同蒙天召 （希伯來三章1-14）（四章:3）
（一） 引言：
今天是福利部禮拜，福利部服事不少的年長的弟兄姊妹，有一些年長的弟兄姊妹有時分享他們心底話，說，很想蒙主恩召，蒙主恩召的意思是安息主懷，回到天父哪裡去，回到天家是好的無比的，不過天父留下我們，我們就要服從祂的旨意。行完祂的旨意。
（二） 本論：天召的意義
（1） 天召：我們思想希伯來書『同蒙天召』這個真理，『同蒙天召』不是蒙主寵召，安息主懷的意思，乃是蒙主揀選得到救恩救贖，神拯救的意思。天召是「同享救恩」的意思。
天，猶太人不敢直接稱呼神，因此，以『天』來代替『神』，神國就用天國，
浪子說，我得罪了『天』，就是我得罪『神』。
天召，就是神召，神呼叫出來的一群人，聚集一起，叫『教會』，教會就是『神召會』。
教會就是被召的一群人，你我回應神的呼召，聚集一起成為教會榮耀神。
教會的名稱，也叫 神的家、帳幕、聖殿；聖潔的國度；基督的身體；君尊的祭司、新人、新
婦、羔羊的妻；聖城新耶路撒冷，都是指向更美的：神的家、帳幕、聖殿；聖潔的國度；基督的身體；君尊的祭司、新人、新婦、羔羊的妻、聖城新耶路撒冷。因此，我們在地上要靠耶穌基督的恩典，建造更美的『教會』。
教會蒙召，天召，被召，又召，呼召成為蒙恩得救的一群來榮耀神。
神呼叫我們罪人：來呀！來開會呀！開飯啦快來吃飯啦！來信耶穌得永生啊！神這樣呼叫我們，我們就到神的面前來領受神的恩典。我們自己聽不見神的呼召，因此，聖靈就在我們心中做感動帶領的工作。所以，天召是 神主動的行為，是神呼召揀選我們，,不是我們揀選神，
正如加爾文說，這是『不可抗拒的恩典』。 每一個人成為基督徒都不是偶然的.。
彼前2:9 『惟有你們是被揀選的族類，是有君尊的祭司，是聖潔的國度，是屬神的子民，
要叫你們宣揚那召你們出黑暗入奇妙光明者的美德。』
同蒙天召的人，要時間教會的使命：
教會的目標、使命、存在的目的，就是榮耀神，基督徒的人生目的，要榮耀神。
教會是基督在地上的榮耀，『教會』是看得見的榮耀；『主餐』是看得見的救恩。
教會怎樣榮耀神？就是藉著敬拜神榮耀神；
俄羅斯在988年，認為要接受一個宗教信仰，國王 佛拉地米 派特使到
伊斯蘭教當中，猶太教當中，拜占庭基督教當中考察，特使回來報告國王說：
『我們在 聖 蘇菲亞大教堂 參加主餐敬拜時，我說不出我們是在地上還是在天上，
於是國王 佛拉地米 就下令按照大公教會樣式 給 俄羅斯人 集體 施洗,
以後,東正教就成為俄羅斯的國教了』（基督教二千年史P,316）
神呼召我們聚集是要研讀神的話,羅牧師在上個禮拜已經在主日學禮拜講過了.
神呼召我們，要我們傳因信稱義的福音，到遠處去傳，到近處去傳，直到耶穌基督的再來。
神呼召我們要成為『相親相愛的教會，團契』。因此，
（2） 同蒙天召，另外一個意思是『同伴、朋友、伴侶』的意思。
三章1：『聖潔的弟兄姊妹啊』，弟兄姊妹，就是同伴同蒙天召。
一章9 ：『你喜愛公義，恨惡罪惡；所以神，就是你的神，用喜樂油膏你，勝過膏你的同伴』
父母兒女、兄弟姊妹、夫婦的關係是地上最親密的，我們有血統的關係。
但是，由於耶穌基督的緣故，我們的血統關係，死亡就結束了，我們與不信的家人絕地相隔，有幸成為家人一直不幸絕地相隔。最親密的關係就變成毫無關係了。
我和你非親非故，因著耶穌基督的救贖，我們在主裏面同蒙天召成為弟兄姊妹，我們有同一生命，一信一浸一主一神，我們的關係就永永遠遠。
家人的關係由『愛』來維持，分散，爭執，不體諒，不接納，不饒恕，不相信，不相愛最破壞家人的關係。
因此，同蒙天召的我們，要致力，盡力使家人成為同伴，朋友，伴侶，用盡一切的心力去愛，同蒙天召同走天路。。
神從創世以來，就希望與人做他的朋友同伴，神造了亞當夏娃，在伊甸園與人做朋友伴侶，給人管理祂的伊甸園，神時常尋找亞當夏娃，與他們相處，可惜，始祖不好好與神做朋友。
神叫他們管理伊甸園，結果管果園管出了問題，違反同伴朋友精神，犯罪離開神，不做神的朋友。
人不跟神做朋友，卻跟撒旦做朋友，人就從此苦害無邊，受苦到如今，亞當說，是女人讓我受苦，夏娃說是蛇讓我犯罪受苦，從此，人類的大毛病，就是不信任和逃避責任。
神一直在尋找人跟他做朋友，找到以諾，以諾與神同行300年。
以後神尋找挪亞，亞伯拉罕，大衛，以後，與神做朋友的人越來越少，
從舊約的記載，以色列人任意妄為時常犯罪離開神，聖經說，沒有義人，連一個都沒有。
到了兩約時代，以色列人有400年在沒有與神交往，人離開神，再聽不見神的聲音。
於是，及至時候滿足，就差派祂的兒子耶穌基督，為童貞女所生，降世為人，住在我們當中，
與我們生活，吃飯，談話，與我們歡笑，哭泣，為了做我們的朋友，做我們的救主救贖我們，要我們設立教會，神就藉著教會與我們同行，進入教會的人，人人都可以做神的同伴朋友，教會就榮耀神。
據說，倫敦泰晤士報某次設巨額獎金徵答，題目是：「從 英格蘭 到 法爾西，那條路最近？」
重賞之下有勇夫，好多讀者很快的把他們認為最好的答案寄到報社。
評審之後，泰晤士報發表最佳答案，出乎眾人意料，獲獎的既非「航道」，亦非「海路」，
也不是「飛機火箭」， 而是簡簡單單兩個字：『良伴』（Good Companion）。
很少有人不怕長途旅行的，因此有人結伴在車上打橋牌；有人買當天的報紙上車，一讀再讀、看完還看；有人上車就睡……。總之想盡辦法，就是要打發時間、逃避無聊。
可是，如果有好友同行，情況就大大改觀：時間不需打發，無聊不復存在。
有一首短詩，說出我們每個人的經驗：
『時間，對等待的人太慢；對畏懼的人太快；
對悲傷的人太長；對歡樂的人太短，
只有對相愛的人、時間不存在！』
同蒙天召，同走天路，是最快樂的了。
（3） 同蒙天召，第三個意思是『有份』的意思：（來1:14）
天召,就是與基督『有份』。『有份』也是商業用途用詞，現代人最容易明白，『有份』，就是『參與者，分享者』的意思，有份基督，分享基督一切的恩典。
比方說，我們在金馬倫道道開餐廳，我一分,你一分,他一分，三人股東三人有了股份，當餐廳賺錢我有份，虧本也有份，經營我有份，打拼我有份。
