阻止電流的流動.
OPEN REEL: 開盤.磁帶卷繞在軸心而不是盒子內的磁帶機.
OPERATING SYSTEM: 操作系統(tǒng).
OPTO ELECTRONIC DEVICE: 光學電子設備.把電參數變成光強度變化的設備,經常使用各種光敏器件.
OSCILLATOR: 振蕩器.發(fā)生周期性電波的電路.
OVERDUB: 重疊,配音.為多軌錄音增加另外一部分或取代現有部分.
OVERLOAD: 超載.超過了電氣或電子電路的操作能力.
PAD: 減少信號電平的阻抗電路.
PAN POT: 聲像電位器.調音臺上能夠改變信號在立體聲場左右位置的控制器.
PARALLEL: 并聯.2個以上的電路連接,它們的輸入端連在一起,輸出端也聯在一起.
PARAMETER: 參數.對一件設備的某些性能起作用的變量.
PARAMETRIC EQ: 參數均衡.可以分別控制頻率,帶寬和衰減/提升的均衡器.
PASSIVE: 無源.沒有推動成分的電路.
PATCH: 程序的另一種稱呼,在合成器中指一個可以用程序變換命令調用的編程聲音.效果器中可能是一種效果,采樣器中可能是一個采樣音色.
PATCH BAY: 配線板.控制臺上用于改變輸入和輸出路徑的系統(tǒng).
PATCH CORD: 配線.配線板使用的短電纜.
PEAK: 峰值.信號電平的最大瞬間.
PHASE: 相位.2個電波之間在時間上的差距
PHASER: 法茲器.聯合一個信號與它帶有相位差異的拷貝產生的過濾效果,經常用LFO做控制.
PFL: Pre Fade Listen的簡寫,推子前監(jiān)聽.監(jiān)聽信號與推子位置無關.
PPM: Peak Programme Meter的簡寫,能夠短時間保留信號峰值的電平表
PHANTOM POWER: 幻像電源.通過平衡電纜向電容麥克風提供48V直流電.
PHONO PLUG: 唱機插頭,俗稱蓮花頭.RCA開發(fā)的Hi-Fi接插件,常用于半專業(yè)的不平衡錄音設備.
PICKUP: 拾音器.吉他部件,把弦的振動轉變?yōu)殡娦盘?
PITCH: 音高.音樂界稱呼音頻頻率.
PITCH BEND: 彎音.由彎音輪或彎音桿的運動產生一種變化音高的特定控制信息,可以象其他MIDI控制信息一樣記錄和編輯.
PITCH SHIFTER: 音高移動.改變音頻信號的音高而不改變其長度的設備或軟件.
POLYPHONY: 復音.樂器能同時演奏2個或更多音符的能力,一次只能演奏一個音符的稱為單音(monophonic).
POLY MODE: 復音模式.當前最常用的MIDI模式,允許一件樂器在一條MIDI通道內同時響應多個音符信息.
PORT: 端口.數據輸入或輸出連接點.
PORTAMENTO: 滑音.一個琴鍵按下或一個MIDI音符事件送出時,聲音逐漸而不是突然改變音高.
POST PRODUCTION: 后期制作.立體聲錄音完成后的其他工作.
POWER SUPPLY: 電源.將市電轉變到設備使用電壓的設備或電路.
POST-FADE: 推子后.輔助信號在推子后面發(fā)送,電平受推子控制.
PPQN: Pulsed Per Quarter Note每個四分音符脈沖數,用于MIDI時鐘同步信號.
PRE-EMPHASIS: 預加重.利用在處理前提升聲音中高頻達到減小噪聲的效果的系統(tǒng),在回放端需要有相應的去加重處理恢復信號的原貌.
PRE-FADE: 輔助發(fā)送信號在推子之前送出,通道推子對發(fā)送電平沒有影響,常用于返送和選聽混合.
PRESET: 預置.效果器或合成器中用戶不能改變的程序.
PRESSURE: 壓力.觸后的另一種稱呼.
