A History of Western Music: W. W. Norton StudySpace

A History of Western Music: W. W. Norton StudySpace

Chapter 1 Music in Antiquity
Music in Antiquity
Only historical traces of the music from past eras survive.
Physical objects, such as musical instruments
Visual images of musicians and instruments
Writings about music and musicians
Music as preserved in notation
Ancient Greek music influenced Western music.
The ancient Greeks left more surviving evidence than other ancient cultures.
Western music has its roots in antiquity, espeA-ciA-ally in ancient Greek theoretical writings.
Prehistoric Music-Making
Before 36,000 b.c.e.: Whistles and flutes made from animal bones survive from the Stone Age in Europe (HWM Figure 1.1).
Sixth millennium b.c.e.: Images in Turkish cave paintings show drummers accompanying dancers and driving out game.
Fourth millennium b.c.e.
Surviving Bronze Age metal instruments include bells, cymbals, rattles, and horns.
Stone carvings show plucked stringed instruments.
Ancient Mesopotamia (see map, HWM Figure 1.2)
Home to several cultures, the first true cities, and the first known forms of writing (cuneiform)
Some clay tablets written in cuneiform mention music.
Pictures show music-making with instruments.
Surviving instruments include lyres and harps.
Lyres (see HWM Figures 1.3 and 1.4)
Strings run parallel to the resonating soundboard.
A crossbar supported by two arms secures the strings.
The number of strings varies.
Harps
Strings are perpendicular to the soundboard.
A neck attached to the soundbox secures the strings.
Other instruments from the period include lutes, pipes, drums, bells, and other percussion instruments.
The ruling class left the most evidence because they could buy instruments and hire scribes.
Most uses of music in ancient Mesopotamia were similar to those of today.
For rituals, including weddings and funerals
In daily life, including nursery songs, work songs, and dance music
For entertainment at feasts
For religious ceremonies and processions
Epics sung with instrumental accompaniment
Written documentation from Mesopotamia
Word lists from ca. 2500 include terms for instruments, tuning procedures, performers, techniques, and genres (types of musical composition).
The earliest known composer is Enheduanna (fl. ca. 2300 b.c.e.).
She was a high priestess at Ur.
She composed hymns (songs to a god) to the god and goddess of the moon.
Only the texts of her hymns survive.
Babylonian musicians began writing about music ca. 1800 b.c.e.
Instructions for tuning a string instrument using a seven-note diatonic scale (playable on the white keys of a piano)
Interval theory, with names of intervals used to create the earliest known notation (see HWM Figure 1.5)
HWM Figure 1.5 dates from ca. 1400- 1250 b.c.e.
Not enough is known about the notation to transcribe it.
The poem seems to be a hymn to the wife of the moon god.
Although Babylonians had a form of notation, musicians most likely performed from memory, improvised, or used notation as a recipe for reconstructing a melody.
Babylonian music theory seems to have influenced later Greek theory.
Other Ancient Civilizations
Instruments, images, and writings about the musical cultures of India and China survive, but they seem not to have influenced Greek or European music.
Egyptian sources include artifacts, paintings, and hieroglyphic writings in tombs, but scholars have not been able to determine whether there is any notated music.
The Bible describes religious musical practices in ancient Israel.
Ancient Greece
Greek civilization encompassed a wide area, including much of Asia Minor, southern Italy, and colonies ringing the Mediterranean and Black Seas (see HWM Figure 1.6).
Greece is the earliest civilization to leave enough evidence to construct a well-rounded view of musical culture.
Evidence can be found in numerous images, a few surviving instruments, writings, and over forty examples of music in a notation that we can read.
Greek Instruments and Their Uses
Evidence of Greek instruments survives in writings, archaeological remains, and hundreds of images on pots.
The aulos (see HWM Figure 1.7)
A reed instrument
The body consisted of two pipes with fingerholes.
Images show the two pipes being fingered the same, but they could produce octaves, parallel fifths or fourths, or a drone as well as unisons.
The aulos was used in the worship of Dionysus.
Dionysus was the god of fertility and wine, hence the drinking scene in HWM Figure 1.7.
The aulos accompanied or alternated with choruses in the great tragedies of Aeschylus, Sophocles, and Euripides that were written for Dionysian festivals.
The lyre (see HWM Figure 1.8)
There were several types, but they usually had seven strings and would be strummed with a plectrum, or pick.
The player held the instrument in front, supporting it on the hip and from a strap around the left wrist.
Both hands were free to touch the strings.
The right hand strummed the strings.
The fingers of the left hand touched the strings, perhaps to dampen them or to create harmonics.
The lyre was associated with Apollo, god of light, prophecy, learning, and the arts (especially music and poetry).
Both men and women played the lyre.
Learning to play the lyre was a core element of education in Athens.
The lyre was used to accompany dancing, singing, weddings, and the recitation of epic poetry such as Homer's Iliad and Odyssey.
The lyre was also played for recreation.
The kithara
A large lyre played standing up (see HWM Figure 1.9)
Used in processions, sacred ceremonies, and in the theater
Other instruments include, harps, panpipes, horns, an early form of organ, and a variety of percussion.
Performance practices
Despite having a well-developed form of notation, musicians primarily learned music by ear, played by memory, and improvised using formulas.
By the sixth century b.c.e. or earlier, aulos and kithara were played as solo instruments.
Contests and music festivals became popular after the fifth century b.c.e.
Accounts of musical competitions describe performances for aulos.
HWM Figure 1.9 comes from a jar (amphora) awarded as a prize in a contest.
Famous artists performed for large crowds, gave concert tours, and demanded high fees from wealthy patrons.
Women were excluded from competition but could perform recitals, often to critical acclaim.
Other than the virtuoso soloists, the majority of professional performers were slaves or servants.
Greek Musical Thought
We know about Greek thought through two kinds of writings:
Philosophical doctrines that describe the nature of music, its effects, and its proper uses
Systematic descriptions of the materials of music (music theory)
The most influential writings on the uses and effects of music are:
Republic and Timaeus by Plato (ca. 429-347 b.c.e.)
Politics by Aristotle (384-322 b.c.e.)
Greek music theory evolved continuously during the time between two figures:
Pythagoras (d. ca. 500 b.c.e.), the founder of Greek music theory
Aristides Quintilianus (fourth century c.e.), the last important writer
Music in Greek mythology
Gods and demigods were musical practitioners.
The word music (from mousikAc) comes from the Muses.
Music and poetry
Music as a performing art was called melos (the root of the word melody).
Music was monophonic, consisting of one melodic line.
Instruments may have embellished the melody while a soloist or chorus sang the original version, creating heterophony, or played an independent part, creating polyphony.
Music and poetry were nearly synonymous.
There was no word for artful speech without music.
"Lyric" poetry meant poetry sung to the lyre.
"Tragedy" incorporates a noun meaning "the art of singing."
Many Greek words for poetic types are musical termsa€”e.g., hymn.
Music and number
Pythagoras and his followers recognized the numerical relationships that underlay musical intervalsa€”e.g., 2:1 results in an octave, 3:2 a fifth, and 4:3 a fourth.
Harmonia was the concept of the unification of parts in an orderly whole.
The term applied to the order of the universe.
Music was allied to astronomy through the notion of harmonia.
Mathematical laws were the underpinnings of musical intervals and the movements of heavenly bodies alike.
From Plato's time until the beginning of modern astronomy, philosophers believed in a "harmony of the spheres," unheard music created by the movement of planets and other heavenly bodies.
Music and ethos
Greek writers believed that music could affect ethos, one's ethical character.
Music's mathematical laws permeated the visible and invisible world, including the human soul.
The parts of the human soul could be restored to a healthy balance (harmony) by the correct type of music.
Aristotle's Politics (see HWM Source Reading, page 14)
Sets out a theory of how music affects behavior
Mixolydian, Dorian, and Phrygian melodies each had specific effects on the listener.
The concept of specific modes probably encompassed melodic turns, style, and rhythms.
Music in education
Plato and Aristotle believed that education should stress gymnastics (to discipline the body) and music (to discipline the mind).
Plato's Republic and Laws
Urges a balance between gymnastics and music
Argues that only certain types of music are suitable
The Dorian and Phrygian harmoniai fostered the virtues of temperance and courage.
Music should not have complex scales or mixed genres, rhythms, or instruments.
Changes in musical conventions could lead to lawlessness in art and anarchy in society.
Aristotle's Politics
Aristotle's uses for music are less restrictive than Plato's.
Music could be used for enjoyment as well as education.
Music and drama can purge negative emotions.
He discourages sons of free citizens from professional training or from aspiring to virtuosity.
Greek Music Theory
Theorists and their writings
No writings by Pythagoras survive.
Aristoxenus, Harmonic Elements and Rhythmic Elements (ca. 330 b.c.e.)
Pupil of Aristotle
Earliest surviving theoretical works
Later writers
Cleonides
Ptolemy
Aristides Quintilianus
These writers defined concepts still used today.
Aristoxenus
Rhythmic Elements shows that musical rhythm was closely aligned with poetic rhythm.
Harmonic Elements distinguishes between two types of movement.
Continuous movement: gliding up and down as in speech
Diastematic (or intervallic) movement: voice moves between sustained pitches separated by discrete intervals
He defines note, interval, and scale.
Intervals are defined abstractly (versus Babylonian definition based on specific strings of the lyre or harp).
Tetrachord theory
Tetrachord: four notes spanning a perfect fourth
The outer notes of the tetrachord are stationary in pitch, while the inner two notes can form different intervals.
Typically, the smallest intervals are at the bottom.
Three genera (classes) of tetrachords (see HWM Example 1.1)
Diatonic: two whole tones and a semitone
Chromatic: minor third and two semitones
Enharmonic: major third and two quarter tones
All intervals can vary slightly, giving "shades" within each genus.
Aristoxenus said the diatonic was the oldest; the enharmonic, the most difficult to hear.
Greater Perfect System (see HWM Example 1.2)
Tetrachords put together to cover a larger range
Tetrachords with common outer notes are conjunct.
Tetrachords with a tone between them are disjunct.
One added note at the bottom (Proslambanomenos)
The middle note was called mese.
Each of the four tetrachords was named.
Meson: the tetrachord beginning with mese and descending
Diezeugmenon (disjunct): beginning a tone above mese and ascending
Hypaton (conjunct): the tetrachord below Meson
Hyperbolaion (conjunct): the tetrachord above Diezeugmenon
Although the pitches had names, there was no absolute fixed pitch.
Species (the ways that perfect consonances could be divided)
Cleonides noted that the perfect fourth, fifth, and octave could be subdivided in a limited number of ways in the diatonic genus.
The perfect fourth could be divided three ways (see HWM Example 1.3a).
S - T - T (semitone - tone - tone)
T - T - S
T - S - T
The perfect fifth has four species (see HWM Example 1.3b).
The octave has seven species (see HWM Example 1.3c).
Octave species result from combinations of species of fourth and fifth.
Cleonides used names the "ancients" supposedly used:
Mixolydian: B-b
Lydian: c-c'
Phrygian: d-d'
Dorian: e-e'
Hypolydian: f-f'
Hypophrygian: g-g'
Hypodorian: a-a'
The Babylonians recognized the same diatonic tunings.
Medieval theorists used the same names for their modes, but they do not match Cleonides' species.
Other meanings for the names used by Cleonides
Styles of music practiced in different regions of the Greek world (see map, HWM Figure 1.6)
Harmoniai
Scale types or melodic styles
Plato and Aristotle used the names in the sense of scale types or melodic styles.
Prefixes (such as Hypo) multiplied the number of names.
Tonoi (singular: tonos)
Scale or set of pitches within a specific range
Associated with character and mood, the higher tonoi being more energetic.
Ancient Greek Music
Surviving pieces and fragments
About forty-five survive.
Most are from relatively late periods, i.e., from the fifth century b.c.e. to the fourth.
All employ a notation that places letters above the text to indicate notes and durations.
The earliest fragments are choruses from plays by Euripides (ca. 485-406 b.c.e.).
Later works include hymns and an epitaph on a tombstone.
The musical style is consistent with music theory of the time.
NAWM 1 Epitaph of Seikilos (see HWM Figure 1.10 and Example 1.4)
HWM Example 1.4 shows the Greek notation above the transcription.
Alphabetical signs indicate the notes.
Marks indicating doubling or tripling of the basic rhythmic unit are above the alphabetical signs.
Melody
Diatonic
The range is an octave.
The octave species is Phrygian.
The tonos is Iastian, a transposed version of HWM Example 1.2.
The melody balances rising and falling gestures with each line.
Text
In keeping with the Iastian tonos, the text suggests moderation.
The epitaph urges readers to be lighthearted while acknowledging death.
NAWM 2 Fragment from Euripides' Orestes
Survives on a scrap of papyrus from ca. 200 b.c.e. (see HWM Figure 1.11)
Only the middle portion of its seven lines of text survives.
The style is consistent with descriptions of Euripides' music.
Combines diatonic with either chromatic or enharmonic genus
Instrumental notes are interspersed with vocal.
The text is a chorus for women.
The meter of the text uses dochmaic foot, used for passages of intense agitation and grief.
Chromatic or enharmonic notes reinforce the ethos of the poetry.
Music in Ancient Rome
Less evidence survives for music of ancient Rome than for ancient Greece.
No settings of texts survive.
Images, written descriptions, and some instruments are all that remain.
Romans took much of their musical culture from Greece.
Lyric poetry was often sung.
Cicero, Quintilian, and others believed cultured people should be educated in music.
In the first and second centuries c.e., when other aspects of Greek culture were imported, virtuosity, choruses, and competitions became popular.
Roman instruments
The tibia, an instrument similar to the aulos, was used for ceremonies and theater.
Other instruments included the tuba, a long straight trumpet.
The most characteristic instruments were the cornu and buccina, circular horns.
HWM Figure 1.12 shows tibias and cornus used in a funeral procession.
Production of music declined when the Roman economy declined.
Roman music seems not to have influenced later musical developments in Europe.
The Greek Heritage
Many characteristics of Greek music continued in later Western music.
The meter and rhythm of the text influenced the music.
Memory and musical conventions played an important part in many later traditions.
Greek musical thought influenced later generations.
Plato's idea that music can influence character persists today.
Medieval music theory and church music used Greek concepts.
Opera composers looked to the Greek tragedies for models of how to combine music and drama.
In the twentieth century, composers looked to the Greeks for inspiration.


