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|PROFILE| DERIVATION Arguments list start gr¡ [generic-function] *-*-------------------------- *------------------------------ *---------*------------------------*---------*---------*-*---------- ---------------*-----*-------------- *-*---------------- Ce module est la transcription musicale de l operation de derivation, appliquee a un profil melodique. Dans ce cas precis l intervalle tempporel entre les hauteurs est considere egal a un (1). Le resultat de ce module est toujours une liste de listes ou le premier element est le resultat de l operation de derivation represente comme une liste de hauteurs en listents. Et le reste des elements representent le baricentre des structures derivees. Si on procede a une derivation du premier degre cette deuxieme partie de la liste contiendra un element, on procede a une derivation du deuxieme degre cette deuxieme partie de la liste contiendra deux elements, et ainsi de suite. list est soit une liste simple de hauteurs en listents representant un profil, spoit une liste de listes originaire d un module integration . start menu derroulant qui permet de definir le mode de fonctionement de ce module. Si start egal a first l entree list doit tre une liste simple de hauteurs, en listents, representant un profil, le resultat de l operation sera la derivation de ce profil. Si start egal a orig l entree list doit tre une liste de listes, originaire d un module integration . Ce mode sert a la reconstitution d un profil suite a des derivations successives. gr¡ est l ordre de l operation de derivation.
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IN/overview ISU components. Interpretation. Interpretation overview What is interpretation? Interpretation is the personal and creative translation of music by using movements with intricacy, difficulty and quality. Movement is the keyword. Variety of movement is required in all parts of the skater’s composition, in order to have depth in the interpretation of the music. All written criteria for interpretation are addressed in this DVD. But to simplify the process for the judge, we are focused on three main points of interests for interpretation. Musical movement, expressive/nuance movement, and effortless movement. IN/Music Movement http //youtu.be/Uio9PKFlEAY 2.1.2. ISU components. Interpretation. Musical movement Musical movement is movement that reflects the phrasing, the character, and the style of the musical selection. Music is played in phrases, much like different languages we speak, each piece of music, like a different language may have different rhythms and tempos, but all has a question and and an answer pattern, a question and answer phrase of music completes a whole musical sentence. Let’s listen to the musical selection from an ice dance team. This style of music is classical. (1 50) Let’s now observe what movements were performed to the music. Look to see if the movement phrasing corresponds with the musical phrasing. (3 07) The phrasing of the movement matched well with the phrasing of the music. In ice dance, the focus is on music and movement and the elements are such that they can be integrated into the interpretation smoothly. Now, a selection of music from a single skater. It is also classical. (4 20) Let’s look at what movements were performed. Pay particular attention to the movement phrasing to see if it corresponds with the musical phrasing. (5 24) Generally speaking, for singles and pairs, as the skaters prepare for their risky, technical elements, there is often a disconnect between the music and their movement. (5 46) Here is an example where the skater ignores the music, and becomes disconnected for an extended amount of time prior to the technical element. (6 13) While preparing for his second technical element, he again disconnects with the music. (6 25) In preparation for the quad toe-triple toe combination, this skater ignored the music for 12 seconds in order to set up the element, which is worth 13.8 points. Prior to the triple axel attempt, which is worth 8.2 points, he ignored the music for 11 seconds. There are many points to be gained by successfully completing the technical elements. But in numerous cases, it is at the cost of losing connection with the music and interpretation. In regards to the skater being connected to the music, let’s look at some performances. To help guide and for discussion point, we will indicate on the screen where the skater loses connection with the music and where they are connected. While we do this, consider that the technical element is part of the program, and it should work with the music, regardless of its success. (8 57) Even though there was a mistake, the disconnect with the music was very short. The movements were not always phrased perfectly, but he was both physically and emotionally connected with the music. (10 47) In the ISU judging system, the balance between technical points and component points is up to the skater. If the skater chooses to execute difficult jumps with high point values, but does not interpret the music for an extended length of time prior to the technical element, the price they pay should be reflected in the interpretation score. Looking at the time of the connection with the music between these two skaters, the skater on the left was connected for 33 seconds, and the skater on the right for a minute and 25 seconds. The disconnect time was 1 04 for the skater on the left, and just 9 seconds for the skater on the right. This is a pair skating example, where almost all the short program movements are connected to the music. (14 34) With the exception of two very short disconnects, all the entrances and exits of technical elements are performed with a full attention paid to the musical phrasing, character and style. This pair is not at the level of the previous and are disconnected for a significantly more time than the first team. (17 52) Just for interest, looking at the amount of time connected to the music, the team on the left was connected for only 56 seconds, and the team on the right was for 2 minutes and 39 seconds. The disconnect time of the team on the left was 1 minute and 56 seconds, and the team on the right just 12 seconds. There is a significant difference in the overall quality of the teams. And the