同蒙天召，就是與主耶穌有份，與主耶穌死亡，埋葬，復活，升天有份，將來主耶穌作王我有份，將來主耶穌審判世界我有份。
現在,我們坐在這裡，有一天，我們與耶穌基督一起坐在父神的右邊作王，有份坐在寶座上。
與基督有份，就與基督事工有份，傳福音我有份，祈禱我有份，教會成功我有份，失敗我也有份，
教會得到榮耀我們得榮耀，教會不體面我也不體面。
政府派6000元，你我有份，李麗珊得到金牌，是香港得到金牌，香港人有份得到金牌。
2011年10月1日浸聯會陸運會，我跑4×100，得到第四，沒有獎牌，但是，尖沙嘴浸信會得到全場季軍，當天，我有份拍照領獎，可惜你們沒有來，你有份得到季軍。
我們舉止行為令人羨慕，並發出基督馨香的香氣，那人因為你，就相信耶穌基督。
若有人說， 那人是基督徒，我就不要信耶穌，因為他的緣故，那人連天堂也不要去。
我們有份基督，有份基督的名聲，『使別人從你身上見耶穌』。
二、主耶穌『天召』我們做什麼？
（1）耶穌基督天召我們，來建造 更美房屋，更尊榮的房屋，建造更美的教會（讀：三章2-6）
希伯來書的作者明確的告訴我們，我們如何建造神的家，神的殿，神的教會，我們用甚麽來治理神的家，神的教會，使教會有耶穌基督的榮美與尊貴。
作者勸誡我們要效法基督，要接受神的管教，追求和睦和聖潔，將自己完全交託神，讓神自己來掌管，要忠心的 作僕人來 服事神。
耶穌基督在馬太福音五章到七章頒布登山寶訓，聖經學者告訴我們，
這是天國子民的大憲章，是基督徒建造教會，影響社會國家的指南和心法。
我們說，香港的核心價值是：自由民主、人權法治、公平公義、和平仁愛、誠信透明、多元包容、尊重個人、恪守專業，這是香港「靈魂，核心價值」。
基督徒的核心價值，天國憲章，乃是『愛』。
馬太福音五章-七章，教導我們這些們同蒙天召的信徒，怎樣去活出愛；
摩西的律法說：「以眼還眼，以牙還牙」，這是建立在公平原則上的法律基礎，
當香港人在菲利賓遇害，屯門發生醫療事故，未來特首懷疑有婚外情，我們要求交代，還我公平公道的原則，這我們要知道的權利。
在充滿獲得權益的社會，耶穌基督提出基督徒的大憲章和心法。
耶穌在馬太福音五章要求門徒，「不要與惡人作對」；而且在羅馬書十二章要求
『不要效法這個世界，只要心意更新而變化，叫你們察驗何為神的善良、純全、可喜悅的旨意。』
如果有人有人打你的右臉，連左臉也轉過來由他打」！究竟耶穌基督，根據什麼理由要這樣做呢？
這條後代人稱為「不抵抗主義」的教導，基督的教導的基礎又是什麼呢？
首先，這不是我們中國俗語說的：『好漢不吃眼前虧，是由於軟弱無能，所以不敢還手』。
也不是邪惡的意念，所謂，『惡有惡報，善有善報，若是不報，時辰未到；更不是葉太的想法，我們放長雙眼看吓啦 ！看吓天怎樣收他』。 不，這都不是出自耶穌登山寶訓的精神。
耶穌來，是成全律法，新約取代舊約，是恩典代替律法。
耶穌比天使、比摩西，比亞倫更美。耶穌基督以「神是愛」開始，
耶穌知道「你爭我奪」、彼此鬥爭搶殺，永遠解決不了問題。
「以眼還眼，以牙還牙」，看來似乎建立在公平公義公正的報復的原則上，
其 實為有罪的人類，絕不可能以此來維持公平，往往藉著討個公平的名義，
爭奪過份而構成更大的不正義。 因此，耶穌基督說：「不要與惡人作對」。
另一方面，耶穌肯定人類各種的衝突，個人的、民族的、國家的，唯一有效的解決方法，
只有 彼此實行來自『耶穌的愛』 ，彼此相愛，彼此饒恕來解決人與人之間的矛盾問題，
我們饒恕人，正如天父饒恕我們一樣。
真正的公平公正公義，在神裡面，
在我們不完整的社會制度裡面，
『愛』為解決的基礎，是天國來臨及新約時代，以耶穌基督的愛去憐憫，去化解。
不過，對於登上寶訓的有關恩典福音中的字句，有兩點我還要的說明：
1譬如「打你的右臉…左臉也轉過來給他打」等等，都不是法律性的條文，僅是一種指南，
基督信徒面對惡人，不必咬文嚼字地實行，但「不抵抗」的精神，
確實是耶穌所指出基督徒的生活方向；至於怎樣具體實行，
是你對耶穌基督的愛的感染，與領受，與順服後所能產生的回應，
你，不一定能實踐出來，所以，我們需要天父的憐憫，憐憫你我。
其次，人間的紛爭、國家衝突，一般而論，教會並不提出基督的「不抵抗主義」，
有時也容忍為正義而戰。
但，這不是教會耶穌的教導，而是在這尚未完全接受天國來臨的世界中臨時性的立場。
但，基本上，我們應 服從基督，順服基督，基督要求大家和平共處。
至於基督的愛仇敵的真理，值得我們再三強調的，耶穌解釋愛仇敵的理由，
耶穌不是宣講人道主義，耶穌是實踐天國來臨的唯一者，因為耶穌基督是神的兒子，
因為，神愛世人…………反得永生。（(約翰316)
耶穌基督，因而對她的教會，同蒙天召的天國子民，去實踐天國憲章的要求，教會要效法基督。
因此，耶穌在馬太五章45：『這樣就可以作你們天父的兒子；因為祂叫日頭照好人，也照歹人；降雨給義人，也給不義的人。』
所以，我們作為接受天國子民，同蒙天召的同行者，必須愛人，甚至愛仇敵，並為迫害自己的人祈禱。
總之，在恩典時代中，耶穌要求門徒效法祂自己，
天父怎樣憐愛我們，我們也怎樣去愛人；這是基督的一貫教導。
為此，在登山寶訓 五章48節：「所以你們要完全，像你們的天父完全一樣」。
「完全」在這句話中，並非我們能「十全十美」的意思，而是在救恩計劃中，
天父已在基督內「完成」、「成全」一切。
耶穌宣講天國來臨，天國是將來，也是現在的，實現這偉大的天國任務，建造更美房屋，
建造更美神的家，不是天使的任務，竟然是我們這些不完全的信徒，
要效法「耶穌基督」的榜樣，用『基督愛我們的愛』去愛，去信仰經歷過中滋味。
（2）堅持到底（讀三章6、14節）
希伯來書十章26～36（33）向我們解釋堅持到底的歷史意義。
十章26～36，告訴我們，當年的猶太基督徒受到各樣的苦難，家業被搶，固然就產生失望。
希伯來作者就勉勵他們，不要因為相信耶穌基督受到逼害而失望，就算信靠耶穌基督受到逼害，不要退後。
這個逼害有來自羅馬政府和猶太教，最艱難的時刻也有來自神家退後的人，他們一方面得罪神，有不怕神的刑罰 。
十章26節：『因為我們得知真道以後，故意犯罪……』；
十章33節：『一面被毀謗，遭患難，』（新漢語譯本）：『就是受到凌辱 和磨難』（12：15）