2 The Christian Church in the First Millennium

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

LEARN
The chapter and listening quizzes will help you practice for exams that cover the recordings, textbook and anthology. You can take these quizzes as often as you like, then send them to your instructor’s grade book, and keep track of your scores in your own Norton grade book.
Use the FlashCards to check your retention and understanding of the major terms, presented in boldface print in your textbook. You can print them out or download them to your computer.

CONNECT
The Styles Quizzes in the Connect section of the site test your understanding of major concepts pertaining to genres and styles. These quizzes integrate musical excerpts and graphics. There are two quizzes for each era; one refers to a work in the anthology and the second one presents a “mystery” work for you to identify. The quizzes will test your knowledge of the musical concepts across several chapters.
Composer biographies present brief overview of the lives of many of the composers presented in your textbook.

3 Roman Liturgy and Chant

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.


4 Song and Dance Music in the Middle Ages
Study Plan
ORGANIZE

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

5 Polyphony through the Thirteenth Century

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

Chapter 6 French and Italian Music in the Fourteenth Century

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.


Chapter 7 Music and the Renaissance

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

LEARN

The chapter and listening quizzes will help you practice for exams that cover the recordings, textbook and anthology. You can take these quizzes as often as you like, then send them to your instructor’s grade book, and keep track of your scores in your own Norton grade book.
Use the FlashCards to check your retention and understanding of the major terms, presented in boldface print in your textbook. You can print them out or download them to your computer.

CONNECT

The Styles Quizzes in the Connect section of the site test your understanding of major concepts pertaining to genres and styles. These quizzes integrate musical excerpts and graphics. There are two quizzes for each era; one refers to a work in the anthology and the second one presents a “mystery” work for you to identify. The quizzes will test your knowledge of the musical concepts across several chapters.
Composer biographies present brief overview of the lives of many of the composers presented in your textbook.


Chapter
8
England and Burgundy in the Fifteenth Century
Study Plan
ORGANIZE

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.