difference in the amount of the time connected to the music is also reflected. IN/Expressive nuance movement http //youtu.be/oLk0a-BDY5g Expressve/nuance movement relates to the detailed finesse of the skater or the team. It is their ability to respond with personal nuances and express variations and intensity, tempo, and the dynamics of the music made by the composer and/or the musician. So, what exactly is a musical nuance? A musical nuance is anything that gives life to the music, like an increase in tempo, or elongation of a note, or the addition of instruments to strengthen a phrase, and intensity and etc. Listen to this piece of music. And although it is simply a repetition of the same musical phrase, it changes from phrase to phrase by tempo, intensity and the use of different instruments. We have revealed an audio wave graph so you can see the musical highlights at the same time you hear them. (1 27) Let’s now look at what was performed during this music, and see if you can pick one movement nuance that had nothing to do with the element, and was only there to recognize the music. (2 18) In this next example, we look more closely at the highlights of the music connected with the nuance movement using slow motion. (2 46) Notice the audio wave bar at its highest point at the same time as the skater raises her head, then quickly turns it to the left, then right to catch the downbeats following the highlight. (3 32) Nuance movements recognizing highlights or at times such small details that can be hard to see in the overall picture, but in the end, it is the small details that make a good performance into a great performance. Watching one last time without any graphics or use of slow motion, it is easier to see the detail of the movement and hear the detail of the music. (4 37) It is important to understand that the interpretation of the same music with the same choreography can greatly differ from an event to an event. If the skater is not feeling well or the technical elements are not successful, or if they are struggled, this can change the phrasing of the movement with the music. It can change the intensity of the overall interpretation of the program. Let’s look at the same skater who has good skills and a good program. On the right side of the screen you will see her best performance of the year, and on the left side the same program and music, but not skated as well. How does this affect the expression and nuance movements? (7 29) With the smallest mistakes on the left, the skater is now behind her music, and is faced with a decision whether to rush, take a shortcut or leave something out in order to catch up. The energy and thought process to make such a decision in such an important moment, takes her away from the magical connection with the music, she seems to have on the right side of the screen. (9 32) At the end of the program, it becomes clear she was unable to catch up with the music, which left her struggling both technically and with her interpretation. It should be noted that this skater was a wonderful and capable skater of the highest level, but on that day, the interpretation was affected. (9 51) Here is another example of a very good skater. Performing the same program, at two very different standards. On the left of the screen, is a very good performance from January 2008, and on the right, a more difficult and challenging performance from March of the same year. Notice that once the program begins to have difficulty, the attention to expression and nuances and interpretation begins to rapidly decline. (15 02) This example, again, demonstrates that when a skater has technical difficulty, much of the expression and nuance movement is left out, while trying to catch up to the music and returned to successfully completed the elements. IN/Effortless movement http //youtu.be/lLl44YmUhdg Effortless movement. Effortless movement is when the skater effortlessly changes the tempo, rhythm, or intensity of their skating in direct relationship with the same changes in the music. During this program, the skater keeps her speed and flow moving effortlessly from element to element, while at the same time responding to changes in tempo, and intensity of the music. (3 16) Our next example of effortless movement is from a skater who demonstrates a wonderful sense of rhythm with the music, responses to the nuances of the music with small movements. He is totally committed to the character and style of the music, and because of all this, makes the program to seem entirely effortless. It is a good example that all the aspects of the program come together, the athlete and audience are bonded through a seemingly effortless performance. IN/Conclusion http //youtu.be/Cex942xblXE The judges have many things to consider during the skater’s performance. Breaking down by item by item it seems almost impossible to assess each detail with such accuracy. So it is important that one must have an automatic understanding of the priorities in each component. In interpretation we have tried to make it simpler by concentrating on three main points, which would become your reference points prior to giving a score. Musical movement ask yourself, did the skater or the team’s movement reflect the style, character, and phrasing of the music? Did you, as the audience, or the judge, feel involved by the music and movement, or were you just watching the athletes skate, while the music happened to be played? Expressive nuance movement there is detail in every musical piece. Did the skater or the team’s movement express all details of the music, or was there no recognition of the music detail? Effortless movement Did the program appear effortless? Effortless programs often seem to go quickly, or without visible struggling and fatigue by the end. The judge will be based with certain aspects or percentages of these questions being answered “yes.” It is then up to the judge to *accurately* as possible apply the corresponding percentage overall to the scoring each component. Interpretation, it is the relationship of the skater’s movements connected with the style and character of the music. The recognition from the skater in responding with the movements and the nuances of the music. And perhaps the most difficult aspect, the ability to make all of the scenes effortless.
