our music的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到附近那裡買和營業時間的推薦產品

That Time We Ate Our Feelings: Comfort Food from the Heart: From the Creators of #coronakitchen

為了解決our music的問題，作者Lucas, Lisa,Mansini, Debrianna 這樣論述：

Lisa Lucas is a writer, producer, and actor who has produced and written more than thirty television series including for ABC’s The Bachelorette, Bravo’s Work of Art, and NBC’s Emmy-winning My 1st Time. In 2017, she produced the Emmy-nominated feature documentary Defending the Fire. She is also an e

xecutive producer and principal partner in LikeMinds, a production company based in Santa Fe, New Mexico, that creates content for documentary and scripted television series, short films, and independent features. Lisa has received professional theatrical training from the National Theatre Institute

at the Eugene O’Neill Theatre Center in Waterford, Connecticut, and studied Shakespearean theater at the Guildhall School for Music and Drama in London. For some reason, she is frequently cast in roles of either unfortunate victims of wrong place at the wrong time situations, like in NBC’s The Nigh

t Shift, or hyper pious parochial school nuns like in the independent upcoming 2021 short film The Holy Word. In 2020, Lisa and Debrianna Mansini launched Corona Kitchen, an unscripted nightly cooking show on Facebook and YouTube Live. She lives in Santa Fe, New Mexico.Debrianna Mansini is an actor

, writer, and activist who is known for her role as Fran in AMC’s Breaking Bad and Better Call Saul, and playing opposite Oscar winner Jeff Bridges in Crazy Heart. She trained at the Circle in the Square Theatre School in New York City before launching Tin Roof Productions, which later became the Sa

nta Fe Performing Arts Company. Debrianna has worked off-Broadway in New York and has toured on stage throughout the United States in her critically acclaimed show The Meatball Chronicles. Debrianna and her husband, David Forlano, won the Earth Keepers Award for Best Sustainable Video for their docu

mentary short Earth Ships of Taos, whichwas shown at the Downtown Los Angeles Film Festival, and several of their documentary shorts have aired on Al Gore’s cable network, Current TV. In 2010, Debrianna’s children’s short, Picking Up Feets, was selected for the International Women in Film Festival.

In 2020, Debrianna and Lisa Lucas launched Corona Kitchen, an unscripted nightly cooking show on Facebook and Youtube Live. She lives in Santa Fe, New Mexico.

our music進入發燒排行的影片

無所不在的聲音： 年輕成人的線上音樂及線上廣播消費研究

為了解決our music的問題，作者江明潔 這樣論述：

數位時代廣播及音樂的消費方式，融合了科技的發展、內容和形式的轉變，廣播聽眾開始得以使用網路在手機、電腦上收聽廣播，相關的音訊檔案甚至可以隨選、下載，收聽廣播不再受限於地點、時間、及訊號清晰程度影響，錯過想聽的節目，還可以另外抽出空閒時間重聽。音樂產業因新的科技發展面臨轉型，當代音樂和科技的關係，隨著串流平台崛起，任何人都能透過數位下載方式免費獲取，收聽廣播、音樂不再被時間、空間、硬體體積、容量所限制，科技使得消費者隨時都能享受音樂。本研究主要目的在探討在日常生活脈絡下，聲音媒介及其內容的消費實踐，消費者在數位時代下在收聽音樂、廣播時使用媒介的動機及習慣（habits）和具有的意義。本研究使用

深度訪談法進行，訪問人數11人。從使用聲音媒介的動機來看，可以區分為「心理」及「日常生活習慣」兩個面向，使用者出於「心理」情緒相關收聽的可細分為「撫慰」、「培養情緒」、「逃避互動」三個原因；「日常生活習慣」則可看出聲音在日常生活中扮演的角色，可細分為「日常生活」、「打發時間」、「陪伴」。而當日常生活形式與聲音作結合後，使用者養成了在執行日常生活行為時，就要有聲音的習慣，成為了一種固定的既定消費行為模式，在本研究中通勤跟寫作業時收聽聲音媒介，是最多年輕成人受訪者在日常生活習慣中，與聲音連結最常見的時候。在收聽線上音樂使用的媒介以手機最多，其次為電腦，而廣播仍是以傳統車載收音機收聽最多，其次為手機