Chapter 9
Franco-Flemish Composers, 1450-1520

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

Chapter 10 Sacred Music in the Era of the Reformation

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.


Chapter 11 Madrigal and Secular Song in the Sixteenth Century

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

Chapter 12 The Rise of Instrumental Music

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.


Chapter 13 New Styles in the Seventeenth Century

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

Chapter 14 The Invention of Opera

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.


Chapter 15 Music for Chamber and Church in the Early Seventeenth Century

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.


Chapter 16 France, England, Spain, and the New World in the Seventeenth Century

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

Chapter
17
Italy and Germany in the Late Seventeenth Century
Study Plan
ORGANIZE

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.


Chapter
18
The Early Eighteenth Century in Italy and France
Study Plan
ORGANIZE

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.


Chapter
19
German Composers of the Late Baroque
Study Plan
ORGANIZE

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.



Chapter
20
Musical Taste and Style in the Enlightenment
Study Plan
ORGANIZE

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.


Chapter 21 Opera and Vocal Music in the Early Classic Period
Study Plan
ORGANIZE

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.


Chapter 22 Sonata, Symphony, and Concerto at Midcentury

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

LEARN
The chapter and listening quizzes will help you practice for exams that cover the recordings, textbook and anthology. You can take these quizzes as often as you like, then send them to your instructor’s grade book, and keep track of your scores in your own Norton grade book.
Use the FlashCards to check your retention and understanding of the major terms, presented in boldface print in your textbook. You can print them out or download them to your computer.

Chapter 23 Classical Music in the Late Eighteenth Century

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

LEARN

The chapter and listening quizzes will help you practice for exams that cover the recordings, textbook and anthology. You can take these quizzes as often as you like, then send them to your instructor’s grade book, and keep track of your scores in your own Norton grade book.
Use the FlashCards to check your retention and understanding of the major terms, presented in boldface print in your textbook. You can print them out or download them to your computer.

Chapter 24 Revolution and Change

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

LEARN

The chapter and listening quizzes will help you practice for exams that cover the recordings, textbook and anthology. You can take these quizzes as often as you like, then send them to your instructor’s grade book, and keep track of your scores in your own Norton grade book.
Use the FlashCards to check your retention and understanding of the major terms, presented in boldface print in your textbook. You can print them out or download them to your computer.

Chapter
25
Song and Piano Music
Study Plan
ORGANIZE

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

LEARN

The chapter and listening quizzes will help you practice for exams that cover the recordings, textbook and anthology. You can take these quizzes as often as you like, then send them to your instructor’s grade book, and keep track of your scores in your own Norton grade book.
Use the FlashCards to check your retention and understanding of the major terms, presented in boldface print in your textbook. You can print them out or download them to your computer.

Chapter
26
Orchestral, Chamber, and Choral Music
Study Plan
ORGANIZE

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

LEARN

The chapter and listening quizzes will help you practice for exams that cover the recordings, textbook and anthology. You can take these quizzes as often as you like, then send them to your instructor’s grade book, and keep track of your scores in your own Norton grade book.
Use the FlashCards to check your retention and understanding of the major terms, presented in boldface print in your textbook. You can print them out or download them to your computer.

Chapter 27 Romantic Opera and Musical Theater to Midcentury

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

LEARN

The chapter and listening quizzes will help you practice for exams that cover the recordings, textbook and anthology. You can take these quizzes as often as you like, then send them to your instructor’s grade book, and keep track of your scores in your own Norton grade book.
Use the FlashCards to check your retention and understanding of the major terms, presented in boldface print in your textbook. You can print them out or download them to your computer.

Chapter
28
Opera and Musical Theater in the Later Nineteenth Century
Study Plan
ORGANIZE

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

LEARN

The chapter and listening quizzes will help you practice for exams that cover the recordings, textbook and anthology. You can take these quizzes as often as you like, then send them to your instructor’s grade book, and keep track of your scores in your own Norton grade book.
Use the FlashCards to check your retention and understanding of the major terms, presented in boldface print in your textbook. You can print them out or download them to your computer.

Chapter 29 Late Romanticism in Germany and Austria

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

LEARN

The chapter and listening quizzes will help you practice for exams that cover the recordings, textbook and anthology. You can take these quizzes as often as you like, then send them to your instructor’s grade book, and keep track of your scores in your own Norton grade book.
Use the FlashCards to check your retention and understanding of the major terms, presented in boldface print in your textbook. You can print them out or download them to your computer.

Chapter 30 Diverging Traditions in the Later Nineteenth Century

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

LEARN

The chapter and listening quizzes will help you practice for exams that cover the recordings, textbook and anthology. You can take these quizzes as often as you like, then send them to your instructor’s grade book, and keep track of your scores in your own Norton grade book.
Use the FlashCards to check your retention and understanding of the major terms, presented in boldface print in your textbook. You can print them out or download them to your computer.

CONNECT

The Styles Quizzes in the Connect section of the site test your understanding of major concepts pertaining to genres and styles. These quizzes integrate musical excerpts and graphics. There are two quizzes for each era; one refers to a work in the anthology and the second one presents a “mystery” work for you to identify. The quizzes will test your knowledge of the musical concepts across several chapters.
Composer biographies present brief overview of the lives of many of the composers presented in your textbook.

Chapter 31
The Early Twentieth Century

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

LEARN

The chapter and listening quizzes will help you practice for exams that cover the recordings, textbook and anthology. You can take these quizzes as often as you like, then send them to your instructor’s grade book, and keep track of your scores in your own Norton grade book.
Use the FlashCards to check your retention and understanding of the major terms, presented in boldface print in your textbook. You can print them out or download them to your computer.

CONNECT

The Styles Quizzes in the Connect section of the site test your understanding of major concepts pertaining to genres and styles. These quizzes integrate musical excerpts and graphics. There are two quizzes for each era; one refers to a work in the anthology and the second one presents a “mystery” work for you to identify. The quizzes will test your knowledge of the musical concepts across several chapters.
Composer biographies present brief overview of the lives of many of the composers presented in your textbook.



Chapter 32
Modernism and the Classical Tradition

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

LEARN

The chapter and listening quizzes will help you practice for exams that cover the recordings, textbook and anthology. You can take these quizzes as often as you like, then send them to your instructor’s grade book, and keep track of your scores in your own Norton grade book.
Use the FlashCards to check your retention and understanding of the major terms, presented in boldface print in your textbook. You can print them out or download them to your computer.


CONNECT

The Styles Quizzes in the Connect section of the site test your understanding of major concepts pertaining to genres and styles. These quizzes integrate musical excerpts and graphics. There are two quizzes for each era; one refers to a work in the anthology and the second one presents a “mystery” work for you to identify. The quizzes will test your knowledge of the musical concepts across several chapters.
Composer biographies present brief overview of the lives of many of the composers presented in your textbook.

Chapter 33
Jazz and Popular Music

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

LEARN

The chapter and listening quizzes will help you practice for exams that cover the recordings, textbook and anthology. You can take these quizzes as often as you like, then send them to your instructor’s grade book, and keep track of your scores in your own Norton grade book.
Use the FlashCards to check your retention and understanding of the major terms, presented in boldface print in your textbook. You can print them out or download them to your computer.

Chapter 34
The Classical Tradition

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

LEARN

The chapter and listening quizzes will help you practice for exams that cover the recordings, textbook and anthology. You can take these quizzes as often as you like, then send them to your instructor’s grade book, and keep track of your scores in your own Norton grade book.
Use the FlashCards to check your retention and understanding of the major terms, presented in boldface print in your textbook. You can print them out or download them to your computer.

CONNECT

The Styles Quizzes in the Connect section of the site test your understanding of major concepts pertaining to genres and styles. These quizzes integrate musical excerpts and graphics. There are two quizzes for each era; one refers to a work in the anthology and the second one presents a “mystery” work for you to identify. The quizzes will test your knowledge of the musical concepts across several chapters.
Composer biographies present brief overview of the lives of many of the composers presented in your textbook.


Chapter 35 Postwar Crosscurrents

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

Chapter 36 The End of the Millennium

If you have not already done so, activate the registration code found in your textbook and listen to the selections on this site, or refer to your set of audio CDs.
Print out the chapter outline and refer to it, marking sections you have read or learned in lecture.
Access a selection of streamed examples from the anthology as well as additional works.