PRINT THROUGH: 透印.模擬錄音磁帶的磁跡轉印到臨近的磁帶上,造成低電平的提前或錯后回聲.
PROCESSOR: 處理器.處理音頻信號改變它的動態(tài)或頻率內容,常見的處理包括壓縮,門電路和均衡等.
PROGRAM CHANGE: 程序變換.MIDI信息,改變合成器音色或效果器效果的命令.
PULSE WAVE: 脈沖波.有點像方波但是不對稱,聲音比方波明亮而稍薄,常在簧片樂器合成時使用,音色隨脈沖和空間的寬度而改變.
PULSE WIDTH MODULATION: 脈沖寬度調制.改變脈沖波信號和空間的比率,能夠改變基本音色.脈寬的LFO調制經常用于產生偽合唱效果.
PUNCH IN: 穿入.已經錄音的音軌在回放中于準確的時間轉入錄音狀態(tài),以擴展或取代現有的素材.
PUNCH OUT: 穿出.磁帶錄音機或其他錄音設備上的一種轉變活動,退出穿孔錄音狀態(tài).許多多軌機可以在磁帶運轉過程中執(zhí)行穿孔錄音.
PQ CODING: 為準備制作CD唱片的母帶加上停頓,提示等附加信息的處理.
PZM: 壓力場麥克風,可以消除錄音環(huán)境中來自各種表面的多相位反射聲.
Q: 濾波器諧振特性的標準.Q值越高,諧振強而通頻帶窄.
QUANTIZE: 量化.在MIDI音序器中將音符和其他事件排列到用戶規(guī)定的小拍子上,例如16分音符.量化可以校正時間上的誤差,但是過分的量化會使演奏失去人性感覺.
RAM: Random Access Memory的簡寫.計算機用來臨時儲存程序和數據的記憶,關斷電源的時候記憶將消失.
R-DAT: 使用旋轉磁頭的DAT錄音機.
REAL TIME: 實時.在錄/放音過程中進行的音頻處理.與實時相對的是"離線",非實時處理.
RELEASE: 釋放.電平或增益回復到正常狀態(tài)的時間.經常用于描述合成器的聲音在琴鍵被放開后聲音的消失階段.
RESISTANCE: 電阻,單位歐姆.
RESOLUTION: 分解度.用數字表現模擬信號時使用的精度,比特數越多對于幅度的描述精度越高.另外還有一些影響精度的因素,高轉換精度和高分解度是同樣的意思.
RESONANCE: 共鳴,諧振.參見Q.
REVERB: 混響.在有限的空間里聲音多次反射產生的聲學環(huán)境.
RF: Radio Frequency的簡寫.無線電頻率,射頻.
RF Interference: 射頻干擾.射頻雖然不能被人類直接聽到,但是射頻干擾進入電路被檢波后即生成可以聽見的雜音.
RIBBON MICROPHONE: 帶狀麥克風.捕獲聲音的主要部件是一條懸浮在磁場中的薄金屬帶,它隨聲音振動的時候可以發(fā)生微小的電流.
ROLL-OFF: 滾降.信號在濾波器截止點以外的減弱比率.
ROM: Read Only Memory的簡寫.只讀存儲器.包含永久性非揮發(fā)數據的存儲器,用戶不能改寫.操作系統(tǒng)使用的許多數據經常存放在ROM中,斷電也不會影響到數據.
E-PROM: (Erasable Programmable Read Only Memory)與ROM相似, 但是芯片中的數據可以通過特別的設備抹去或改寫.
RING MODULATOR: 環(huán)形調制器.一特別方法接受和處理2個輸入信號的設備,輸出信號不包含任何原來的信號而代之以2個輸入頻率之和與差基礎上的新頻率,可以是悅耳的樂音,也可以是極為刺耳的噪聲.用環(huán)形調制產生的鐘,鈴聲音非常有名,實際上Ring也暗示了這一點.
RMS: (Root Mean Square) 均方根值.一件電氣設備在連續(xù)正弦波條件下的性能測試方法.