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No 名前 技能 消費 必須 遠 対 効果 305 Excavation 罠術Lv6地霊Lv6 0 魔石 - - 【罠】自分/PS獲得1 or HP回復 or SP回復 805 Wormwood 罠術Lv12地霊Lv12 130 魔石 - - - 技解説 Excavation 罠術Lv6:HP回復量115前後、SP回復量31罠術Lv9:SP138罠術Lv10:HP123/SP36 体格が影響してるかも、しれない。尚、PSは一度獲得したら次からは0PSになっている模様。 Wormwood (技の解説)
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Makers(メーカー) Makers(メーカー)ゲーム内説明 概要 スペル アップグレード 特殊アップグレード コメント ゲーム内説明 The legendary old race which is said to have created the world, 世界を作ったと言われている太古の種族であり their watchful eye aims to keep all forces in check. 彼らの用心深い目は、全ての力を支配しようとしています。 Affiliating with them will increase your ability to dominate all your resources. ”創造主”と契約することで、あなたの持っている資源を支配する力が増すことでしょう。 概要 様々なものをバランス良く強化する、均衡属性の上位種族。Reincarnation 125以降で登場する。 均衡属性の下位種族(Elf・Goblin・Druid)を経由し、掛け持ちで所属することになる。 専用のファクションコインは無いため、ElfとGoblinのものを用いる。 スペル Infinite Spiral マナ消費 505,000 効果時間 10秒 効果 ・最大マナに応じて、アシスタント数が乗算で増加・Faction Coin入手率に応じて、最大マナが増加・このR中にExcavationを行った回数に応じて、Faction Coin入手率が増加 強化:Reality Crater効果:Infinity Spiralの効果時間中、アシスタント数に応じて、Excavationに必要なコインが減少 条件:同名のトロフィーを入手し、アップグレードを10 OcTg(1e118)で購入する アップグレード Tier 名前 コスト 効果 1 Makers Trade Treaty 1 No(1e30) 1段階目のアップグレードを解放する。 Hand of the Makers 1 Noqag(1e150) このR中のクリック回数に応じて、Faction Coin入手率が乗算で増加 Everlasting Materials 10 Noqag(1e151) このR中のBuildings Built(Max)に応じて、建物の収入が増加 Infinite Improvements 100 Noqag(1e152) このR中の均衡属性への所属時間に応じて、Uniqueな建物の収入が増加 2 Makers Friendship Pact 1 Ud(1e36) 2段階目のアップグレードを解放する。 Magical Shards 100 UQig(1e158) Artifact所持数に応じて、マナ回復速度が乗算で増加 Treasure Mosaic 1 Dqig(1e159) このゲーム中に入手したFaction Coinの枚数に応じて、最大マナが増加 Art of Commerce 10 Dqig(1e160) Royal Exchangeを行った回数に応じて、Royal Exchangeボーナスが増加 3 Makers Alliance 1 Dd(1e39) 3段階目のアップグレードを解放する。 Stonecarving 10 Tqig(1e163) このR中にExcavation及びExcavation Resetを行った回数に応じて追加のアシスタントを獲得 Past Trade 100 Tqig(1e164) Royal Exchangeボーナスにおける、Ascension 1補正を撤廃 Structural Stability 1 Qaqig(1e165) このゲーム中にスペルを詠唱した回数に応じて、ユニーク建物と隣り合っている建物の収入が増加 - Hall of Origination【R130から解禁】 1 QiQig(1e168) ・Hall of Legendsがユニーク建物「Hall of Origination」に変化(Hall of Originationは、アシスタント所持数に応じて、収入が増加)・「Makers Union」アップグレードを登場させる 4 Makers Union 1 Td(1e45) 4段階目のアップグレードを解放するこのR中の最大マナ回復速度に応じて、スペル「All Creation」の性能が強化される Valuable Antiquity 100 QiQig(1e170) このR中での経過時間に応じて、Artifact所持数が割増でカウントされる Bedrock Foundations 1 SxQig(1e171) 各建物の基礎収入 +(建物のTier×1000) Reality Marble 10 SxQig(1e172) このR中のクリック回数に応じて、追加のアシスタントを獲得 特殊アップグレード 名前 コスト 効果 解禁条件 Reality Crater 10 OcTg(1e118) Infinite Spiralスペルが強化される 同名のトロフィーを入手(Excavation Resetを10回以上行ったゲーム中にInfinite Spiralを詠唱する) Hall of Origination Quest 1 QaQig(1e165) 恒久的に「Hall of Origination」アップグレードを登場させる 転生130回目以降そのゲーム中、Faction Coinを5 TD(5e42)枚入手する コメント コメント
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Motivation The very first step of "Making" friends. Definition - courtney The desire to interact in with people, culture and language to which you may be new; the ability to step out of your comfort zone; the will to make mistakes and learn from them. Analysis - courtney All ICU students have already demonstrated some kind of motivation. The OYR students came from other countries because they wanted to study in Japan. April and September students passed rigorous entrance exams because they chose to attend ICU, a school with an international atmosphere. Motivation is the most important factor in overcoming differences and barriers and creating friends outside one s native language/culture. Motivation allows you to continue learning even during setbacks, allows absorption of criticism and the ability to overcome of mistakes. Learning a new culture and meeting people in a new culture is often all about mistakes and learning, and without motivation, the setbacks can easily kill the energy required to interact in a new environment. Examples / Actual Cases When I first entered ICU, I