疾病名稱

心臟血管外科的主要看診症狀為：心臟、週邊血管有關外科疾病，下肢靜脈曲張、有缺血性疼痛者、心臟及血管外傷
心臟血管外科的疾病名稱為：
先天性心臟病，風濕性心臟病、狹心症、動脈瘤、冠狀動脈硬化、深部靜脈栓塞(慢性期)、上下肢動脈血管阻塞、先天性或創傷性動靜脈廔管者、胸腹之主動脈瘤
心臟血管外科的包含之治療方式為：
各類血管手術、經心臟內科檢查後，需要手術或已手術過之心臟病患者、心臟移植手術、瓣膜缺損修補置換、洗腎患者動靜脈廔管之手術及術後之追蹤

神經外科的主要看診症狀為：脊髓脊椎骨損傷、腦瘤、三叉神經痛、坐骨神經痛、下背部痛、頭痛、手臂痛及酸麻、走路時兩腿酸麻、脊髓腫瘤、半邊顏面痙攣、腰痛、腦血管病變、狐臭、脊椎疾病、腦中風出血、脊椎脊髓神經病變、疼痛控制、頸動脈狹窄、頭部外傷、顱內動靜脈畸形、頸部疼痛、兩手或四肢無力和發麻、頸椎脊髓神經病變、。
神經外科的疾病名稱為：
手汗症、水腦症、椎間盤突出症、脊椎滑脫症、周邊神經壓迫症狀群、肌膜症、梅尼爾氏症(暈眩)、腕隧道症群(媽媽手)
神經外科的包含之治療方式為：
1.開顱手術(腦瘤、腦中風出血等)
2.神經血管解壓顯微手術(治療顏面痙攣及三义神經痛)
3.腦室腹腔分流手術(治療水腦症)
4.腦部立體定位手術(拍吸、切片等)
5.腦壓監測手術
6.腦室引流手術
7.椎間盤摘除手術
8.脊椎固定手術
9.頸椎前融合手術
10.脊椎瘤摘除手術
11.正中神經解壓手術
12.前庭神經切斷手術(治療梅尼爾氏病)

骨科主要看診症狀為：全身肌肉、骨骼、關節之先天性異常、肌肉、關節扭傷或斷裂、坐骨神經痛、關節運動範圍受限制、脊椎骨外傷、骨盆外傷、骨骼疼痛、脫臼、關節運動傷害、腰酸背痛、頸部酸痛、手臂酸麻疼痛、下背痛、腰酸背痛、腿部麻痛、關節腫痛、跌打損傷、筋骨挫扭傷、韌帶肌腱受傷斷裂、運動傷害、關節之扭傷、僵硬、步態不穩、腳趾畸形、軟組織病變、關節退化。
骨科的疾病名稱為：
腫瘤病痛、關節炎、風濕關節炎、退化性關節炎、骨折、骨髓炎、骨畸形、骨腫瘤、脊椎病變、先天骨關節畸形、脊柱側彎、長短腳、五十肩、媽媽手、網球肘、腕髓道症候群、多指（趾）症、併指（趾）症、板機指、肌肉骨骼腫瘤、大腳趾外翻、扁平足、骨病
骨科的包含之治療方式為：
關節重建

整形外科的主要看診症狀為：眼瞼下垂、肢體嚴重外傷、臉部外傷、骨折、身體軟組織受損、先天性顱骨畸形、小手部外傷、肢體嚴重外傷、肢體慢性潰爛、灼（燙）傷、糖尿病足。

整形外科的疾病名稱為：
兔唇、顎裂、顏面畸形、傷殘或腫瘤、小耳症、血管瘤、皮膚腫瘤、唾液腺腫瘤、頭頸部腫瘤、腕道症候群、
整形外科的包含之治療方式為：
乳房重建、乳房整型、乳頭乳暈外形修正、美容整形(拉皮抽脂)、缺陷整復、整型手術、雙眼皮、眼袋去除、隆鼻、拉皮、修疤、雷射手術（點痣、去刺青、血管瘤、磨皮、除毛、除皺紋、淡化色素）

大腸直腸外科的主要看診症狀為：大便習慣改變、肛門局部之異常不適、腹部有可觸覺之硬塊、血便、下痢、大便失禁、腹痛、腹脹、大便不規則、肛門腫瘤、人工肛門造口問題、便秘、下腹部腫瘤、便血、肛門局部之異常不適、體重減輕、貧血、腹瀉、肛門腫痛、搔癢、大便潛血反應、腸胃疾病。
大腸直腸外科的疾病名稱為：
痔瘡、痔漏、脫肛、大腸癌、直腸癌、肛病、大腸炎、腹膜炎
大腸直腸外科的包含之治療方式為：
腸道切除及各式之腸道重建手術含手縫器械縫合及腹腔鏡手術、肛門重建

泌尿科的主要看診症狀為：急性腰痛、血尿、頻尿、小便無力、陰囊腫痛、夜尿、包皮過長、膀胱機能異常、排尿困難、泌尿道感染、陰囊水腫、陰囊腫塊、血精、膀胱機能異常。
泌尿科的疾病名稱為：
尿道結石、尿失禁、腎結石、性功能障礙、肪胱炎、攝護腺肥、隱睪症、男性不孕、先天尿路畸型及兒童泌尿疾病、疝氣、腎及輸尿管結石、攝護腺癌、腹腔腫瘤及腎臟腫瘤、性病
泌尿科的包含之治療方式為：
體外震波碎石手術、內視鏡碎石手術、內視鏡及雷射攝護腺刮除手術、其它相關手術，如:疝氣、泌尿道腄瘤等手術、尿失禁及排尿困難等手術。

耳鼻喉科的主要看診症狀為：
耳鳴、暈眩、聽力障礙、耳部外傷、耳朵癢、 (鼻部)鼻塞、流鼻血、鼻外傷、 (喉部)語言障礙、聲音沙啞、吞嚥困難、扁桃腺發炎、聲帶麻痺、聲帶結繭、耳咽管阻塞、喉症、口腔潰瘍、咳嗽、喉頭發炎、聲帶瘜肉、口吃、頸部淋巴腺腫大、打鼾、耳朵疼痛、耳流膿、耳異物、顏面神經麻痺、重聽、耳前廔管、流鼻水、流鼻涕(流膿)、嗅覺異常、喉嚨疼痛、喉嚨異物感、魚刺、骨頭等硬刺喉嚨、扁桃腺病變、鼻水中帶血、痰中帶血、鼻息肉、耳疼、耳朵流膿、聽力障礙、喉嚨痛、呼吸道異物。
耳鼻喉科的疾病名稱為：
中耳積水、中耳珍珠瘤、中外耳炎、突發性耳聾、鼻竇炎、鼻中隔彎曲、過敏性鼻炎、鼻腫瘤、口腔癌、咽喉癌、甲狀腺腫瘤、耳黴菌感染、耳腫瘤、鼻症與鼻過敏、肥厚性鼻炎、鼻竇腫瘤、淋巴炎、慢性咽喉炎、頭頸部腫瘤、唾液腺腫瘤、鼻咽癌、喉癌、下咽癌、顏面及頸部腫瘤、口腔腫瘤、聲帶炎、顏面骨折
耳鼻喉科的包含之治療方式為：
助聽器配選、人工電子耳手術、學前聽障檢查、聽力語言訓練、鼻整形及美容、聽力檢查、語言治療、發音矯正

腫瘤內科的主要看診症狀為：腫瘤內科的疾病名稱為：
鼻咽癌、喉癌、其它頭頸部腫瘤、子宮頸癌、乳癌、肺癌、大(直)腸癌、各類惡性腫瘤
腫瘤內科的包含之治療方式為：
各種腫瘤及癌症篩檢診斷、治療、開刀後輔佐性化學治療、疼痛控制、緩和醫療、安寧緩和療護、腫瘤診斷之確立及癌病範圍與程度之鑑別確立、各類惡性腫瘤之術後與術前之放射治療與化學治療、各類惡性腫瘤之治癒性放射治療及配合性化學治療(包括鼻咽癌、喉癌、其它頭頸部腫瘤、子宮頸癌、乳癌、肺癌、大(直)腸癌等)，晚期癌症治療(骨骼疼痛、各種器官或血管壓迫)、腦部轉移及脊髓神經壓迫等急性症狀之急治療。