基督徒這樣受到 凌辱磨難，受到逼害而犧牲，還要仰望那位創始成終的主耶穌，
主耶穌天召我們，帶領我們要進入更美的家鄉，自有永有的主，只要求我們一件事，就是十一章所說，用信，憑信，信靠祂，相信耶穌基督是更美的，比摩西，比亞倫，比天使更美。
結論：
天是榮耀的，天是永恆的，天是不變的；地是羞辱的，暫時的；地是暫時,會朽壞,，。
希伯來書告訴我們『同蒙天召』的教會，要認識天和地的對比，
天：屬於永恆，不朽壞的；是榮耀的，尊榮的，有盼望的；
地：屬於暫時，朽壞的，痛苦的，罪惡的。
我們本來屬於地上，死亡，暫時，
同蒙天召，就是你和我，蒙天召進入永恆的，榮耀的，因此蒙天召的人生是盼望的人生，
分享到救恩的人生。因此，逼害會過去，唯有耶穌基督的永遠長存。
同蒙天召，就是叫我們們同蒙天召的基督徒，我們要超越苦難，我們不被苦痛所勝，
人打你的右臉，再打你的左臉，就以耶穌基督的愛 去對付他就可以了。
生病，失業，意外受傷，被毀謗，被羞辱，被搶奪，甚至死亡，都不能叫我與基督的愛隔絕。
我遇見疾病信靠你，我遇見難苦難仍要信靠你；我仰望創信心始成終的主耶穌，
沒有一樣可以叫我們與基督的愛隔絕。
因為我同蒙天召聖潔的弟兄姊妹與我同走天路，更美等候我們。
正如希伯來十章36：『你們必須忍耐，使你行完了 神的旨意，就可以得著所應許的』。
1同蒙天召的聖潔弟兄啊，你們應當思想我們所認為使者、為大祭司的耶穌。 2他為那設立他的盡忠，如同摩西在神的全家盡忠一樣。 3他比摩西算是更配多得榮耀，好像建造房屋的比房屋更尊榮； 4因為房屋都必有人建造，但建造萬物的就是神。 5摩西為僕人，在神的全家誠然盡忠，為要證明將來必傳說的事。 6但基督為兒子，治理神的家；我們若將可誇的盼望和膽量堅持到底，便是他的家了。 7聖靈有話說：你們今日若聽他的話， 8就不可硬著心，像在曠野惹他發怒、試探他的時候一樣。 9在那裡，你們的祖宗試我探我，並且觀看我的作為有四十年之久。 10所以，我厭煩那世代的人，說：他們心裡常常迷糊，竟不曉得我的作為！ 11我就在怒中起誓說；他們斷不可進入我的安息。 12弟兄們，你們要謹慎，免得你們中間或有人存著不信的惡心，把永生神離棄了。 13總要趁著還有今日，天天彼此相勸，免得你們中間有人被罪迷惑，心裡就剛硬了。 14我們若將起初確實的信心堅持到底，就在基督裡有分了。
2011年9月23日星期五
婚姻：愛的真諦
1、 他是神給你的配偶。
經文：創世紀：『配偶』『骨中的骨，肉中的肉』。『聯合』，表示人生最親密的就是配偶，就是伴侶，夫妻，所謂『另一半』，Bester of the half。
『配偶』『骨中的骨，肉中的肉』有『在我一旁』之意，如，侍應常在我的身旁。但是，他不是侍應，不是傭人，工人。讓你呼呼喝喝；
這個伴侶需要彼此學習服事，體恤體諒，需要愛。
因此，聖經以弗所書說：要愛神為你們安排預備心中的良人，另一半。
怎樣愛：
你們做妻子的，要順服丈夫，如同順服主，
作丈夫的，要愛你的妻子。
怎樣愛，怎樣順服，
順服與愛的矛盾：例如：我們知道樓價很貴，要儲蓄足夠金錢才能買樓；男的很想早日買樓，忘記了太太的生日和結婚日子不願太花費，我的經驗，做太太的，很注重結婚日期和生日，喜歡慶祝浪漫。結果，做丈夫的，為了愛太太，就慶祝了，以後，他不敢做的士，走路省錢買樓。
愛，不是親吻，擁抱就是愛；
愛是：
林前十三章，讀『』。
以弗所說，愛神，神是看不見，因此，愛神之前，向愛人。尤其愛你們的配偶。
愛神：
箴言：八章7『』。
這個意思是，一男一女，一夫一妻；一心一意，一心一意；一主一信，一信一浸。
2、愛神
我們享受神賜給我們的的世界，我麼這一代真的非常幸福，享受世界上的好處，
如，冷氣機，吃世界最好吃的食物，住的環境也很好。
可是，我們也知道，這個金錢利益掛帥的世界，充滿機會，也是充滿危機，
引誘等；你們夫妻就活在這個世界風高浪急社會和環境，充滿挑戰性。
因此，你們組成的家庭，將會面對工作問題、健康問題、經濟問題、生活問題衝擊，到處都充滿危機引誘，生活的習慣都會造成危機。
這個時候，你的親友，好朋友都是你的幫助，在這裡，我要提醒你們夫妻，
你們要讓主耶穌成為你們一家之主，讓主耶穌加入你們的行列，讓主耶穌幫助你們解決困難，他們你們的幫助，你的牧者，你們的救主。
基督是教會的頭，基督是教會全體的救主，基督更是你們家庭的救主。
讓神解決你們一切的問題，夫妻同心合一的向一家之主禱告，讓主耶穌做你們的救主。一家之主。
少年光
你還缺少一件 可 10:17-22 （馬太19：20；路加18：22） 2007-10-6
引言
2000年前，耶穌基督說了一件很重要的一件事情。你還缺少一件。
各位，有沒有想過，我們的人生缺少甚麽，真正的缺少是甚麽？
我們常常有一個感覺，想到缺乏，可能是缺乏金錢、缺乏幸福、和諧、平安、工作等。
當我們生病，就知道需要健康，不能沒有健康。
可是，人生真正不可以缺少的，是甚麽呢？？？？？
不重要的缺少了，不要緊；重要的不可缺少。最重要的缺少了，是非常麻煩的一件事情。
當我們出國旅行，錢有了，機票有了，行李帶了，若有一樣沒有，就麻煩，就是護照或簽證。
耶穌基督對這個少年人說，你缺少一件。到底少年人缺少甚麽？
我们知道少年人的确缺少一件，因为聖經記載，他憂憂愁愁的走了。
各位親愛的朋友，今天，你離開這個地方，要喜樂的離開，不要憂憂愁愁離開。
到底少年人缺少一件甚麽東西，使他憂愁走了。
（一）少年人，其實是成功人士
根據提摩太，聖經少年人，其實年紀不太小，大概40來歲。不是13～18歲。
保羅帶提摩太傳道：在主後50年，提摩太大約18歲。主後66年，16年後，保羅寫信提醒提摩太說：你要逃避少年人。這時候提摩太已經是36歲。36歲，是人生經歷最豐富和充沛的時候，是社會棟梁。這少年人是做官，他是學而優的少年人，有才幹，被人看重的少年人。
這麽年輕就做官，不但很有錢，有地位，有學問，有權勢。
這位年輕的官，不是貪官。並且十分謙卑簡單，而且很有德行的。
他告訴我們，他愛神，敬畏神；愛人，他謹守律法；他不姦淫，不偷盜，不做假見證，不陷害人等。