didn t know anyone - I felt so alone, because there was no friends that I could hang out with. I was so motivated and wanted to make friends, but it was hard. JLP class was too small. However, other classes were too big (since I was taking GE classes), and those classes were almost all individual work. There was no "出会い", a chance to meet someone. Even if I met many other September students, I didn t get a chance to meet OYR students and April students. There wasn t an opportunity to meet people, which was a problem. (continues on to "solution") Masumi My friend in Canada, who is initially from Hong Kong, loves Japanese movies and cars. He has never studied in Japan, however, his Japanese is soo good because he learns Japanese from watching movies and he eagers to speak Japanese to Japanese people. I think this is because he is highly motivated by falling in love with Japanese movies, cars and probably girls lol Yoshimi Well, many people at ICU wants OYR students, I think. However, the thing is... they are not thaaat motivated. Their motivation is not as high as using their free time making effort and embarassing themselves by being rejected. I mean, Japanese people tend to think like... Well,,, the girl sitting beside me seems like OYR students... I want to get to know her... but... what if I get ignored or annoyed!? isn t is embarassing?? and... she might not a OYR student. Should I talk to her in Japanese or English?? Would it be rude if I ask her where she is from.. because I heard it would be in some culture... Alright... just forget it.... so... for Japanese students... they have to be really really motivated to talk to strangers. its like jumping out from the window... Yoshimi Solution / Recommendation / Suggestion etc. - court (this needs revision) A little encouragement and motivation go a long way. Japanese language students need to find motivation in to speak in Japanese even when everyone in the immediate environment, ICU, can speak English. For example, joining a club or finding a boyfriend/girlfriend where the activities/relationships are conducted in your foreign language are excellent motivating factors. Edit this page
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主な称号 Teacher 種族・所属 人間(Avernum) 性別 女性 解説 Anamaの聖職者。同じ宗派の信徒であるSilvarのSoussanaとも付き合いがある。 Williamの農場の跡地にAnamaのコロニーを作り、信徒たちを率いてトカゲの飼育で生計を立てている。 Western Excavationの噂を聞いて、魔法を使わず地上に出る可能性がでてきたことを知り、コロニーを率いて発掘作業に参加したいと望んでいた。 登場作品・場所・役職等 Avernum6 Fort Avernum北のAnamaのコロニー 指導者、僧侶 備考
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Operation Avalanche字幕和訳 ブリーフィング Null3DSubtitle Operation Avalanche – September 13, 1943 アバランチ作戦 - 1943年9月13日 CIUS_AVA_DCH_21051_01 Gentlemen, I am as surprised to be here as you are. We were not intended to support the invasion of Italy, but after steamrolling inland in what looked like an easy victory. General Clark s men have been subjected to fierce counter attacks and are taking heavy losses. 諸君、君達と同様ここにいる事に私も驚いている。我々はイタリア侵攻の支援を目的としたわけではないが、友軍はこの戦いは楽勝だとして内陸部まで強行してしまった。その結果クラーク将軍の部下が猛烈な反撃をお見舞いされ多大な損害を被っている。 CIUS_AVA_DCH_21051_01 The Germans withdrew their supply lines all along the Amalfi coast, forming staging areas to support surprise counter attacks. ドイツ軍はアマルフィ海岸に沿って補給線をすべて後退させ、反転攻勢支援のための予備領域を形成している。 CIUS_AVA_DCH_21051_02 The largest of them is located here, near the Paestum archaeological project outside Salerno. その内で最も大きなものがここに位置している、サレルノの外側にあるパエストゥム遺跡調査事業区の近くだ。 CIUS_AVA_DCH_21052_01 The Germans are dug in and well-protected among the ruins. We must dismantle their operations piece-by-piece. ドイツ軍は遺跡の中に身を隠し、そこに頑丈な防衛拠点を形成している。我々は一つ一つ奴らの作戦を潰さなければならない。 CIUS_AVA_DCH_21053_01 An enemy communications center is located to the south. Strike fast. 敵の通信施設は南にある。素早く攻撃せよ。 CIUS_AVA_DCH_21054_02 A motor pool lies to the north. Sabotage any and all fuel supplies. 車両は北に駐留している。