核子醫學科的主要看診症狀為：
核子醫學科的疾病名稱為：
核子醫學科主要特色為：
甲狀腺癌手術後的追蹤及治療
正子醫學影像判讀
傳統核醫影像判讀
放射免疫分析實驗室

放射診斷科的主要看診症狀為：
1.全身各種良性、惡性之腫瘤。
2.血管性的疾病，包括：動脈瘤、動靜脈畸形、動靜脈廔管、血管狹窄病變、血栓形成、急性動脈出血等 。
3.症狀為全身各種異常腫塊、腹脹、腹痛、黃疸、腰痛、腎功能異常、胸部不適、咳血、頭痛、耳鳴、癲癇發作、眼睛充血、半身癱瘓、口鼻出血、反覆發作腦中風、急性腦中風等
放射診斷科的疾病名稱為：
1.全身各種良性、惡性之腫瘤。
2.腦部動脈瘤、腦部動靜脈畸形、硬腦膜動靜脈廔管、頸動脈狹窄、急性腦中風、急性口鼻部出血…等。
放射診斷科的包含之治療方式為：
1.肝癌栓塞治療
2.電腦斷層導引腫瘤切片
3.膽管引流
4.腎盂引流
5.內植式靜脈導管置放
6.大量咳血之栓塞治療
7.腦部動脈瘤之線圖栓塞治療
8.腦部動靜脈畸形之栓塞治療
9.硬腦膜動靜脈畸形之栓塞治療
10.頸動脈海綿竇樓管之栓塞治療
11.脊椎動靜脈畸形之栓塞治療
12.頭頸部腫瘤之栓塞治療
13.腦膜瘤之栓塞治療
14.口鼻部出血之栓塞治療
15.頸動脈整形及支架手術
16.顱內動脈整形及支架手術
17.急性腦中風之動脈內溶栓治療
18.硬腦膜靜脈竇栓塞之溶栓治療

職業醫學科的主要看診症狀為：
任何會在工作中或工作後加重，在休假後略微減輕的不適症狀，均屬職業醫學科的看診範圍(包含腰酸背痛、手腳麻木、氣喘或呼吸困難、皮膚癢或有疹子、肢體顫抖……)
職業醫學科的疾病名稱為：
職業傷病泛指可歸因於其工作所引起的各種疾病或傷害。只要勞工懷疑自己的疾病、受傷和工作有關，就為職業醫學科的看診範圍。

勞委會已制定108種職業病(如職業性皮膚病、職業引起急性循環系統疾病(過勞)、職業性氣喘、砷中毒、職業性下背痛、職業性腕道症候群、有機溶劑引起的週邊神經疾病及肝傷害、石綿肺症、職業性矽肺症及煤礦工人塵肺症、刺激性氣體引起的呼吸列傷害、異常氣壓作業意外、游離輻射職業病、高溫作業之職業病、農藥巴拉刈引起職業性皮膚病，汞、鎘、鉛、錳、苯、鈹、鉻中毒，二硫化碳、二甲基甲醯胺等近百種職業暴露)，其他未以明文規定者則尚在審議中。

職業醫學科的包含之治療方式為：診斷及鑑定工作相關的職業傷害和疾病。
針對不同疾病進行治療或轉介至專門科別。
執行職前健康檢查及根據勞工身體狀況，建議適合他的工作。
對因職業傷病停止工作，而有復工需求的勞工做身體評估，並建議適合的工作。
監測特殊作業勞工(如噪音、有機溶劑、重金屬、粉塵、高溫暴露)的身體狀況。
勞工一般檢查或特殊作業體檢第二級管理管理以上之勞工的回診、追蹤和治療。
協助罹患職業傷病的勞工，依據職業傷病類別及嚴重程度的不同，申請相關的醫療補助、工傷津貼…。

疾病名稱

感染科的主要看診症狀為：呼吸道、腸胃道之感染、腹腔內或骨盆腔內感染、泌尿道感染、一般皮膚性及軟組織感染、持續高燒。
感染科的疾病名稱為：
所有急慢性發燒或發炎性疾病、敗血病、腦膜炎、腦炎、骨髓炎、關節炎、發疹性疾病、不明原因發燒、腎臟炎、膀胱炎、心內膜炎、性病、梅毒、花柳性淋巴肉芽腫、愛滋病、法定傳染病、寄生蟲感染、黴菌感染、異常檢驗結果分析及診治及一切感染症、帶狀疱疹(皮蛇)、登革熱(天狗熱)、流行性感冒

肝膽腸胃科的主要看診症狀為：腹痛、腹嗚、腹脹、腹瀉、大便不規則、食慾不振、胃腸不適、胃潰瘍、黑色便、吐血、吞嚥困難、皮膚呈黃、白色便、肝機能異常、肝膽結石、疲倦、便祕、噁心、嘔吐、溢酸、打噎、肝脾腫大、體重減輕。
肝膽腸胃科的疾病名稱為：
B型肝炎帶原、各種肝炎及肝癌治療

一般內科的主要看診症狀為：凡一般初次身體不適，疲勞、無力、胸悶及有急、慢性病病症等，身體不舒服而本身無法區別是何種內科專科者皆可看診
一般內科的疾病名稱為：
一般內科

神經內科的主要看診症狀為：頭痛、偏頭痛、頭暈、半身不遂、肌肉抽搐或痙攣、手腳顫抖、不自主運動、手腳麻木無力、腰酸背痛、各種神經痛、意識障礙、步調不穩、眼球運動障礙、顏面神經麻痺、肌力減退喪失、肢體麻痺或無力、手腳顫抖、記憶力不良、睡眠障礙、神經痛、坐骨神經痛三叉神經痛。
神經內科的疾病名稱為：
巴金森氏症、老年痴呆症、腦炎、腦膜炎、眩暈、失語症、睡眠障礙、中風、肌痛症、癲癇、痴呆、失智症、多發性硬化、週邊神經、骨刺、脊髓病變、多發性神經病變。
神經內科的包含之治療方式為：
血管超音波、腦電波、神經肌電圖、誘發電位檢查。

內分泌及新陳代謝科的主要看診症狀為：肥胖、骨質疏鬆、發育不良及各種內分泌異常、長不高、甲狀腺肥大、性別異常，及一切內分泌疾病、疲倦或虛弱、容易流汗、夜汗、口渴、多尿、口乾、多尿、乳房分泌物、血糖過低、尿酸過高、身高異常、性別異常、體重增加或減輕、腦下腺、腎上腺功能異常。

內分泌及新陳代謝科的疾病名稱為：甲狀腺疾病、糖尿病、腦下垂體病變、肢端肥大症、高尿酸症、高脂血症、腎上腺病變、副甲狀腺病變及其他內分泌疾病

身心科的主要看診症狀為：睡眠障礙、憂鬱、緊張、壓力性頭痛、腦神經衰弱、自律神經失調、幻想、身心異常、兒童青少年身心障礙、精神怪異、心神不定、躁動、失眠症、健忘、青少年心理問題、身心失眠、健忘、焦慮、情緒低落、煩躁不安、傻笑、胡言亂語、精神異常、智能不足、人格異常、行為異常、青少年注意力不集中、過動兒、老人失智、神智異狀、心神不定、心理困擾、幻聽、健忘、自殺行為、酒癮、藥癮、自閉症、注意力障礙與運動量過多、學校適困難、藥物濫用。
身心科的疾病名稱為：
妄想症、躁鬱症、老年記憶障礙、痴呆症、精神官能症、強迫症

疾病名稱

家庭醫學科的主要看診症狀為：健康檢查、職業病門診、健康諮詢、各種不明疾病的評估處理 (身體不適卻不知問題所在) 、遺傳諮詢、減重與強身治療、戒菸醫療、運動治療、健康諮商、健康管理膱業病之預防與診治、臨床毒物影響與診治健康檢查後之諮詢、家族性疾病預防與諮詢安寧療護、社區照護、一般體格檢查、勞工體檢、謀職、各種考試、升遷、移民、出國、審驗駕照、婚前健康檢查等。
家庭醫學科的疾病名稱為：各類慢性疾病及職業病、精神身心疾病、心臟血管疾病、常見疾病之處置、身心症、各種疾病(如高血壓、冠心病、心絞痛、心衰竭、腦中風、糖尿病、高血脂症、痛風、退化性關節炎、老年性疾病、氣喘、貧血、停經症候群、甲狀腺病、焦慮症、憂鬱症、失眠、身心失調)之預防及治療

