查询词典 Japanese cedar

Rustic Natural Cedar Company uses two types of cedar -- Northern White Cedar for our indoor and outdoor furniture for its creamy white color and enduring strength, and Western Red Cedar for our outdoor garden products such as arbors and trellises.

质朴自然雪松公司使用的，如乔木和棚架户外园艺产品两种类型的雪松-北白雪松为我们的室内和室外其乳白色的颜色和持久力家具，西部红柏。

Then changes into again the interest according to the forward rate the Japanese Yen, 6 month-long forward rate agio values are 1.90 that exchange rate are 140.00 - 1.90 =138.10, 80,000 US dollars are multiplied by 138.1 = 11,048,000 Japanese Yen, subtracts 140,000,000 Japanese Yen = 140,000,000 to be multiplied by 12% again in the Japanese deposit interest to divide 2 = 8,400,000 Japanese Yen, finally 2,648,000 Japanese Yen.

然后再把利息按照远期汇率换成日元，6个月的远期汇率贴水值是1.90那汇率就是140.00-1.90=138.10，8万美元乘以138.1=1104.8万日元，再减去1.4亿日元在日本存款的利息=1.4亿乘以12%除以2=840万日元，最后得264.8万日元。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城"2000中国古典音乐系列音乐会"委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城&2000中国古典音乐系列音乐会&委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

Hence, the modulus of rigidity, G, of glulam was measured by vibration test method in order to realize the shear deflection effect. The E/G values of Japanese cedar, Taiwania, Douglas-fir, and southern pine glulam were ranged form 13.2 to 14.5, 14.6 to 16.6, 12.1 to 16.6 and 16.0 to 19.1, respectively. The pure MOE was also obtained. The Ep and MOR values of glulam were ranged from 10.6 to 13.4 GPa and 48.3 to 61.9 MPa for Japanese cedar, ranged from 12.1 to 15.0 GPa and 41.8 to 58.8 MPa for Taiwania, ranged from 10.5 to 16.4 GPa and 37.2 to 65.6 MPa for Douglas-fir, ranged from 14.5 to 20.6 GPa and 70.2 to 78.48 MPa for Southern pine, respectively.

而消除剪力挠曲影响，即可得集成材之抗弯弹性模数真实值与抗弯强度，依本研究配置所得之柳杉集成材之Ep值与MOR值分别为10.6-13.4 GPa与48.3-61.9 MPa；台湾杉集成材之Ep值与MOR值分别为12.1-15.0 GPa与41.8-58.8 MPa；花旗松集成材之Ep值与MOR值分别为10.5-16.4 GPa与37.2-65.6 MPa；南方松集成材之Ep值与MOR值分别为14.5-20.6 GPa与70.2-78.4 MPa。

The liquefied Japanese cedar was blended with PMDI (poly-4, 4'-diphenylmethane diisocyanate), and adding water as a blowing agent, organosiloxane as a surfactant and dibutyl tin dilaurate as a catalyst to prepare the polyurethane foams. The effects of the kind and dosage of surfactant and the molar ratio of NCO/ for PMDI to liquefied Japanese cedar on the properties of PU foams were investigated.

Don； Japanese cedar进行液化处理，所得液化柳杉进一步与异氰酸酯PMDI混合，并添加水为发泡剂，有机矽氧烷为界面活性剂，二月桂酸二丁锡为催化剂制造聚胺基甲酸酯发泡体，探讨界面活性剂种类、添加量及PMDI与液化柳杉之NCO/莫耳比对所制造PU发泡体性质之影响。

In this study, Cryptomeria japonica was liquefied in phenol with H2SO4 and HCl as a catalyst. The epoxy resin was synthesized from epichlorohydrin and bisphenol A with the molar ratio of 5/1. Blending resins were prepared by mixing the liquefied Japanese cedar and epoxy resin with weight ratios of 30/100, 50/100 and 70/100, and the triethylene tetramine was added as a cross-linking hardener. The effect of mixing ratios of liquefied Japanese cedar to epoxy resin and amount of hardener added on the reactivity of blending resins and the properties of cured resins were investigated. Furthermore, polysiloxane and rice husk were added as foaming agent and filler, respectively, to the epoxy resin and blending resins. The foaming process, the bubbles shape, the mechanical properties, and the thermal stability of the epoxy foams were investigated.