そこにある燃料補給所を完全に破壊せよ。 CIUS_AVA_DCH_21055_01 Finally, we have reports that the enemy has a munitions stockpile hidden somewhere among the excavation. Find it and remove the threat. 最後に、我々は敵がとある穴倉に軍需品を保管しているという報告を得ている。それも見つけ出し破壊せよ。 CIUS_AVA_DCH_21056_01 Okay, dismissed. よし、では解散。 ※未使用セリフ CIUS_AVA_DCH_21057_01 Yes, private? なんだね? CIUS_AVA_DCH_21059_01 Most of them have spent the last two days on the beach. It s a desperate situation. Small teams of scouts have been sent inland, unfortunately none have reported back. If you should rendezvous with any member of the fifth army, make it your mission to give them support. Any other questions? 彼らのほとんどはこの2日間を浜辺で過ごしている。これは絶望的な状況だ。わずかな偵察部隊が内地へ送られたが、残念な事に誰も報告には戻らなかった。もし第5軍と合流したのであれば、彼らの支援にあたれ。他に質問は? C-47機内 CIUS_AVA_MFN_22050_01 AAARRGGHH! Dammit! あぐうっ! ちきしょう! CIUS_AVA_JCI_22051_01 原文 Hrrnnh! Hey, you re bleedin ! 和訳 ううっ! おい、出血してるじゃないか! CIUS_AVA_JM_22052_01 Stand up! 立つんだ! CIUS_AVA_JM_22053_01 Hook up! フックを掛けろ! CIUS_AVA_MFN_22054_01 I m okay! 大丈夫だ! CIUS_AVA_JCI_22055_01 Stay down! You re going home! 座ってろ! 基地に戻るんだ! CIUS_AVA_MFN_22056_01 No I ain t! I m jumpin with you guys! いいや! お前達と一緒に飛ぶぜ! CIUS_AVA_JM_22057_01 Go-go-go! 行け、行け、行け! ※未使用セリフ CIUS_AVA_JM_22053_02 Jackie, you stay here! ジャッキー、お前はここにいろ! CIUS_AVA_MBU_22058_01 Go! C mon, jump! 行け! さあ、飛ぶんだ! 燃料タンク方面 AIUS_AVA_LVN_21232_01 We gotta find their fuel supply! 奴らの燃料補給所を探し出せ! AIUS_AVA_MSH_21234_01 Travers got him! Let s move up! トラバーズが奴を仕留めたぞ! 前進するんだ! All Airborne units. S-two reports an enemy motor pool in the vicinity of Paestum. You are hereby instructed to find and destroy all enemy fuel supplies. 全空挺部隊に告ぐ。S-2の報告によるとパエストゥムの近くに敵軍の駐車場がある。これにより部隊には敵軍の補給燃料を探し出しすべて破壊することを命ずる。 AIUS_AVA_MSH_21237_01 There s the fuel supplies! Shoot the tanks! 燃料補給所だ! タンクを撃て! AIUS_AVA_MSH_21238_01 We gotta shoot the tanks! タンクを撃つんだ! AIUS_AVA_MSH_21239_01 You pierced the tank! Now we gotta cook it! タンクを撃ち抜いたな! 今すぐ俺達がそれで料理してやるよ! AIUS_AVA_MSH_21238_02 Use grenades! They ll ignite the fuel! 手榴弾を使え! それで燃料に引火する! AIUS_AVA_HLY_21239_02 Good one, Travers. There s one more fuel tank! いいぞ、トラバーズ。もう1つ燃料タンクがあるぞ! AIUS_AVA_GMN_21267_01 Good job, Travers. Now come on, we got work to do! よくやった、トラバーズ。さあこっちだ、やるべき事がある! 弾薬庫方面 AIUS_AVA_BLC_21250_01 Travers! Enemy troops are defending these ruins. The ammo dump must be close! トラバーズ! 敵兵はこの遺跡を守っている。弾薬庫は近くにあるはずだ! All units within range of this transmission. Intelligence reports an enemy ammo cache nearby. Use extreme caution when sabotaging, as the resulting explosions will be volatile. この通信範囲内の全部隊に告ぐ。情報によると近くに敵軍の弾薬庫がある。暴発の危険があるため、爆破の際は細心の注意を払え。 AIUS_AVA_BLC_21250_02 Keep going, Travers! You re almost there! そのまま進め、トラバーズ! もうすぐだ! AIUS_AVA_BLC_21251_01 There s the ammo dump! Get some comp B on that, it s gonna make a helluva bang! 弾薬庫だ! 爆弾を仕掛けろ。派手にぶっ飛ぶだろうぜ! AIUS_AVA_BLL_21252_01 You better get ready to run, Travers! 走る準備した方がいいぞ、トラバーズ! AIUS_AVA_BLL_21253_01 Get outta there! Hurry! 外に出るんだ! 急げ! AIUS_AVA_BLL_21254_01 You re quick, Travers. I didn t think you were gonna make it! 早いな、トラバーズ。お前にできるとは思わなかったぞ! AIUS_AVA_BDY_21269_02 Let s go! We gotta help the others! さあ行くぞ! 他の奴らに手を貸してやれ! 通信アンテナ方面 SCUS_AVA_WHL_21210_01 All Airborne units, enemy radio traffic is heavy. Command has instructed all units to locate and sabotage any and all enemy communications equipment. 全空挺部隊へ、敵の無線交信が激しくなっている。司令部より全部隊はあらゆる通信設備を探し出し破壊せよ。 AIUS_AVA_CDN_21262_01 Travers! Find a way around and open that gate from the other side! トラバーズ! 回り道を探して外側からあのゲートを開けてこい! AIUS_AVA_DRH_21264_01 Stay low! Use the boards for cover! 姿勢を低くしろ! この板を盾に使うんだ! 通信施設 AIUS_AVA_GMN_21265_01 Travers! Come and open this gate! トラバーズ! この門を開けてくれ! AIUS_AVA_GMN_21266_01 Thanks, Travers! Okay boys, let s show em how the Airborne fight! 悪いな、トラバーズ! よし、お前達、奴らに空挺隊の戦いぶりを見せてやれ! AIUS_AVA_MHW_21267_02 Look inside the tents for commo equipment! 