復健科的主要看診症狀為：骨骼肌肉神經病變、腰酸背痛、關節疼痛、運動傷害、中風、脊椎損傷、腦性麻痺、肢體復健工作、肌肉失去收縮能力、關節失去運動能力、頭部外傷、頸部症候群、顏面痲痹、攣縮、筋膜疼痛、急慢性疼痛、扭傷與挫傷、構音異常、聲音異常、口吃、語言發展遲緩、唇顎裂、吞咽障礙、兒童發展遲緩、過動兒、肌肉韌帶拉傷、腳踝關節扭傷。
復健科的疾病名稱為：下背症候群、冷凍肩（五十肩）、關節炎、骨折、腦性麻痺、兒童麻痺、周邊神經傷害（肌肉麻痺）、失語症及相關障礙、失聽（後天喪失聽力者）、其他骨科疾病、其他神經疾病、退化性關節炎、風濕性關節炎、神經性膀胱障礙、坐骨神經腰背痛、骨骼肌肉神經內變
復健科的包含之治療方式為：
灼傷或外傷引致的功能或活動障礙之肢體復健、語言復健、心肺功能訓練、各種手部傷害或病變之復健、副木及裝具、神經肌電圖檢查、軟組織超音波檢查、義肢功能訓練、兒童復健早期療育、骨科手術後合併症復健、燒傷後復健、職能治療、老年復建治療、中樞神經病變復健、兒童麻痺後遺症及語言障礙的復健、感覺統合評估與治療。

血液腫瘤科 的主要看診症狀為：各種血液疾病如白血球過高(低)、紫斑、異常出血、身體各部份有硬塊者或癌症之化學治療、流血不止、脾腫大、持續性高燒、淋巴結腫大、、淋巴瘤、多發性骨隨瘤、各種惡性腫瘤、不明原因腫塊。
血液腫瘤科的疾病名稱為：
貧血、白血病、血友病、腿部靜脈曲張(腳蛇)
血液腫瘤科的包含之治療方式為：
化學治療、免疫治療、腫瘤標杷、治療腫瘤血管抑制治療、各種癌症之治療及診斷學治療、荷爾蒙治療、免疫治療。

胸腔暨呼吸治療內科的主要看診症狀為：咳嗽、氣喘、胸悶、胸痛、呼吸不順、呼吸困難、咳血、肺部不適、咳痰、支氣管擴張、呼吸道異物取出、睡眠呼吸中止、肋膜病變。
胸腔暨呼吸治療內科的疾病名稱為：
肺炎、肺癌、氣管炎、肺氣腫、肺腫瘤、哮喘病、肺結核、呼吸道感染及慢性支氣管炎、慢性阻塞性肺疾、胸肺及縱膈腔腫瘤、發燒等各種肺部疾病

風濕免疫科的主要看診症狀為：皮膚過敏、合物過敏、藥物過敏、氣喘、腰背痠痛、全身痠痛、晨間肌肉僵硬、關節變形、關節腫、關節痛、關節無力、肌肉無力、口乾舌燥、眼乾、不明原因之口腔或生殖器潰爛。
風濕免疫科的疾病名稱為：
痛風、類風濕性關節炎、感染性關節炎、紅斑性狼瘡、皮肌炎、硬皮症、僵直性脊椎炎、各種關節肌肉疼痛、過敏疾病、退化性關節炎、脊椎炎、肌腱炎、氣喘、過敏性鼻炎、結膜炎、虹膜炎、藥物食物等過敏症、血管炎、膠原血管疾病、自體免疫疾病、關節痛、關節炎、乾躁症、多發性肌炎、乾癬關節炎、蕁痲疹、自體免疫性肝炎、硬皮症腎危機、急性骨隨炎、慢性肺栓塞、雷諾氏現象。
風濕免疫科的包含之治療方式為：
免疫調節藥物、抗發炎藥物、關節抽液檢查、關節腔注射

腎臟內科的主要看診症狀為：血尿、尿蛋白、水腫、尿毒症、電解質不平衡、中毒、腰痛、腎功能評估。
腎臟內科的疾病名稱為：腎結石、尿路感染、多尿或少尿症、腎絲球腎炎、藥物中毒
腎臟內科的包含之治療方式為：急慢性腎臟病治療、腎絲球腎炎之治療、腹膜透析植管及照顧、血液透析治療及照顧

心臟內科的主要看診症狀為：心臟不適、心臟無力、、水腫合併氣喘、運動性呼吸困難或胸痛、心悸、心律不整、辦膜性心臟病、心肌病變、心包膜炎、主動脈瘤、血管瘤、心肌炎、感染性心內膜炎、心雜音、心悸胸悶、間歇跛行、腳腫、水腫、合併氣喘、暈厥、突發性失去知覺、心臟衰竭、高血壓、先天性心臟病、風濕性心臟病、心絞痛、心肌梗塞、肺動脈栓塞及其他各類心臟暨血管疾病。
心臟內科的疾病名稱為：
胸痛、狹心症、冠心病、高血壓、心跳不順、心臟破損、心肌梗塞
心臟內科的包含之治療方式為：
1.彩色心臟超音波檢查
2.履帶運動心電圖
3.霍特氏攜帶式心電圖檢查
4.核子醫學心臟檢查
5.心電生理心導管檢查
6.心臟電灼燒治療術(治療)
7.心臟冠狀動脈心導管檢查
8.冠狀動脈血栓抽吸治療(治療)
9.冠狀動脈氣球擴張術(治療)
10.冠狀動脈支架置放術(治療)
11.先天性心臟病心導管檢查
12.肥厚性心臟病變心臟燒灼術(治療)

疾病名稱

咳嗽 coughing 肝炎 hepatitis 癌症 cancer
心臟病 heart disease/attack Acidosis 酸中毒
Adams-Stokes syndrome 亞－斯氏綜合症 alcoholism, alcoholic intoxication
酒精中毒 alkalosis 堿中毒 anaphylaxis 過敏症 anemia 貧血
iron deficiency anemia 缺鐵性貧血 megaloblastic anemia 巨幼紅細胞性貧血
aplastic anemia 再生障礙性貧血 angiitis 脈管炎
angina pectoris 心絞痛 arteriosclerosis 動脈硬化 apoplexy 中風
auricular fibrillation 心房纖顫 auriculo-ventricular block 房室傳導阻滯
bronchial asthma 支氣管哮喘 bronchitis 支氣管炎
bronchiectasis 支氣管擴張 bronchopneumonia 支氣管肺炎
carcinoma 癌 cardiac arrhythmia 心律紊亂
放射腫瘤科的主要看診症狀為：頭頸部腫瘤、乳房腫瘤、胸腔腫瘤、腸胃道腫瘤、婦科腫瘤、腹部骨盆腔腫瘤、泌尿道腫瘤、惡性肉瘤等各種癌症。
放射腫瘤科的疾病名稱為：鼻咽癌、口腔癌、舌癌、喉癌、下咽癌、食道癌、胃癌、胰臟癌、結直腸癌、肺癌、子宮頸癌、子宮內膜癌、腦部惡性腫瘤、攝護腺癌、膀胱癌等惡性腫瘤。
放射腫瘤科的包含之治療方式為：
影像導航放射線療(IGRT)
強度調控放射線治療(IMRT)
三度空間順形放射腺治療(3D-CRT)
體內(近接)放射線治療
化學治療合併放射線療法
癌症末期之疼痛控制及緩和性照顧