SAFETY COPY: 安全拷貝.原始錄音磁帶的拷貝或克隆,防備原始磁帶丟失或損壞.
SAMPLE: 采樣.使用A/D轉換器每秒若干次(CD唱片為44.1kHz)對信號幅度瞬間測量.
樣本:數字化的聲音,在采樣器或一些合成器中用作音樂聲源
SAMPLE RATE: 采樣率.A/D轉換器每秒轉換次數.
SAMPLE AND HOLD: 采樣和保持.定期對一個隨機值進行監(jiān)測并用來控制其它功能,在老的模擬合成器中用來記憶彈奏過的音符.
SCSI: (發(fā)音如SKUZZY) Small Computer Systems Interface(小型機系統(tǒng)接口)的簡寫.一個用于硬盤,掃描儀,CD-ROM驅動器等計算機外圍的接口系統(tǒng),每個設備有自己的識別號(ID),同一個鏈路中不能出現2個相同的識別號.SCSI鏈路的最后一個設備是終端器,無論內置或外部,不可缺少.
SESSION TAPE: 錄音棚收錄的原始錄音磁帶.
SEQUENCER: 音序器.記錄和回放數據的MIDI設備,通常為多軌格式,可以逐軌構成復雜的作品.
SHORT CIRCUIT: 短路.電流的低阻抗通路,一般形容電路發(fā)生故障引起的電流劇增.
SIBILANCE: 聲樂錄音中的高頻哨聲或齒音,也可能由于劣質麥克風或過分的均衡引起.
SIDE CHAIN: 旁鏈.按比例從主電路分出一部分信號另行處理.壓縮器用旁鏈信號驅動它的控制信號.
SIGNAL: 信號.聲音等輸入的電子描述.
SIGNAL CHAIN: 信號鏈.一個系統(tǒng)中信號從輸入到輸出的路徑.
SIGNAL-TO-NOISE RATIO: 信噪比.最大信號電平與剩余的噪聲之比率,用dB表示.
SINE WAVE: 正弦波.沒有諧波的純凈波形.
SINGLE ENDED NOISE REDUCTION: 信號末端噪聲降低.一種不需要像Dolby或dbx一樣預先編碼的降噪設備.
SLAVE: 從屬的.在主設備控制下的設備.
SMPTE: 電影工業(yè)開發(fā)的時間碼,現在廣泛用于音樂和錄音.SMPTE為建立在時,分,秒,幀基礎之上的實時編碼,與音樂的速度,小節(jié)不同.
SOUND ON SOUND: 聲上聲.早期錄音界使用的偽多軌技術.同時又是歐洲最有名的音樂錄音雜志的名字.
S/PDIF:"Sony/Philips Digital InterFace"的簡寫.也被稱為IEC958 (type-2),EIAJ CP-340 (type-2)現在又稱CP-1201.S/PDIF與專業(yè)標準AES-EBU非常相像,通
常使用16或20-bit數據,除了音頻數據,其他信息如音軌開始標記,資料辨認信息和時間數據也可以同時傳輸.電氣接口使用不平衡RCA式,源阻抗75歐,信號頻率在0.1 to 6MHz,要求使用高質量75-Ohm同軸電纜,信號幅度0.5V peak-to-peak決定了傳輸距離不大于10米.另有光學版本的S/PDIF,稱為"TOSLink",傳輸與IEC958同樣的信號,可以避免電磁干擾,但低質量的光纖同樣能使傳輸不穩(wěn)定和數據出錯.
SPL: Sound Pressure Level聲壓電平,以dB為單位.
SPP: Song Position Pointer (MIDI)樂曲位置指針
STANDARD MIDI FILE: 標準MIDI文件.標準文件格式,允許文件在不同的音序器和MIDI文件播放器之間傳送.
STEP TIME: 步長.非實時編寫音序每一步的時值.
STEREO: 立體聲.2通道系統(tǒng)分送左,右揚聲器.
STRIPE: 條紋.稱呼在多軌機上錄時間碼的操作.