他是一個愛神愛人的少年人。這樣一個年輕人，有一天征婚，要不要和他結婚，要。
（二）跑來：V17
17耶穌出來行路的時候，有一個人跑來，跪在他面前，問他說：「良善的夫子，我當做什麼事才可以承受永生？」
這個少年人，他自願跑到耶穌基督面前，跑，跑到耶穌基督的跟前，表示他切切尋求重要的事情。
今天，我們東請西請，請不動人到耶稣基督面前来。
葛福臨佈道會，各位邀請了人嗎？
若教會邀請你參加佈道會義工，培訓，請你請不動，想想看，請不信的人，不是一樣請不動嗎。
他跑到耶穌面前，而且跪在耶穌基督的面前。他一點也不會介意自己的行爲，他有地位，做官的。是別人應該跪在他的面前的。應該是人到他的面前，請求他的幫助的。
現在，他跪在耶穌面前，問耶穌：「良善的夫子，我當做什麼事才可以承受永生？」 。
24小時反恐部隊劇集：搶了總統位置的副總統說，我做副總統，常常知道怎樣做，當我當了總統，我就不知道怎樣做了。
人生最大的問題，當作的沒做，不當作的作了；不當做的作了，當作的不做。
一個有地位的，有權勢，竟然問耶穌基督，我 當 作 甚 麽？
這不是我們的問題嗎？我當作甚麽？
我們要爲政府禱告，政府當作的做了沒有？我們常常埋怨，當作的沒有做，不當作的，做了。
考一考大家：緬甸10萬人上街，軍政府威脅要鎮壓。
－
請問，誰當作，誰不當做。？？應該不應該上街；應該不應該鎮壓？
2007-9-25在北京舉辦的「藝術北京2007」中，其中一件雕塑作品《一億‧泡女郎》被身分不明的觀眾用一瓶臭水潑髒。圖為該藝術引發爭議的展品。（中新社）
請問，誰當作，誰不當做。？？我們真的不知道？
這位年輕的官，有錢有權可以行事，竟然不知道甚麽當作的是甚麽？
不過，我们可以轉過來問；
這位年輕人，有錢有權有地位，知道這些不重要，知道還有更加重要的東西，自己不知道，因此，跑到耶穌基督的跟前來問？甚麽最重要？
不知道甚麽重要，或知道還有更加重要的，去問是沒有問題。最重要是，你願意問。
少年人跑到耶穌基督面前，跪在耶穌基督的面前。問：我當作甚麽？可以得到永生？
今天，我們當中總有慕道朋友，還沒有相信耶穌基督的朋友，我希望你也會問，我應該做甚麽？
這位年輕人，尋找他沒有的，生命的意義是甚麽？生命怎樣得到滿足，快樂？希望？
年輕人有錢，有地位，有才幹，可是，他沒有真正的滿足，因此，問。
他尋找他人生沒有的東西。他尋找人生最重要的東西。
各位，人生有許多的追求，但，有一樣的追求，是非常重要。
人生有許多的追求，最重要的，就是少年人的追求。
他憑著自己的力量追求，已經達到了許多金錢，才幹、地位。
在座的各位，今天你憑著自己的力量，你得到自己得到的東西嗎？你滿足你的追求嗎？
爲官的年輕人，一定是我們的典範；但，他跑到耶穌基督面前，我希望這也是成爲你的典範，跑到耶穌基督面前尋求。
他之所以跑到耶稣基督面前，因爲，他找不到一件重要的事情。就是他心中沒有真的滿足。
所以他找。找到耶穌基督的面前來。
可惜的是，聖經記載，他離開的時候，憂愁的離開。
爲甚麽憂愁離開，因爲他沒有按照耶穌基督的指示去做，因此，沒有滿足、沒有喜樂。
他的生活不錯，可是，他覺得人生優先的，他需要，沒有找到，因此，跑到耶穌基督面前。
各位，我們人生到了40歲的時候，人生會走下坡，到了50歲，我們就更加知道，人生是往下走。體力，能力下降。有地位，有錢財，可是，健康越來越少了。
因此，我們就知道，金錢不是重要，權力不是重要。這不是永恒的。
少年人得到金錢地位，可是沒有滿足。少年人知道，尋找滿足的人生，需要來到耶穌基督面前。
因爲，
1耶穌來了，帶給人生的滿足
2帶給人，永恒生命
3耶稣基督，是不要缺少的那一件。
1耶穌來了，帶給人生的滿足
甚麽是滿足喜樂的人生？我們人人正在尋找滿足快樂。哲學家從不同的角度來討論快樂。
自古依賴，人類有相同的目標：尋找真實永恒的滿足和喜樂。
人生的目的：活在世界，就是尋找快樂。怎樣尋找人生的目的和快樂。
思想家告訴我們，中庸之道：就會喜樂。
例子：
1吝嗇、不會快樂；浪費，也不會快樂，唯有節約環保、慷慨、就快樂。要喜樂，就要節約自己不浪費，不吝嗇。
2自卑不會快樂，自大也不會快樂。驕傲的人不快樂；唯有謙虛才快樂。
人生會有某個層次的快樂。例如：人生哲學告訴我們，放縱會快樂，不放縱也會快樂。人類會友某層次的快樂。在(徒十七章18節)記載希臘亞力斯多德的思想，亞力斯多德就有兩個看法：
斯多亞:主義(STOIC)：
人生痛苦，欲望太多，把欲望除掉，痛苦就除掉。這有佛教的思想。除去欲望就快樂。
禁欲就快樂。
伊辟古羅：(EPICURUS)
人生追求快樂，要有哲學思想，還要加上適當的物質享用，這樣就快樂；
伊辟古羅，後來門生，除掉適當，産生物質主義，變成縱欲主義。縱欲主義，就是今天人的生活心態；今朝有酒今朝醉。看看人怎樣買股票，以瘋狂來形容。
其實快樂非常簡單，不需要甚麽哲學思想的；
A380給人快樂。看戲，會快樂。去DISNEYLAND很快樂。
唱詩歌會快樂。跳舞會快樂。
可惜的是，這些快樂是短暫的快樂。真正的快樂，不是這些東西。真正的快樂是在耶穌基督裏面。
物質給人快樂，可是快樂得太少，好吃的東西，吃厭了，就找最不簡單的東西來吃。
以后還是吃厭了，明天還要再喝，再吃。以後，不想吃喝過的。人生就是不斷吃喝。魚怎樣做，怎樣吃。不知道还有甚麽东西可以吃喝。
到了後來，專家說，最好就是吃水果。蔬菜。
孔子：超越吃喝。人生不在乎吃喝甚麽，只要白開水，不在乎物質。
孔子說∶“君子所謀求的是道，不謀求個人的生活。
耕田，遇到荒年也難免要挨餓；學道，俸祿自然就在裏面了。君子所愁的在道的不行，不愁貧困不得食。”《論語•衛靈公第十五》
吃，這些東西，只是某些層次快樂而已。我們不會否認，少年的官，已經享受過了。
在今天，相信你没有做官，你一定比少年人还更好的享受。至少，他没有吃过叉烧包和饭。
你已經享受過很多快樂了。
可是，他還要來到耶穌基督的面前來。表示，耶穌基督給我們快樂。
因此，聖經告訴我們，沒有神，再多的東西和條件，也不會快樂和滿足。
世界享受不完的，沒有耶穌基督，就沒有真正的快樂，不會有快樂。
爲甚麽有主耶穌就有快樂？