通信設備がないかテントの中を見てこい! AIUS_AVA_BDY_21268_01 Travers! Look for radio equipment! If you see any, fill it with lead! トラバーズ! 通信設備を見つけるんだ! 何か見つけたら、そのまま先頭を切れ! AIUS_AVA_BDY_21269_01 That did it! Good work, Travers! やったぞ! よくやった、トラバーズ! AIUS_AVA_BLL_21255_01 Come on Travers. We got more work to do! 来るんだトラバーズ。俺達の仕事はまだあるぞ! 円形闘技場 SCUS_AVA_WHL_21215_01 All units within range of this transmission. Be advised, General Clark has sent a demo team up from the beaches. Rendezvous with the friendlies near the amphitheater. この通信範囲内の全部隊に告ぐ。よく聞け、クラーク将軍が海岸から爆破部隊を送り込んだ。円形競技場の付近で友軍と合流せよ。 武装親衛隊からの奇襲攻撃 ムービー ICUS_AVA_KSH_21151_01 Get down! 伏せろ! ICUS_AVA_KSH_21152_01 Good work. Now let s get out of here! よくやった。さっさとここから出るぞ! ICUS_AVA_KSH_21152_02 Where d that come from? どこから撃ってきやがった? ICUS_AVA_TTE_21156_01 We re outnumbered! 俺達より数が多いぞ! ICUS_AVA_KSH_21157_01 Stay low everybody. We gotta hold em off! 低い姿勢でいるんだ。奴らを近づかせるな! ICUS_AVA_KSH_21165_01 That s all of em! Everyone on me. Let s get to those eighty-eights! 全員片付けたぞ! 皆ついて来い。88ミリ砲の所に向かうぞ! キッシュ伍長と合流 ムービー ICUS_AVA_KSH_21175_01 There s our target. こいつらが俺達のターゲットだ。 ICUS_AVA_KSH_21175_02 Travers, huh? Hm. トラバーズ、か? ふむ。 We hit the beaches yesterday. General Clark sent me and my men up here to mark those eighty-eights for destruction. He s got Warhawks ready and waiting to do a fly-by. 俺達は昨日海岸に上陸した。クラーク将軍はあの88ミリ砲を破壊するための目印を付けるべく俺と俺の部下を送り込んだ。将軍はウォーホークの用意を整え、待機させている。 ICUS_AVA_KSH_21176_02 You airborne guys sure know how to fight. Care to join us? 空挺隊の奴らは確かに戦いというのを知っているな。俺達と合流しないか? ICUS_AVA_LGK_21177_01 Fire in the hole! 爆発するぞ! ICUS_AVA_KSH_21178_01 I guarantee you, it ll be a blast. 激しさは保証してやるぞ。 CUS_AVA_KSH_21179_01 Let s move out! さあ、行くぞ! 丘の神殿へ AIUS_AVA_NZK_21285_01 Hurry, we gotta get to those guns! They re killin our guys on the beaches! 急げ、あの砲を片付けるんだ! 奴らは海岸にいる仲間を殺してやがる! AIUS_AVA_PHN_21286_01 MG forty-two, top of the stairs! We gotta find a way around! MG42、階段の先だ! 回り道を探すんだ! All units within range of this transmission, enemy ranged artillery must be suppressed. Assemble at hilltop temple and await further orders. この通信範囲内の全部隊に告ぐ。敵の砲列の制圧命令が出た。丘の神殿に集結し、次の命令に備えよ。 AIUS_AVA_OCS_21289_02 We gotta take out that double A gun! 対空砲に向かうぞ! AIUS_AVA_NMK_21291_01 Travers, get clear! Run!! トラバーズ、離れろ! 走れ!! ※未使用セリフ AIUS_AVA_NMK_21288_01 The Warhawks won t be|able to get close enough. ウォーホークはまだ十分に近づく事ができない。 AIUS_AVA_NMK_21290_01 The sky is clear, let s signal those Warhawks! 空は安全だ、ウォーホークに信号を送るぞ! ステージクリア Colonel Scott Webb,commanding officer. This is the after action report for Operation Avalanche, September thirteenth, nineteen forty-three. 司令官、スコット・ウェブ大佐。これは1943年9月3日のアバランチ作戦における戦闘報告である。 Airborne troops assembled and were en route within forty-five minutes. Landed on enemy staging area. Dismantled fuel depot and commo center, liquidated material, then assisted in the destruction of enemy long-range artillery. 空挺部隊が召集され、45分後に出発。敵の陣地に降下した。燃料補給所及び通信所を破壊し、また敵の長距離砲の破壊を支援した。 Operation deemed a success Rome is within reach. Germans retreating to the north. Guess it s time to brush up on our French. 作戦は成功を収め、ローマは手の届く位置となった。そしてドイツ軍は北へと退却した。そろそろフランスのことを考える時期であろう。 未分類 AIGE_AVA_GRV_85100_01 Repeat. We need immediate delivery of supplies in and around Salerno. We are lacking munitions, food and fuel. Especially fuel! 繰り返す。サレルノおよびその周辺への補給が早急に必要だ。我々は物資が不足している。食料に燃料…、特に燃料がだ! AIUS_AVA_BDY_21261_01 Let s play hell with these Nazis. You ready, Travers?! ナチ野郎共に地獄を演じてやる。準備はいいか、トラバーズ?! AIUS_AVA_BDY_21263_01 Eyes up! They re in the scaffolding! 上を見ろ! 奴らはあの足場にいるぞ! AIUS_AVA_DRH_21260_01 We gotta get to their commo center! 奴らの通信施設に行くぞ! AIUS_AVA_HLY_21226_01 Get to the amphitheater, Travers. We got this area. 円形競技場へ向かえ、トラバーズ。俺達はこのエリアは押さえている。 AIUS_AVA_HLY_21230_01 Hey, here comes Travers! おい、トラバーズはここにいるぞ! AIUS_AVA_HLY_21240_01 That s it, Travers! Nice work! その調子だ、トラバーズ! よくやった! AIUS_AVA_HLY_21241_01 Come on! We gotta secure the rest of the ruins! 来るんだ! 残りの遺跡も確保するぞ! AIUS_AVA_MHW_21267_03 Don t waste your ammo, Travers! 弾の無駄使いをするな、トラバーズ! AIUS_AVA_MSH_21227_01 We re holding here, Travers. You go ahead. トラバーズ、俺達はここを抑える。お前は先に行け。 AIUS_AVA_KSH_21276_01 That s all of em! Prepare to move out! これで全員片付いたな! 移動の準備をしろ! AIUS_AVA_OCS_21287_01 They got air defenses! 防空設備があるぞ! IUS_AVA_MRC_21058_01 Sir, how far inland did the fifth army get? サー、第5軍は一体どこまで進んだのですか? CIUS_AVA_ZZA_22050_02 Is he hit? 撃たれたか? ICUS_AVA_KSH_21150_01 Run! 走れ! コメント スパム対策につき閉鎖中
