Titlebook: Left Main Coronary Artery Disease; A Practical Guide fo Corrado Tamburino Book 2009 Springer-Verlag Milan 2009 Bypass.Coronary artery disea

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書目名稱Left Main Coronary Artery Disease影響因子(影響力)




書目名稱Left Main Coronary Artery Disease影響因子(影響力)學(xué)科排名




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書目名稱Left Main Coronary Artery Disease網(wǎng)絡(luò)公開度學(xué)科排名




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書目名稱Left Main Coronary Artery Disease被引頻次學(xué)科排名




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書目名稱Left Main Coronary Artery Disease讀者反饋學(xué)科排名

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Literature Review,nce of functioning grafts. Indeed, surgery has been widely proven to be more effective in both the short and long term, compared to medical treatment. Starting from the 1960s, many clinical studies comparing surgical versus medical treatment have proved that isolated medical treatment of ULMCA disea

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Morpho-functional Assessment of Left Main Coronary Artery Disease,s. While still being considered the gold standard method in the diagnosis of LMCA stenosis, conventional coronary angiography shows all its shortcomings in the quantitative assessment of those lesions, as proven in several studies confirming a high degree of interobserver variability [83–85]. These

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, p. 76), popular music satisfies basic emotional and cultural needs of both the performer and audience. Similar to other cultures in Nigeria, the Berom people who inhabit the Jos-Plateau area in Nigeria perform their ethnic popular music within contexts that satisfy socio-cultural needs. Dung Choll

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n . in the areas of form, style and cultural beauties. Societies are beset with the challenge of value system from the family to the larger society. There is a need to promote core values, transform negative attitudes and behaviours and commit the people to the renewed values. However, there is a de

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.A study to investigate Indigenous Ngoni African popular music in East and Southern Africa has revealed that Ngoni culture is portrayed to Africa and to the world as an advanced democracy that respects dignity, cultural values as well as traditional beliefs. It also indicated that their music reveal

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culating and promoting democratic and egalitarian culture in post-independence Zimbabwe. The central focus is entrenched upon the development that the Zimbabwean artists’ target audience is bifurcated in two heterogeneous camps: the sublime suspect group constituting the central force being called t