因爲，耶穌基督大會宇宙的主宰，和宇宙主宰一起，我們才會找到真正的快樂。
人生，看看不飽，吃不完，得到，還要得到，永遠沒有滿足。
我們只要有神在我們中間，我們才會快樂。
我們拒絕神，不相信神，不讓神在我們生命中間，救恩臨到我們，心靈永遠有空洞，不會滿足。永遠缺欠。
奧古斯丁：非常聰明，可是，不會快樂。
頑皮，在一個晚上，把人的水果打下來，吃不完，拿去偎豬肉。和少女同居，生了孩子，非常敗壞。
有一天，奧古斯丁讀羅馬13：不要好色邪當，就悔改，
變成北非作主教。寫懺悔錄，懺悔錄就是禱告的文章。
懺悔甚麽？第一個懺悔，你爲自己創造人類，人類找不到你，內心永遠沒有安息。
各位，想要永遠的滿足，一定要來到耶穌基督的面前
2尋找永生
少年人來到耶穌基督的面前，稱呼耶穌基督是良善的夫子。
1、 找快樂滿足，快樂滿足一定是永恒的，因此，少年人問，我怎樣得到永生。
2、找永生。我做甚麽可以得到永生。
在當時的猶太人，有德行，守律法，可以得到進入天國。
耶穌基督告訴他，良善，你已經知道，遵守律法。
少年人說，我從小跟從，我年輕靠自己做善事，可是，我裏面沒有永生。
耶穌基督說，你知道，你知道自己做了，遵守了。
可是，你孝敬父母，愛人如己，你是真正的做到嗎。
少年人說，我做到。
耶穌基督說，既然你愛人如己，已經做到，現在就做給我看，你變賣所有，救濟窮人。
少年人聽見愛人要變賣所有，就臉色變了。憂愁走了。
各位，他說愛人如己，他有沒有做到；沒有。
沒有做到。因爲耶穌基督說，把財産變賣，分給人，他做不到，憂愁走了
錢多了，産業多了，愛窮人，分給窮人，他做不到
他只是在想像中間，以爲自己做到，可是，他沒有做到。
耶穌基督考一考他，他做不到。
這裏給我們明白，人生就是被金錢捆綁。
錢就是我們的救星，有錢能使鬼推磨。
可是金錢，給我們只是部分的快樂，不是真正的快樂。
不但如此，耶穌基督還說，你變賣所有，還要跟從我。怎樣得到永生，耶穌基督說，跟從我。
3跟從耶穌基督
各位的朋友，得永生，不是变卖所有，而是跟从耶稣基督。他缺少一件的是，跟从基督。
不是依靠行爲，不依靠自己的功德，不依靠自己的行善。
耶穌基督說，你來跟從我。這裏說明耶穌基督是誰？
耶穌基督是誰？要我們跟從？
各位，今天，我們叫人跟從耶穌基督，叫人相信耶穌基督，到底耶穌是誰？
少年人做不到，還不知道自己的問題，今天，你聽見耶穌基督的道理，
請你跟從耶穌基督，不要憂愁走，要得到永生。
要的永生，不是變賣所有才能得到永生。真正得到永生的是，跟從耶穌基督。
耶穌基督告訴我們他是誰，叫我們跟從，耶穌基督是永生的道，永生神的兒子。
永生的神，和我們談話，我們就跟從耶穌基督吧。
我們沒有喜樂，我們人生太有限，耶穌基督來到世界，給我們永生
耶穌基督是神的兒子，爲我們的罪，釘死在十字架。
耶穌基督是神的兒子，死了之後，3天復活。回到天父的身邊，統管世界。
耶穌基督的門徒到處傳揚，耶穌基督是救主，接受耶穌基督吧。
耶穌基督把永遠的生命給你。不要拒絕神的救恩。
耶穌基督要解決我們的罪，把罪交給耶穌基督，才能得到永生。
罪
談到行善，世界上的人，我們做不到神的標準，
我們可能是，好事做多一點，壞事少一點而已。
可是，他沒有符合神的標準
實際上，他不能做到愛人如己，把他的財産送給人，
耶穌基督考他，他就做不來
他蠻不錯的品格，可是，人在神的面前是罪人
談到罪，我們的反應，我有甚麽罪，我有罪，就是被警察抓。
神的標準和人的標準不一樣。
神的標準，在內心，人的標準是外在。
人不犯罪姦淫，可是，耶穌基督說，內心思想動了淫念，就犯上姦淫，就是犯罪。
打劫意念是犯罪的動機。打劫行動行爲是犯罪的結果。人的心思意念是神定罪的標準。
中文的罪，像四非。非禮勿視、非禮勿聽、非禮勿言、非禮勿動。
罪，古代的罪，是網非，網非，不只4樣。我們被網。
聖經：的比較高，不合神的標準，神有甚麽標準，
意念是罪;不是行動，因此，我們沒有辦法說，沒有罪.。
我們不會喜歡聽見人說我們有罪，若不是神的靈感動，不會接受罪。
神的存在，不是辯論，是神的靈感動你，你才會接受承認。
人若沒有神的，人裏面是虛空的.。
神的靈感動我們，我們在聖潔神面前，才能得救和平安.，我們要有這樣的認知，就得到神救恩。
結論：
你的人生甚麽最重要？
金錢、權力、地位
還是耶穌基督。
- ---------------------------------------
17 耶穌出來行路的時候，有一個人跑來，跪在他面前，問他說：「良善的夫子，我當做什麼事才可以承受永生？」
18 耶穌對他說：「你為什麼稱我是良善的？除了神一位之外，再沒有良善的。
19 誡命你是曉得的：不可殺人；不可姦淫；不可偷盜；不可作假見證；不可虧負人；當孝敬父母。」
20 他對耶穌說：「夫子，這一切我從小都遵守了。」
21 耶穌看著他，就愛他，對他說：「你還缺少一件：去變賣你所有的，分給窮人，就必有財寶在天上；你還要來跟從我。」
22 他聽見這話，臉上就變了色，憂憂愁愁的走了，因為他的產業很多。
－ ―――――――――――――――――――――――――――――
-
2011年8月26日星期五
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
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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
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4 Song and Dance Music in the Middle Ages
Study Plan
ORGANIZE
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5 Polyphony through the Thirteenth Century