https://w.atwiki.jp/assyriology/pages/86.html
Legrain, Leon UET 1 = Ur Excavation Texts Vol. 1 Royal Inscriptions (with C. J. Gadd S. Smith), London, 1928 (PDF available at ETANA Texts Plates)
https://w.atwiki.jp/assyriology/pages/87.html
Smith, Sidney UET 1 = Ur Excavation Texts Vol. 1 Royal Inscriptions (with C. J. Gadd L. Legrain), London, 1928 (PDF available at ETANA Texts Plates)
https://w.atwiki.jp/jazzwiki/
ベン・モンダー / Ben Monder CENTER ベン・モンダーは1962年生まれのアメリカのギタリスト、作曲家。 1991年からマリア・シュナイダー、ポール・モチアン、ダニー・マッキャスリン、デヴィッド・ボウイなど各時代を代表するミュージシャンの作品に参加。 単独リーダー作は1997年発表の『Flux』以降6作品を発表。特にヴォーカリスト、セオ・ブレックマンをパートナーに迎えた『Excavation』(1999年収録)、『Oceana』(2004年)、『Hydra』(201?年)は彼の代表作に数えられる。 バイオグラフィー 作品 音楽観 評価 使用楽器 脚注 バイオグラフィー 1962年5月24日ニューヨーク、ウェストチェスター生まれ。 父親はヴァイオリン奏者で熱心なクラシックファン、職業は科学者だった。 モンダーも9歳からヴァイオリンを始め、12歳の時にギターに切り替えている。 14歳の時ジョン・ストーウェルというジャズ・ギタリストにギターを1年学ぶ。 16歳の時チャック・ウェインに2年間学ぶ(「僕にとって一番身になったレッスンだったね」[1] 「彼はとてもトラディショナルなギタリストだから、私が今やっているようなスタイルは好きじゃないみたいでね(笑)。但し、その一方で彼は教師としてはパーフェクトだったよ」[2 ]) チャックが教鞭をとっていたウェストチェスター音楽学校に2年間通う。 マイアミ大学で1年間ギターを専攻し、ランドール・ダラハン(Landallo Dollahon)という講師に師事。リハーモナイゼーション、ソロ・ギター・アレンジメントを学ぶ。 クイーンズ大学ではクラシックの作曲、理論を学ぶ。 1984年頃からNYでプロ活動を始める。 キーボードのボブ・ボールドウィンらとR Bバンドを組んで、NYで活動。 ジャック・マクダフのバンドに半年間在籍(「その頃は自分のギタースタイルを模索している時期だった。そして1つだけ言えることは、私はジャックのバンドのギタリストとしては相応しくなかったということだね(笑)。ジャックも私のことをあまり気に入ってなかったようだった」[2])。 1987年にアップタウンのオーギーズでレギュラー・トリオで演奏(「週に2日、スタンダードを演奏するギグはギタリストとして大きく力を付けるステップになったよ」[1])。 1991年にマーク・ジョンソンのベース・デザイアーズに参加。 1995年頃、セオ・ブレックマンに誘われデュオでギグを始める。 ポール・モチアンとは1992年にエレクトリク・ビ・バップバンド(以降EBB)初共演後。カート・ローゼンウィンケル、ブラッド・シェピックとの3ギターだった。 ブランクを経て2000年に再びバンドに参加。 2010年まで活動をともにする。 90年代~2005年のどこかの期間で3年間ニューイングランド音楽院で教鞭をとる。 作品 リーダー作品 参加作品 『Excavation』 最新作『Excavation』のコンセプトの発展について少し教えてくれますか? AAJ Please tell us a bit about the evolution of the concepts for your most recent stuff. Excavation? 『Excavation』は種々雑多な多様性(multifarious)と相互矛盾(conflicting) BM With Excavation, I wanted to effect a marriage of the multifarious and often conflicting elements of Mans unconscious the urge to self immolation with the urge for self-knowledge; the divine alongside the demonic. But ultimately it is a paean to the apocalypse, to the bracing truth that our darker impulses will prove our undoing, because they so often masquerade as our virtues. Actually, theres no real concept other than finishing enough tunes to make a record. Although Excavation was unique in the sense that I knew what the order was going to be before it was recorded. (略) AAJ Please tell us about your compositional approach. I mean tunes like "Mistral", "Ellenville" and "Hatchet Face" are extremely complex, with layer upon layer of harmony. Where does this compositional eruditeness come from? BM Concerning tunes like you just mentioned, my modus operandi seems to be to bite off more than I can chew, and then chew it anyway. But I dont have an approach as such. Each piece is unique and suggests its own problems and solutions, regarding harmony and form. In Hatchet Face I explored some serial ideas, but Im completely unqualified to write a real serial piece, and if the 12 tone police ever found out, I d be in trouble. ドラム以外は書き譜、"Hatchet Face"はオーバーダブも使用とのこと。 音楽観 ポール・モチアンについて[1] Q ポールはなぜ多くのギタリストを一緒に起用したとおもいますか? うーん、皆目見当がつかない(笑)。80年代のクインテット・アルバム等から感じるのは、多くのサウンドを混在させることによってソニック・ウォール(音の壁)を作り出し、そのテクスチャー(音の構造)から幾つもの選択肢を見出そうという試みだったのではないかと思うけど。 