中文摘要本研究将柳杉(Cryptomeria japonica； Japanese cedar)木材以酚为溶剂，H2SO4及HCl为催化剂进行液化处理，另以莫耳比5/1之环氧氯丙烷与双酚A反应合成环氧树脂，并将液化柳杉与环氧树脂以重量比30/100、50/100及70/100混合制备掺合树脂，并以三乙基四胺(Triethylene tetramine； TETA)为架桥硬化剂，探讨液化柳杉与环氧树脂混合比及硬化剂添加量对其掺合树脂之反应性，及其硬化树脂性质之影响；进一步於环氧树脂与掺合树脂中添加聚矽氧烷为发泡剂，稻壳粉为填料制备发泡体，探讨其发泡体之发泡过程、泡体形态、发泡体机械性质与热稳定性。

In the fire performance study, the charring rate of side and bottom were ranged from 0.587 to 0.750 mm/min and 0.709 to 0.897 mm/min for China fir glulam, 0.643 to 0.770 mm/min and 0.644 to 0.911 mm/min for Japanese cedar glulam, 0.608 to 0.757 mm/min and 0.614 to 0.817 mm/min for Taiwania glualm, 0.588 to 0.627 mm/min and 0.632 to 0.694 mm/min for Douglas-fir glulam, and 0.530 to 0.568 mm/min and 0.566 to 0.583 mm/min for Southern pine glualm, respectively. The results indicated that the charring rate in all glulam showed a decreasing order in Taiwania＞Japanese cedar ＞China fir ＞Douglas-fir＞Southern pine glulam.

集成材之火灾特性上，炭化速度方面：杉木集成梁侧面之炭化速度为0.587 - 0.750 mm/min；底面之炭化速度为0.709 - 0.897 mm/min；柳杉集成梁侧面之炭化速度为0.643 - 0.770 mm/min；底面之炭化速度为0.644 - 0.911 mm/min；台湾杉集成梁侧面之炭化度为0.608 - 0.757 mm/min；底面之炭化速度为0.614 – 0.817 mm/min；花旗松集成梁侧面之炭化速度为0.588 - 0.627 mm/min；底面之炭化速度为0.632 - 0.694 mm/min；南方松集成梁侧面之炭化速度为0.530 - 0.568 mm/min；底面之炭化速度为0.566 - 0.583 mm/min，有南方松集成材优於花旗松集成材，依序为杉木集成材、柳杉集成材、台湾杉集成材之趋势。

The company deals with the business of indoor and outdoor landscaping timbers (e.g. red cedar, yellow cedar), wood-house building materials (e.g. SPF,OSB,engineered wooden products, hardware connections), carving materials (e.g. yellow cedar, spruce) and furniture materials e.g. hemlock, Douglas fir, spruce etc.

主要经营室内和室外景观材，木结构房屋建材（SPF，OSB，工程木制品和五金链接件），雕刻材，家具材。

Sometimes known as Northern White Cedar and Eastern White Cedar, the sapwood of white cedar is thin and white, while the heartwood is a light brown.

有时就像北方白宫雪松和东欧雪松。白宫雪松的边材是白色的，而日薄，而心是一种浅棕色。

This paper designs the communication system of radio telescope FAST.

针对500m口径球面射电望远镜FAST分布式控制系统的特点完成了其通信系统的设计。

Political sheep's step-by-step a large number of fossils unearthed in the county soil Ma Ali after rural village in the middle of sallow pelitic siltstone.

步氏和政羊化石大量出土于广河县阿力麻土乡后山村，产于灰黄色泥质粉砂岩中。