SQUARE WAVE: 方波.對稱的矩形波,包含大量奇次諧波.
SAWTOOTH WAVE: 鋸齒波.波形類似鋸齒而得名,包含奇次和偶次諧波.
SUB BASS: 超低音.低頻率的監(jiān)聽揚聲器.有人定義超低音是身體比耳朵感受更多的頻率.
SUBCODE: CD和DAT中隱藏的數據,包括絕對時間位置,軌數,總運行時間等.
SUBTRACTIVE SYNTHESIS: 減法合成.一種處理,用過濾和成型技術處理復雜的波形得到新的聲音.
SURGE: 浪涌.市電電壓突然升高.
SUSTAIN: 保持.ADSR包絡的一部分,在此階段聲音保持穩(wěn)定直到琴鍵被放開 進入釋放部分.踏板使聲音慢慢衰退.
SWEET SPOT: 最佳聽音點.對于麥克風或音箱前聽音者的最佳位置.
SWITCHING POWER SUPPLY: 開關電源.高頻振蕩后變壓,變壓器可以做得很小很輕.計算機和一些合成器使用這樣的電源.
SYNC: 同步.使2件或更多設備同步運行的系統(tǒng).
SYNTHESIZER: 合成器.電子樂器,用來創(chuàng)造范圍寬廣從模仿到抽象的聲音.
TAPE HEAD: 錄放磁頭.磁帶錄音機的部件,在錄/放過程中做電-磁或磁-電變換.
TEMPO: 速度.每分鐘的拍子數.
TEST TONE: 測試音.多軌機或立體錄音機使用的具有穩(wěn)定電平的參考信號.
THD: Total Harmonic Distortion總諧波失真
THRU: MIDI插座,傳遞MIDI in接受到的信號.
TIMBRE: 音色.
TOSLINK: 參見 "S/PDIF".
TRACK: 軌.多軌機上"軌"的概念是錄音材料上沿著磁帶方向具體的一條.
TRACKING: 跟蹤.在MIDI領域經常指吉他拾音器的MIDI輸出緊跟琴弦音高變化.
TRANSPARENCY: 透明.對音質的主觀評價,指高頻細節(jié)清晰,分別的聲音容易區(qū)分.
TREMOLO: 振音.使用LFO對聲音進行幅度調制.
TRANSDUCER: 變換器.使能量從一種形式轉變到另一種形式.麥克風就是把機械能轉變成電能的例子.
TRANSPOSE: 移調.把音樂信號以半音為單位上下移動.
TRIANGLE WAVE: 三角波.對稱的三角形波,只包含奇次波,但是比方波多一些低的諧波.
TRS JACK: Tip, Ring,Sleeve俗稱"大三芯",立體聲接插件.
TRUSS ROD: 吉他琴頸內的金屬棒,能抵消琴弦的張力.
UNBALANCED: 不平衡.用2條導線的信號連接,經常是熱端(或+極)在內;冷端(或-極)圍繞在外層形成屏蔽.
UNISON: 齊奏.2件或更多不同的樂器演奏同樣的旋律.
USB: (Universal Serial Buss) 高速串行通訊規(guī)定,理論上可以用菊花鏈連接127個外圍,允許熱插拔設備并且不需要再啟動計算機.當前已經有許多打印機,掃描儀等使USB用連接.
你好，根據資料記載，C語言誕生前還有B語言和BCPL語言，C語言源自Ken Thompson發(fā)明的 B語言，而B語言則源自BCPL語言。C語言的誕生是和UNIX操作系統(tǒng)的開發(fā)密不可分的，原先的UNIX操作系統(tǒng)都是用匯編語言寫的，1973年UNIX操作系統(tǒng)的核心用C語言改寫，從此以后，C語言成為編寫操作系統(tǒng)的主要語言。1978年美國電話電報公司（ATT）貝爾實驗室正式發(fā)布C語言，1983年由美國國家標準局開始制定C語言標準，于1989年12月完成，并在1990年春天發(fā)布，稱之為ANSI C，有時也被稱為 C89 或 C90。
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