牙科的主要看診症狀為：齒內不適者、活動假牙不適者、不想帶活動假牙、缺牙欲做假牙但不想磨兩邊正常牙齒者、牙齒疼痛、口腔疼痛症候群、口內白斑、牙齒形狀顏色異常、琺瑯質異常之牙齒整型、牙齒缺損、折斷、牙齒疼痛、牙根敏感、牙縫變大、牙齒動搖、牙齒空間不足、顎關節疼痛、咬合功能異常、拔牙後併發症、口腔感染、咬合不正、顎面畸形、顏面骨折、牙關緊閉、口腔潰爛、兒童口腔疾病之預防與治療 (含口腔醫療、乳牙根管治療、齒面深溝密封、齲齒填補、全口塗氟、牙套製作、殘智障口腔治療、全身麻醉之口腔治療、笑氣鎮定之牙科治療、釹雅各雷射治療、蛀牙溶解劑治療、數位化影像裝置) 、齒內炎症、缺牙、牙周組織再生術、特殊合金膺復物、顎顏面正顎手術、顳顎關節疾病、人工牙根種植及膺復、牙齒排列不整、擁擠、暴突等之齒列矯正、瓷牙貼片、生瓷牙冠。
牙科的疾病名稱為：齒胞、鑲牙、打釘子、齒屎(牙結石)、齒石、抽神經、一般牙科疾病、口腔腫瘤、蛀牙、齒冠不整、顎骨發育不良、暴牙、牙齦病變（腫大發炎、流血、萎縮、膿漏、纖維性異常增生、腫瘤、化膿、口臭、口腔感染等）、顎骨病變、顎骨骨折、顎骨脫臼、長換牙問題、齒列不正、齬齒、齒髓炎、牙齦炎、牙周病、口腔內科、口腔疾病診斷、口腔黏膜疾病、口腔黏膜病變、口乾症、口角炎、口腔疼痛症候群、牙根尖囊腫、頭頸部急性感染、顳顎關節疾病、唾液腺疾病、口腔癌、口腔非惡性腫瘤、唾液腺疾病
牙科的包含之治療方式為：
牙周膜再生術、齦下刮除術、牙齦切除、植骨、鼻竇增高術、補骨粉、蛀牙填補、假牙製作、齒列矯正、口腔外科、牙周病診治、拔牙、補牙、洗牙、齒內治療、人工植牙、牙齒健診、牙齒美容、大範圍蛀牙無法補牙、及齒內治療之牙齒須做固定義齒（齒冠）、缺牙無法做固定義齒重建者宜做活動義齒、牙齒美容漂白、根管治療、牙根尖手術、牙結石清除（洗牙）、牙齒潔白、智齒拔除、正顎美容手術、口腔顏面鷹復重建、口腔衛生指導、口腔檢查治療、口腔矯正、顎面畸形矯正、固定矯正、活動矯正、功能矯正、全口義齒、局部活動義齒。

眼科的主要看診症狀為：眼部外傷、眼瞼(皮)下垂、眼皮鬆弛、鼻淚管阻塞、配鏡、驗光、孩童視力保健、成人屈光矯正
眼科的疾病名稱為：
白內障、青光眼、視網膜病變、屈光不正、乾眼症、結膜炎、角膜炎、角膜退化症、角膜潰瘍、乾眼症、葡萄膜炎、鞏膜炎、斜視、弱視、近視、遠視、散光、老年性黃斑部病變、糖尿病視網膜病變、視網膜剝離、玻璃體出血、眼窩腫瘤、麥粒腫、霧粒腫、視神經病變、眼翳、飛蚊症
眼科的包含之治療方式為：
ARGON鐳射、視網膜玻璃體手術、白內障晶體乳化術、白內障人工晶體植入、糖尿病視網膜雷射治療、角膜移植、雷射治療、角膜塑形術

皮膚科的主要看診症狀為：一般皮膚病、禿頭、疹、色素斑、皮膚過敏、皮膚感染、皮膚水泡、疥瘡、灰指甲、藥物過敏、燒燙傷、化學灼傷、淺層皺紋、先天性胎記、刺青去除
皮膚科的疾病名稱為：
黑斑、青春痘、老人斑、異位性皮膚炎、接觸性皮膚炎、紅斑性狼瘡、癬、皮膚腫瘤、皮膚癌、性病、濕疹、香港腳、汗斑、色素斑病變、蝴蝶斑症、雞眼、紫斑、硬皮病顏臉腫瘤、蜂窩組織炎、帶狀皰疹(皮蛇)
皮膚科的包含之治療方式為：
果酸換膚、皮膚病變手術(痔、疤痕、皮膚癌…等)、色素斑漂白、磨皮、除斑治療、雷射除疤、亞歷山大紫翠玉除斑雷射、鑽石微雕磨皮機、皮脂測試、頭皮檢測、冷凍治療、光化學治療、離子交換止汗治療

教會義工探訪記錄表

尖沙嘴浸信會《關愛圈》（關顧長期病患者）
教會義工探訪記錄表 201109初訂

病人姓名： 　男／女　年齡： 　團契/組別：
婚姻狀況：　已婚　未婚　離婚　鰥寡　獨居　　子女數目： 　
居住地區：
職業： 　教育程度： 　語言：粵／國／潮／其他
信仰：個人　基督教（教會：　　　　　　　　）天主教　佛教　拜祖先　其他
　　　家庭　基督教（教會：　　　　　　　　）天主教　佛教　拜祖先　其他
身 體 狀 況 ：(病類/自理能力/溝通能力)

情　　　　緒：　樂觀積極 普通 擔心　　無奈　　不穩定　 　其他
對基督教反應： 會友 決志 慕道 有興趣 不信 拒絕 其他 　
對探訪的反應： 極佳　 健談　友善　冷淡　　　普通　 拒絕　其他
是次探訪重點：　閒談　 關懷支持　 分享信仰　 堅定信仰　栽培 其他
探訪重點補充：

跟 進 建 議 ：　急需牧師跟進（信仰／情緒） 同工家訪　 義工家訪　
祝福祈禱圈 見證分享圈
互助互聯圈 自顧提升圈 和諧共處圈
陪同協助圈 入院/離院支援圈 家居安全圈
到 醫院探訪 其他需要

義工： 聯絡電話： 　團契/組別： 　
日期：　 探訪/電話關懷時間： 分鐘
備註 (教會同工填寫) ：

關愛圈 流程表

關愛圈 流程表
1 提供病患者消息來源。
提供者姓名 電話
病患者姓名 電話
入住醫院地址
護老院地址

家人姓名
2 評估了解其需要（評估表）。身體狀況
病 患：糖尿 中風 哮喘 肝病 心臟病癌病（　　　　　　癌）
婦科病　　　　　　　　　　其他　　　　　　　　　　　　　　　　
病 況：穩定 定期覆診 反覆入院 差
活動能力：行動自如 需人協助 癱瘓（全／半／左／右）
特殊情況： 視力障礙 聽力障礙 言語障礙　請註明：　　　　　　　　　　　　
情緒狀況：積極 一般 消極 低落 不穩定 其他　　　　　　　　　　　　　　

3、探訪同工：第一時間探望急切需要者（教牧+義工）。
探訪者姓名 電話

轉介義工跟進（分派予不同的關懷人員及設計各類的照顧模式。）
3
義工姓名 電話
持續跟進個案（使用轉介表及義工探訪記錄表）。

關愛圈

《關愛圈》（關顧長期病患者）義工服侍
(此服侍概念來源自 “關愛病患基金會 -- 《關愛圈》社區支援網絡計劃” )

（一） 目標：為本會長期病患會友建立支援網絡，促進關愛的服侍。
（1） 為本會長期病患人士及其家人提供心靈支援服侍，從而提升其心靈指數，
積極面對病患，維繫和諧的家庭。
（2） 為本會長期病患者家庭建立互動互助的關係網絡。
（3） 為本會長期病患人士提供入院/覆診陪同、家居關顧、離院支援等服務。

（二） 關愛圈之成立
（1） 成員：由教牧、會友（成員中有醫生護士社工及其他人士）等組成，福利部、醫務部、探訪部作支援。
（2） 職責和工作範圍
1、 執行目標及設計服務內容。
2、 舉行定期個案檢討會。
3、 評估服務成效。
4、 向教會匯報。

(三) 關愛圈服侍內容
(1) 靈性支援關愛圈
1、 祝福祈禱圈 ：透過個別接觸/小組聚會，與受顧者敬拜、讀經或分享
信仰，並為他們及家人祝福祈禱；從五個層面（愛與相屬、盼望、寬恕、
自我形象、人生意義）關懷受顧者及其家人。
2、見證分享圈 ：透過小組聚會，安排個別人士/過來人與受顧者及其家人
分享，以互動形式彼此關懷勉勵。
（2） 心理社交關愛圈
1、互助互聯圈 ：協助不同之病患者家庭組織彼此互助扶持之互聯網絡。
2、自顧提升圈 ：舉辦健康講座以增強受顧者自我照顧能力，及提升其自
我形象。
3、和諧共處圈 ：透過小組輔導，使病患者家庭成員彼此學習和諧共處之道。
(3） 具體需要關愛圈：
1、 陪同協助圈 ：組織義工提供入院/覆診陪同服務。
2、 家居安全圈 ：提供家居安全評估及指導。
3、 離院支援圈 ：提供離院支援。