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Chapter 6 French and Italian Music in the Fourteenth Century
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Chapter 7 Music and the Renaissance
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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
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Chapter 9
Franco-Flemish Composers, 1450-1520
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Chapter 10 Sacred Music in the Era of the Reformation
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Chapter 11 Madrigal and Secular Song in the Sixteenth Century
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Chapter 12 The Rise of Instrumental Music
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Chapter 13 New Styles in the Seventeenth Century
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Chapter 14 The Invention of Opera
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Chapter 15 Music for Chamber and Church in the Early Seventeenth Century
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Chapter 16 France, England, Spain, and the New World in the Seventeenth Century
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Chapter
17
Italy and Germany in the Late Seventeenth Century
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ORGANIZE
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Chapter
18
The Early Eighteenth Century in Italy and France
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ORGANIZE
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Chapter
19
German Composers of the Late Baroque
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ORGANIZE
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Chapter
20
Musical Taste and Style in the Enlightenment
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ORGANIZE
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Chapter 21 Opera and Vocal Music in the Early Classic Period
Study Plan
ORGANIZE
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Chapter 22 Sonata, Symphony, and Concerto at Midcentury
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Chapter 23 Classical Music in the Late Eighteenth Century
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Chapter 24 Revolution and Change
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Chapter
25
Song and Piano Music
Study Plan
ORGANIZE
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Chapter
26
Orchestral, Chamber, and Choral Music
Study Plan
ORGANIZE
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Chapter 27 Romantic Opera and Musical Theater to Midcentury
