【導(dǎo)讀】品朝著集成化和小型化發(fā)展。特別是隨著網(wǎng)絡(luò)多媒體技術(shù)的普及、數(shù)字音視頻技術(shù)的快。得到了長(zhǎng)足的發(fā)展。是當(dāng)今較流行的一種數(shù)字音頻編碼和有損壓縮格式，它設(shè)計(jì)用來大幅度地降。它是在1991年由位于德國(guó)埃爾朗根的研究組織Fraunhofer-Gesellschaft的一組工。程師發(fā)明和標(biāo)準(zhǔn)化的。MP3就是一種音頻壓縮技術(shù)，由于這種壓縮方式的全稱叫MPEG. AudioLayer3，所以人們把它簡(jiǎn)稱為MP3。將音樂以1:10甚至1:12的壓縮率，壓縮成容量較小的file。能夠在音質(zhì)丟失很小的情。況下把文件壓縮到更小的程度。而且還非常好的保持了原來的音質(zhì)。述了其相關(guān)技術(shù)和具體實(shí)現(xiàn)流程，其中重點(diǎn)分析了FAT32文件系統(tǒng)在單片機(jī)上的移植。定性、實(shí)用性和擴(kuò)展性。

　　

【正文】 \n)。//此涵數(shù)在 中 ,51 單片機(jī)的串口發(fā)送字符串 VS_sin_test(200)。 //對(duì) VS1003 的正弦測(cè)試可以知道 VS1003是否正確設(shè)置 ,此涵數(shù)可以不使用 UART_Send_Str(VS1003 Sin 測(cè)試 \n)。 //此涵數(shù)在 中 ,51 單片機(jī)的串口發(fā)送字符串 LCD_write_english_string(0,0,Memory)。LCD_write_english_string(40,0,SD card)。//顯示物理介質(zhì) SD LCD_write_english_string(0,2,Music name:)。//顯示歌名 LCD_write_english_string(0,4,Bit rate)。LCD_write_english_string(52,4,96k/s)。//顯示采樣速率 LCD_write_english_string(0,5,Total MB:)。LCD_write_english_string(55,5,1953)。//顯示 sd 容量 //%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% while(1) { while(!FAT32_Open_File(amp。FileInfo,\\*.mp3,item++)) //FAT32_Open_File打開一個(gè)文件 ,此涵數(shù)在 中 { //UART_Send_Str(打開文件成功 \n)。 //此涵數(shù)在 中 ,51 單片機(jī)的串口發(fā)送字符串 //UART_Send_Str(文件名為： )。 //此涵數(shù)在 中 ,51 單片機(jī)的串口發(fā)送字符串 30 UART_Send_Str()。//此涵數(shù)在 中 ,51 單片機(jī)的串口發(fā)送字符串 輸出文件名 LCD_write_english_string(0,3,)。 //顯示歌名信息 UART_Send_Enter()。 //此涵數(shù)在 中 ,51 單片機(jī)的串口發(fā)送 0d 0a ，即回車換行 UART_Put_Inf(文件大小 (字節(jié) )： ,)。//此涵數(shù)在 中 ,串口輸出文件信息結(jié)構(gòu)體 .文件的當(dāng)前簇 UART_Put_Inf(文件當(dāng)前偏移量 (字節(jié) )： ,)。//此涵數(shù)在 中 ,串口輸出文件信息結(jié)構(gòu)體 .文件的當(dāng)前偏移量 UART_Send_Str(開始讀取文件到 VS1003 進(jìn)行解碼播 放 \n)。//此涵數(shù)在 中 ,51 單片機(jī)的串口發(fā)送字符串 //開始播放 MP3 文件 ///////////////////////////////////// VS_XDCS=0。 //打開數(shù)據(jù)片選，此時(shí)可以送入音頻數(shù)據(jù) FAT32_Read_FileX(amp。FileInfo,0,VS_Send_Dat)。//此涵數(shù)在 中 ,從文件某一位置讀取一定長(zhǎng)度的數(shù)據(jù) VS_XDCS=1。 //關(guān)閉數(shù)據(jù)片選 ,此時(shí)不可以送入音頻數(shù)據(jù) ////////////////////////////////////////////////////// VS_Flush_Buffer()。 //此涵數(shù)在 中 ,清空 VS1003 的數(shù)據(jù)緩沖區(qū) UART_Send_Str(音頻播放結(jié)束 \n)。 //此涵數(shù)在 中 ,51 單片機(jī)的串口發(fā)送字符串 FAT32_File_Close(amp。FileInfo)。 //此涵數(shù)在 中 ,文件關(guān)閉 (文件信息結(jié)構(gòu)體 ) UART_Send_Str(文件已關(guān)閉 \n)。 //此涵數(shù)在 中 ,51 單片機(jī)的串口發(fā)送字符串 } item=0。 } 31 //%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% UART_Send_Str(所有音頻文件播放完畢 \n)。 //此涵數(shù)在 中 ,51 單片機(jī)的串口發(fā)送字符串 LCD_clear()。 //清屏 LCD_write_english_string(0,3,all music is over)。 //結(jié)束 while(1)。 //死循環(huán) } void delayms(unsigned int x1) { unsigned int x2。 for(。x10。x1) for(x2=1200。x20。x2)。 } extern unsigned long next。 void keyup(void) interrupt 0 { EX0 = 0。 delayms(20)。 if(key0==0) {if(item0)item=2。next=0。} EX0 = 1。 } void keynext(void) interrupt 2 { EX1 = 0。 