(四) 簡圖：

靈性支援關愛圈 心理社交關愛圈 具體需要關愛圈
祝福祈禱 見證分享 組織長期病患者家庭彼此互助扶持增強受顧者自我照顧能力，
及提升其自我形象 使病患者家庭成員彼此學習和諧共處之道 入院/
覆診陪同 家居照顧 離院支援

（五） 關愛圈執行流程
1、 提供病患者消息來源。
2、 接受轉介，評估了解其需要（評估表）。
3、 第一時間探望急切需要者（教牧+義工）。
4、 分派予不同的關懷人員及設計各類的照顧模式。
5、 持續跟進個案。

（六） 支援服侍隊工組織和招募
(1) 與各部結成服侍伙伴。
(2) 組織義工隊伍
1、 舉辦義工訓練,
2、 定期舉辦義工分享會。
(3) 設計關愛圈義工招募申請表、義工服侍承諾表、轉介評估表。
1、 參與關愛圈的照顧模式： O靈性支援 O心理社交 O具體需要
2、 可委身的服侍密度： O每月 O每週 O每日 O隨傳隨到

（七） 預算： 講員費及義工之車費。

(八) 檢視義工名單

介紹《關愛圈服侍》聚會日期：9月18日，230PM，地點本會
主領：徐玉英姊妹

討論：
1、 義工之責任，承擔之憂慮。
2、 參與照顧別人之條件 -- 時間、性格、背景 ………。
3、 私隱之保障。
4、 其他。
(2)

印尼短宣體驗團2011

印尼短宣體驗團2011

使徒行傳二章41節至46節的原始教會生活，在印尼短宣體驗團中你可以體驗，第一天，我們到了印尼，就參加檳榔教晚上的禱告會，這間教會的信徒較需要從神保守而來的蒙恩見證，讓神的恩典慈愛的醫治來感恩。
每日早上我們如是起來集體靈修，以聖經的話語來開始一天的生活，然後吃自助早餐，就開始我們事奉，或探訪慰問，或家庭聚會，或探訪佈道，對於不認識的華人，我們在住宅區看見有華人在家，我們就說，很想拜訪你，神奇福音之旅就開始了，他們熱情讓我們進入他們的家中，你就可以隨時隨地花一兩個小時談天說地，然後把握機會進入福音的話題。陳惠靈牧師時常提醒我們，這裡的人民單純，對外地來的人較為熱情接待，這裡的華人受各種格式傳統的宗教的民間宗教捆綁了好幾代，不要沒有智慧地就硬硬開口傳福音，我們一個很重要的任務，就是撒種，讓好的種子，留在日後收割，若沒有我們來自海外的信徒協助撒種，他們也不輕易敲門和進入他們的家中，來自外地的香港人和新加坡人，他們始終有一點好奇，來自遠方來的人要進入他們的家，他們好像不會拒接。
晚上就到信徒的家庭有家庭聚會，堅定他們的信仰和信心。勤勞了整天，回到酒店就開分享會和檢討會，訴說天父在我們身上一切的作為。
使徒行傳十六章31節說到，當信主耶穌，你和你一家就必得救。這句聖經的應許時常發生在這裡的華人身上，當地的華人很友善接待來自海外的華人，可惜，當談到宗教信仰，要他們相信主耶穌，倒是對他們良久沒有接觸到的福音，和聽了我們的講解，他們是一知半解的，怎能在短期接受福音，抗拒信福音是理所當然的。有一次，我們在探訪佈道的家庭中，那位太太肯接受我們的邀請為她接受禱告，當時，給她的女兒聽見我們邀請她的媽媽禱告，就對媽媽說，我們是拜拜的，你不可以禱告，媽媽就忽覺得不可以禱告，我們的禱告就停止了。因此，當家庭有一個成員信主，他沒有容易機會帶領人信主，唯一的機會，當我們來到當地的時候，他就帶我們到他們家中向親戚朋友探訪佈道，有些花一年，有些要花七年，家庭成員就有機會一個一個信主。
若你參加印尼短宣體驗團，是你的靈命更新的一個機會，為何，從開始要你寫見證，分享見證，向人作見證，已經給你生命一個重整機會了，面對未信的人，聖靈的大能感動他，你也是基督的一個器皿，神竟然用你的見證使人歸向耶穌基督，可見，使人從你的身上看見耶穌，看見耶穌在你的身上的作為，這是何等大的屬靈能力，竟然在我的身上發生作用，不是更新的機會嗎。
二零一一年十二月廿二日至廿八日，我們再去檳榔市、青草地，淡水港，你有感動嗎？

mission

使徒行傳二章41～46節的體驗

來到印尼短宣，可以體驗41—46生活。
佈道
團契
分享
服事
禱告；
雅各告訴我們，禱告的事奉。
在香港很容易解決問題，也是神給我們的恩典。
來到這個地方，一些事情簡單事情會變成悲哀。
有兩個車禍腳斷的請您人和成年人，腳被駁接了，可是骨頭不對焦，影響走路；
白內障，做了手術，還是看得矇查查的，
因此，來到這個地方，你會發現，人能做的東西，很有限，
禱告是很重要的依靠，否則，你還能做甚麽呢？
1、 生病：醫療水準不發達，小病患變成大病，有錢去新加坡或馬來西亞醫病，沒有錢的，留在這裡靠信心的醫治。
2、 迷信，屬靈戰爭很大；
3、 心硬：十年沒有停止宣教，信主的還是零落，此時，你需要禱告來使得救人數加增。
4、 工人又少；誰栽培他們，信徒軟弱，還要扶持，崔逼參加聚會，做教友，能做門徒。要扶持，要探訪鼓勵，還是禱告。
我們要禱告，
雅各五章13；
禱告

要為教會禱告
家庭
事工
信心
工作
健康
復興
複和
饒恕
同心合意興旺福音禱告

立約禱告，為教會，為宣教

檢討會

檢討會2011-8-15。1030PM
宣傳
之前已經想去，宣傳沒有問題。
長沙灣：沒有宣傳，有徐平邀請。

訓練：報名表裡面有，大家看見；
四次訓練：好，
行程能早知道，會有幫助，如，影音佈道，。
答：陳牧師處理，靈活性，按出席情況而定。
很多考慮，
很想與別的教會合作，結果得不到答复；
宣教需要有應變。
能早知道行程，會友幫助。

職位：
領隊需要；
總務：買宵夜，水果，
吃飯地方，方便
太累會病倒

詩歌集：有些沒有唱，他們喜歡15首，耶穌愛你；22首是陳牧師喜歡的，不以性命為念。
有三首，他們喜歡的；20；14；7；
有那些詩歌你覺得需要的嗎？沒有。

整個行程：
班級時間：不會太早，
八月時間適合嗎：行程刻意安排夏令會之後舉行，不與教會夏令會撞期，也考慮在職教師也可以參加（下一次是在聖誕節：12月22日～28日？？）。
短宣安排日期：以能參與檳榔教會的祈禱會和主日崇拜為原則（禮拜三至禮拜二）。

9月18日，230PM 短宣分享會程序
主席兼領詩：美琪 司琴：佩恩；
唱詩：
見證分享：林駿弟兄，李儀姊妹，嘉敏姊妹；敏婷姊妹，佩恩姊妹。
行程報告，相片，幻燈（梁陳執事）
話劇：翠娣負責：
獻詩：20首（印尼文集華語）
代禱事項：
祝福
茶點：（印尼食品）
相片印張貼給參與者觀看。
附註：破冰遊戲須留意，有婦女參加，在小禮堂，座位固定的。

行事歷：
分享會報到2PM（留意值理會是否完畢）
排練當日節目
安排場地
話劇排練：翠娣安排
出版短宣分享集：8月21日，或禮拜三之前。（每一成員）