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Chapter
28
Opera and Musical Theater in the Later Nineteenth Century
Study Plan
ORGANIZE
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Chapter 29 Late Romanticism in Germany and Austria
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Chapter 30 Diverging Traditions in the Later Nineteenth Century
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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
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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
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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
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Chapter 34
The Classical Tradition
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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
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Chapter 36 The End of the Millennium
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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
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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
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4 Song and Dance Music in the Middle Ages
Study Plan
ORGANIZE
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5 Polyphony through the Thirteenth Century
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Chapter 6 French and Italian Music in the Fourteenth Century
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Chapter 7 Music and the Renaissance
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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
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Chapter 9
Franco-Flemish Composers, 1450-1520
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Chapter 10 Sacred Music in the Era of the Reformation
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Chapter 11 Madrigal and Secular Song in the Sixteenth Century
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Chapter 12 The Rise of Instrumental Music
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Chapter 13 New Styles in the Seventeenth Century
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Chapter 14 The Invention of Opera
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Chapter 15 Music for Chamber and Church in the Early Seventeenth Century
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Chapter 16 France, England, Spain, and the New World in the Seventeenth Century
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Chapter
17
Italy and Germany in the Late Seventeenth Century
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Chapter
18
The Early Eighteenth Century in Italy and France
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Chapter
19
German Composers of the Late Baroque
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Chapter
20
Musical Taste and Style in the Enlightenment
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Chapter 21 Opera and Vocal Music in the Early Classic Period
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Chapter 22 Sonata, Symphony, and Concerto at Midcentury
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Chapter 23 Classical Music in the Late Eighteenth Century
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Chapter 24 Revolution and Change
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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
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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
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Chapter 27 Romantic Opera and Musical Theater to Midcentury
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Chapter
28
Opera and Musical Theater in the Later Nineteenth Century
Study Plan
ORGANIZE
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Chapter 29 Late Romanticism in Germany and Austria
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Chapter 30 Diverging Traditions in the Later Nineteenth Century
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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
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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
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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
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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
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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
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Chapter 36 The End of the Millennium
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2011年8月25日星期四
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…。
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
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)
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)
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