delayms(20)。 if(key1==0) next=0。 EX1 = 1。 } 32 附 錄 2 實(shí)物圖 圖 21 實(shí)物 正面 圖 圖 22 實(shí)物背面圖 33 圖 23 音樂播放界面 附錄：外文翻譯 In Wang Zuoliang’s translation practices, he translated many poems, especially the poems written by Robert Burns. His translation of Burn’s “A Red, Red Rose” brought him fame as a verse translator. At the same time, he published about ten papers on the translation of poems. Some argue that poems cannot be translated. Frost stresses that poetry might get lost in translation. According to Wang, verse translation is possible and necessary, for “The poettranslator brings over some exciting work from another culture and in doing so is also writing his own best work, thereby adding something to his culture. In this transmission and exchange, a richer, more colorful world emerges. ”(Wang, 1991:112). Then how can we translate poems? According to Wang’s understanding, the translation of poems is related to three aspects: A poem’s meaning, poetic art and language. （ 1） A poem’s meaning “Sociocultural differences are formidable enough, but the matter is made much more plex when one realizes that meaning does not consist in the meaning of words only, but also in syntactical structures, speech rhythms, levels of style.” (Wang, 1991:93). （ 2） Poetic art According to Wang, “Bly’s point about the ‘marvelous translation’ being made possible in the United States only after Whitman, Pound and Williams Carlos Williams posed poetry in speech rhythms shows what may be gained when there is a genuine revolution in poetic art.” (Wang, 1991:93). （ 3） Language “Sometimes language stays static and sometimes language stays active. When language is active, it is beneficial to translation” “This would require this kind of intimate understanding, on the part of the 34 translator, of its genius, its idiosyncrasies, its past and present, what it can do and what it choose not to do.” (Wang, 1991:94). Wang expresses the difficulties of verse translation. Frost’s ment is sufficient to prove the difficulty a translator has to grapple with. Maybe among literary translations, the translation of poems is the most difficult thing. Poems are the crystallization of wisdom. The difficulties of poetic prehension lie not only in lines, but also in structure, such as cadence, rhyme, metre, rhythm, all these conveying information. One point merits our attention. Wang not only talks about the times’ poetic art, but also the impact language’s activity has produced on translation. In times when the language is active, translation is prospering. The reform of poetic art has improved the translation quality of poems. For example, around May Fourth Movement, Baihua replaced classical style of writing, so the translation achieved earthshaking success. The relation between the state of language and translation is so