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注释： ①论文提要由译者提供。 ②提姆西·库辛(Timothy Koozin)与约翰·墨菲(John Murphy)提供了对本文的评论。菲利普·盖尔(Philip Gayle)，奥利沃·刚加尔文(Orival Goncalves)和尚·戴维斯(Shawn Davis)提供了技术支持和翻译帮助。在此对他们表示诚挚的谢意。 ③节点与链路结构的概念是由范内瓦·布什(Vannevar Bush)提出的(1945)，道格拉斯·恩格尔巴特(Vannevar Bush)将这些理念运用到人类及电脑中(1963)；用户以非线性方式自由浏览的概念是由泰德·尼尔松(Ted Nelson)提出的(1987［1974］)，他称此为“超文本”。 ④本文使用“应用”一词，而非“产品”或“作品”，原因是此处提到的互联网特性并不包含任何物理部件。 ⑤DVD与光碟存储器大小一致，是用来存储视频信息的，它所超过文本或者音频所存储的信息高达指数倍。电影是通过DVD播放的重要媒介，其高质音响及影像效果深受广大用户的喜爱。超媒体能够接入独立画面，这使得DVD成为数字博物馆收藏的理想媒介。其他数字应用，包括高度结构化的教程和游戏程序通过逐步提高难度以适应用户的操作水平(狄龙［Dillon］和伦纳德［Leonard］ 1998:187－188)。 ⑥“计划报废”是一种控制产品寿命以鼓励购买者替换产品的政策，被很多信息技术领域的垄断公司采用(译者注)。 ⑦光盘驱动应用需要资深技术员实现媒介的形式，实现人们对内容的预想；Nadanubbava的技术设计是由Intel India提供的(pers.comm.Shashikiran，德克萨斯休斯顿1999年4月)。网页设计也需要专业技术，尽管外行设计者可以使用模板。 ⑧自上世纪90年代起，许多应用拥有若干界面，有的提供情况介绍。Encarta Africana的文章部分包括一个单独的纲要界面，包含由颜色和图标指示的各种不同类型的媒体。 ⑨《跨文化音乐评论》仅发布文章的纯文本(http://www2.uji.es/trans)。 ⑩arXiv.org e-Print档案馆(http://www.xxx.lanl.gov/)发布物理，教学，非线性研究和计算机科学方面的论文。评论通过电子邮件私下交流，之后发布修改过的论文。 (11)艾里阿斯·隆洛特(Elias Lonnrot 1802年4月9日－1884年3月19日)是一位著名的芬兰—瑞典语言学家。他收集了大量芬兰传统的口头诗歌，最著名的著作是他编辑的芬兰的民族史诗卡勒瓦拉(译者注)。 (12)译者注：原文作者使用source musician(资源音乐家)这个词来称呼被采访对象，特别关注了采访者和被采访者之间平等等性的问题。 (13)加强版的CD音频材料编码，能够被普通的CD播放器识别，多媒体元素能被计算机的光碟驱动设备识别。 (14)Davenport网页上有三个节点可链接“Old-Time Fiddling”(“Clyde's Repertoire”,“Jeff Titon”和“Gift”)，而“Bluegrass”和“What Is Music”的两个节点并不在此网页上。 (15)《美国记忆》以光碟驱动和11英寸影碟的形式在一系列图书馆作为试点。类似档案集也设计用于这样影碟平台。 (16)美国有些大学开设若干介绍世界音乐的课程，拥有虚拟教室。学生的对这些课程的在线反应和实际的课堂有所区别。 (17)此处商业网站不作讨论。其中一些包含的信息无处查询，例如特别广播列表(见http://www.thebluehighway.com)。 (18)用户选区的价值在于它是人种和名俗研究的焦点之一(见Sherman,1999)。 (19)对超媒体的深层投入可能改变用户的感知和社会性(见Lysloff,1999)。 原文参考文献： [1]Alen,Olavo.1995."Rhythm As Duration of Sounds in Tumba Francesa." 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