マリア・シュナイダーについて[3] マリアは本当に面白いギター・パートを書く。彼女のギターの使い方のセンスは素晴らしい。独自の書き方であって、ただギターでホーンセクションのラインを強調するだけではないんだ。それも時には有効だけどね。 Maria writes really interesting guitar parts. She has a great sense of how to use the guitar as an individual color, not just a reinforcement of horn parts, although that s also effective at times. 良い経験になったレコーディング[3] クリス・チーク『A Girl Named Joe』 タイトル曲は私がレコーディングした中でベストなソロだと思う(2002時点)。 I think I take my best recorded solo, for what its worth, on the title cut.) リード・アンダーソン『The Vastness of Space』 ルペル・オルドリカの作品(Those are a lot of fun because, being a rock record, I get a chance to really shape and layer my parts. Its a completely different process than a jazz record, and very rewarding.) ジャズ・ギター・ブック読者へ まず自分の才能を信じること。そして、自分のやっていることが正しいのか、間違っているのかの判断を他人に委ねない。それに、アーティストとして自分が共感したものに対しては、自立した意見なり評価を持つべきだね。あとは一生懸命音楽をプレイするだけだよ。 影響を受けたギタリスト[2] ジム・ホール(Id have to count him as my main influence[3]) ジョン・スコフィールド ビル・フリゼール ラルフ・タウナー エグベルト・ジスモンチ トランスクライブしたミュージシャン[2] ジョン・スコフィールド、ウェス・モンゴメリー、パット・マルティーノはコピーしたが数曲程度。 サックス奏者が中心でジョン・コルトレーンが多かった。 ハーモニーで影響を受けたミュージシャン[2] ピアニストからが中心。 ハービー・ハンコック、ビル・エヴァンス、マーク・コープランド 「20年前当時から、マークはとても魅力的なハーモニー・センスを持っていたんだ。それから20世紀の現代クラシック音楽も、ハーモニー感覚を養う上では随分役に立ったね」 音楽家として影響を受けたもの[3] 子供時代はビートルズ、『ジェームズ・ボンド』や『2001年宇宙の旅』のサウンドトラック 次にジミ・ヘンドリックス、ジェフ・ベック、エリック・クラプトン、70年代ラジオが放送していたロック。 ジャズ・ギタリストとしてはジム・ホール、ジョン・ストーウェル、ローン・レーバー(16歳の頃会った、3歳年上のギタリスト。現在はギター講師として活動。He had a linear concept that was unlike anything I had ever heard.) クラシック音楽[3] エグベルト・ジスモンチ エグベルト・ジスモンチをウォークマンで聴いていたとき、サウンドが全てだということに気付いたんだ。 明らかな考え I remember listening to an Egberto Gismonti record on my walkman when it occurred to me that sound was everything.Its a deceptively obvious idea, but the entirety of what one communicates in music is contained in sound, and I think ones relationship to sound determines the quality of that communication.) 最近(2002時点)興味深い/影響を受けている作品[3] アルフレート・シュニトケ『Psalms of Repentance (1988)』 モートン・フェルドマン『For Bunita Marcus』 (※ただし直接ではなく斜めに影響(be influential obliquely)を受けている、とのこと) 評価 石沢功治「クリーンなサウンドで浮遊感に満ちたプレイをしたかと思えば、ファズ系の歪んだトーンでブチ切れソロを披露するなど、ビバップからアヴァンギャルドまでフィールドは実に広い。常にアンテナを張り巡らしているかのような先鋭的なセンスはプログレッシヴ・ジャズという呼称がぴったりだ。」[4] 使用楽器 [1] ギター ①1982年製アイバニーズAS-50(1984-) 使用弦はダダリオ、太さは013のセット。3弦のみチョーキングをするので020。 ②マーティンのアコースティック・ギター アンプ フェンダーDeluxe, ミュージックマン112RD(モチアンバンド用)をステレオで。[1] フェンダープリンストン、ミュージックマンをステレオで(『Excavation』までのリーダーアルバム)[2] エフェクター リヴァーブはレキシコンのLXP-1 MXRのCarbon Copy 歪み系はRATのディストーション、ボスのコンプレッサーとともに ディレイはボスのDD ヴォリューム・ペダルはアーニーボール 脚注 [1]Jazz Guitar Book 29 [2]Jazz Guitar Book 9 [3]Originally published in All About Jazz.com Jan 2002 By Phil Di Pietro [4]NEW YORKジャズギター・スタイルブック 石沢功治 著 Ben Monder Interview Focusing on the Basics http //guitarinternational.com/2011/04/24/ben-monder-interview-focusing-on-the-basics/ Ben Monder Interview http //www.abstractlogix.com/interview_view.php?idno=82 Jazz Guitar Interviews http //www.playjazzguitar.com/jazz-guitar-interviews-ben-monder.html Ben Monder Excavating Ben http //jazztimes.com/articles/16294-ben-monder-excavating-ben Ben Monder Surprise From Cohesion http //www.allaboutjazz.com/ben-monder-surprise-from-cohesion-ben-monder-by-paul-olson.php Ben Monder BY BARRY CLEVELAND http //www.guitarplayer.com/miscellaneous/1139/ben-monder/11784 Ben Monder Setting New Standards https //thepurplecabbage.wordpress.com/2011/06/23/benmonder-torontojazzfest/ Ben Monder A very interesting interview... http //www.macao.fr/cij/archives/archives-itw/itw/0906ben_monder-eng.html An Interview THEO BLECKMANN BEN MONDER http //songlines.com/interviews/theo-bleckmann-ben-monder/ An Interview CHRIS GESTRIN, BEN MONDER DYLAN VAN DER SCHYFF http //songlines.com/interviews/chris-gestrin-ben-monder-dylan-van-der-schyff/ Ben Monder (1962-) http //www.jazzguitarlessons.net/ben-monder.html Ben Monder – Hydra (2013) http //somethingelsereviews.com/2013/07/25/ben-monder-hydra-2013/