APP，而在收聽音樂載具背後其實與科技符擔性（affordances）有關，又以「手機多工的符擔性」、「時間彈性符擔性」、「空間限制消除的符擔性」和「多元內容符擔性」影響消費者的使用。

At the Crossroads of Music and Social Justice

為了解決our music的問題，作者 這樣論述：

Music is powerful and transformational, but can it spur actual social change? A powerful collection of essays, At the Crossroads of Music and Social Justice studies the meaning of music within a community to investigate the intersections of sound and race, ethnicity, religion, gender, sexual orienta

tion, and differing abilities. Ethnographic work from a range of theoretical frameworks uncovers and analyzes the successes and limitations of music’s efficacies in resolving conflicts, easing tensions, reconciling groups, promoting unity, and healing communities. This volume is rooted in the Crossr

oads Section for Difference and Representation of the Society for Ethnomusicology, whose mandate is to address issues of diversity, difference, and underrepresentation in the society and its members’ professional spheres. Activist scholars who contribute to this volume illuminate possible pathways a

nd directions to support musical diversity and representation.At the Crossroads of Music and Social Justice is an excellent resource for readers interested in real-world examples of how folklore, ethnomusicology, and activism can, together, create a more just and inclusive world. Brenda M. Romero

is Professor Emerita at the University of Colorado, Boulder. She earned a PhD in Ethnomusicology from the University of California, Los Angeles, and a BMus and a MMus in Music Theory and Composition from the University of New Mexico. In addition to extensive research in New Mexico, she conducted fie

ldwork in Mexico, Colombia, and Peru, including as Fulbright Scholar in Mexico in Colombia. Her monograph, Matachines Transfronterizos, Warriors for Peace at the Borderlands is forthcoming.Susan M. Asai is Professor Emerita from the Music Department at Northeastern University in Boston. Her research

encompasses Japanese folk performing arts and Asian American music and cultural politics. She has published numerous articles and encyclopedic entries on Japanese/Asian American music and identity. Asai’s book projects include Nōmai Dance Drama: A Surviving Spirit of Medieval Japan and Sounding Our

Way Home: Japanese American Musicking and the Politics of Identity (forthcoming).

基於翻譯序列推薦模型於跨領域推薦系統之強化方法

為了解決our music的問題，作者王均捷 這樣論述：

若我們有足夠多的歷史資料，就可以用很多不同的方法去建立一個聰明的推薦系統。但在某些情況下，比如一個新的社交媒體平台或電商平台上線時，我們沒有足夠的使用者物品互動資料來建構出好的推薦系統。其中一個強化跨領域推薦（cross-domain recommendation）的解決方案，是藉由將「來源領域（資訊含量較多之領域）」的資料加入「目標領域（資訊量相對較少的領域）」來提升資訊量，然後對「目標領域」進行推薦。本論文採用圖形學習表示演算法，結合改良並善用翻譯序列推薦模型（Translation-based Recommendation，TransRec）的推薦優勢，特化模型訓練時採樣方法、改變翻譯

序列合併方法，並引入貝氏個人化推薦（Bayesian Personalized Ranking，BPR）中負採樣（negative sampling）的概念，訓練得到推薦系統任務導向之表示向量，藉此改善推薦結果。本研究旨在通過改良後的翻譯序列推薦模型「TransRecCross」來強化跨領域推薦效果。驗證本論文的新方法時，使用了 Amazon Review 系列資料集中的其中四個，並在論文最後比較了加入不同比例的來源領域資料後的推薦結果，以驗證本論文提出之方法的可靠程度。