美国地震频率上升或与水力压裂法开采油气有关 中国能源网报道:北京时间4月13日上午消息,据外电报道,美国政府科学家在一项研究报告中指出,美国中部地区地震频发几乎可以肯定是人为原因造成的,具体原因可能是通过水力压裂法开采油气资源过程中产生的大量废水被排入地下所致。 美国地震调查局的研究员表示,在2000年之前的三十年间,美国中部地区平均每年仅发生21次地震,但到2009年这一数字却上升至50,2010年达到87次,2011年更是高达134次。 这份研究报告将在下周圣地亚哥召开的美国地震学会会议上予以讨论。能源行业可能将面临更大压力,被迫接受水力压裂开采法方面的更多管制。 水力压裂法是指向地下岩层泵入高压液体致使岩层产生裂缝达到油气增产的一种技术。 美国内政部副部长大卫-海斯 (David Hayes)昨日在博客上表示:“我们的科学家列举了一系列例子,发现在地震发生频率上升的地区,通过深水井排放的废水大量增加。” 不过海斯指出,这些地震的强度相对较小,很少造成严重破坏;并非所有的废水排放井会诱发地震,目前还无法了解排污井会否导致地震发生。 http://www.cippe.net/news/html/201204/70772.html Earthquakes Induced by Fluid Injection Q: Does the production of natural gas from shales cause earthquakes? If so, how are the earthquakes related to these operations? A: To produce natural gas from shale formations, it is necessary to increase the interconnectedness of the pore space (permeability) of the shale so that the gas can flow through the rock mass and be extracted through production wells. This is usually done by hydraulic fracturing ("fracking"). Fracking causes small earthquakes, but they are almost always too small to be a safety concern. In addition to natural gas, fracking fluids and formation waters are returned to the surface. These wastewaters are frequently disposed of by injection into deep wells. The injection of wastewater into the subsurface can cause earthquakes that are large enough to be felt and may cause damage. 引自 http://earthquake.usgs.gov/learn/faq/?faqID=357
一般资源在单位时间内完成降解在合成单个循环的次数即单位时间内返回原态的频率,用表征为频率,若在t时间内初始为W 0 单位的资源,可以当作W t =W 0 ( t)单位的资源来使用;但是单位资源在每经过一次循环后都会有(01)单位的资源损耗,故对W t =W 0 t必须进行修正。 初始经过一次循环所用时间为T 1 =T,由于经过一次循环第一次初态资源每单位有单位损耗,故第二次循环所需要时间也是上次的倍故T 2 =T,依此类推...到第n次循环所费时间为T n = n-1 T,则在t时间内经过几次循环。 因为t= k -1 T(k=1...n),则n= , 代表取整,故在 t时间内经过n个循环,故每单位时间经历 n/t次的循环,而若在t时间内初始为W 0 单位的资源,可以当作单位的资源来使用, W t = k-1 W 0 (k=1...n ] 整理可以得。 W t =W 0 (1- n )/(1- ),(n= ),在 t时间内平均每次循环后还剩资源记住 W = W t /n,在根据 =n/t则有即 W t =W 0 (1- n )/(1- )= t W, (n= )。 综上, 初始为W 0 单位的资源 不论每次循环中是否存在损耗则在 t时间内可以利用的资源量总可以写成单位时间内分解在合成的频率与时域的长度t以及在循环中平均每次循环后还剩资源 W 的乘积,即W t =W 0 ( t)和 W t = t W。
波段 频率范围 UHF 0.03-1.12 L 1.12-1.7 Ls 1.7-2.6 S 2.6-3.95 C 3.95-5.85 Xc 5.85-8.2 X 8.2-12.4 Ku 12.4-18.0 K 18.0-26.5 Ka 26.5-4.0 Q 33.0-50.0 U 40.0-60.0 M 50.0-70.0 E 60.0-90.0 F 90.0-140.0 G 140.0-220.0 R 220.0-325.0 老是忘,记下来,哈哈
植根民族沃土,跻身交响之林 —— 鲍元恺 交响曲 研究 黄飞 从 2004 年起, 作曲家 鲍元恺开始步入交响曲领域的创作,他以每年一部的频率连续向听众贡献出三部大型交响曲:第一交响曲《纪念》、第二交响曲《烽火》和第三交响曲《京剧》,在国内外引起了 音乐 界强烈反响和高度瞩目。 鲍元恺的交响曲创作是在他在其他音乐领域,特别是交响曲以外的管弦乐音乐创作取得丰硕成果和丰厚经验之后开始的。不同风格的民族传统音乐的长期积累,不同体裁的音乐创作的长期积累,以及对西方各种音乐流派作曲技法的多年潜心研究,为作曲家进入交响曲领域的创作奠定了深厚的基础。 鲍元恺的交响曲创作,一方面继承了欧洲交响曲大师 贝多芬 、 勃拉姆斯 、马勒、肖斯塔科维奇等以宏大的一泻千里式的戏剧化展开表现社会重大社会题材的艺术传统,一方面继承了马思聪、陈培勋等前辈 中国 作曲家在交响音乐创作中表现中华民族文化形态和精神世界的探索。他的交响曲乐思洋洋洒洒而保持结构严谨,风格独特鲜明而不失旋律流畅,而在东方民族风格和西方交响结构及其相关的和声、复调、配器方面的融合统一方面,更为今后国人的创作提供了可供借鉴的宝贵经验。 本文以鲍元恺教授的全部管弦乐作品为参照,以三部交响曲为重点,对鲍元恺的交响曲的主题结构、展开手段,和声与复调技法以及管弦乐配器手段进行艺术形态的全面研究。文后另附鲍元恺三部交响曲的结构图表及谱例说明。 Since 2004, Mr. Bao Yuankai, a famous Chinese composer, has stepped into the field of symphony writing. With a frequency of one every year, he has contributed three major works: SymphonyNo.1, “commemoration”,SymphonyNo.2“Sketch of war”,Symphony No.3 “Peking Opera” ,which have obtained hot response from music area both domestic and international. Mr. Bao Yuankai began his symphony production after his remarkable achievements and rich experience in music fields other than symphony, especially in orchestral music. With his long term accumulation in different types as well as in different styles of traditional Chinese music, and with his long term research in different genres of music writing, the composer built a solid foundation in symphony creation. Beside the art tradition from European maestros, such as Ludwig Van Beethoven, Johannes Brahms, Gustav Mahler and Dmitry Shostakovich, who depicted major subject mater with magnificent movement, Mr. Bao Yuankai also inherited the explore of Chinese culture and spirit manifested in the symphony of Chinese composers such as Ma Sicong and Chen Peixun. Free-minded but precise in structure, unique style. without compromise in the fluency of melody, Mr. Bao Yuankai’s symphony provided precious experience to subsequent Chinese composers in syncretizing the Oriental style. and the structure of western symphony as well as the related harmony, polyphony and orchestration. In this thesis, Mr. Bao Yuankai’s symphonies were comprehensively analyzed in subject structures, methods of evolution, skills in harmony and polyphony, with reference of all his orchestral music and with focus on his three symphonies. The structure map and sample scores of Mr. Bao Yuankai’s three symphonies are also attached. 全文下载 http://www.emus.cn/batch.download.php?aid=10959