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https://w.atwiki.jp/ddrdp/pages/1322.html
The Island Song(激) 曲名 アーティスト フォルダ 難易度 BPM NOTES/FREEZE その他 The Island Song TAG feat. Eric Anthony 2013 激9 85 200/1 STREAM VOLTAGE AIR FREEZE CHAOS 43 38 0 6 46 楽譜面(4) / 踊譜面(7) / 激譜面(9) / 鬼譜面(13) 属性 譜面 http //eba502.web.fc2.com/fumen/ddr/ddr2013/island_s_8m.html 譜面動画 http //www.youtube.com/watch?v=qACJhhtR-zc (x6.0, RAINBOW) http //www.nicovideo.jp/watch/sm21082569 http //www.nicovideo.jp/watch/sm21082569 (x4.5, NOTE, 1 43～) 解説 名前 コメント コメント(私的なことや感想はこちら) シュールに比べれば催眠に掛かりにくいが、ひたすら24分2連を踏んでいく譜面。サビから12分音合せがあり、ラストに24分2連同時という凄まじいラス殺しがある -- 名無しさん (2013-04-14 06 37 27) 名前 コメント
https://w.atwiki.jp/asigami/pages/1259.html
曲名 アーティスト フォルダ 難易度 BPM NOTES/FREEZE(SHOCK) The Island Song TAG feat. Eric Anthony DDR2013 鬼13 85 350/19 STREAM VOLTAGE AIR FREEZE CHAOS 77 56 45 40 106 激譜面(9) / 鬼譜面(13) 譜面 http //eba502.web.fc2.com/fumen/ddr/ddr2013/island_s_4s.html 動画 http //www.nicovideo.jp/watch/sm21082590 http //www.nicovideo.jp/watch/sm21082590 (x6, Note) http //www.youtube.com/watch?v=84j9NFEdwDo (x6, Note) 解説 エンジョイレベル60での解禁譜面。同激譜面(9)はエンジョイレベル10で解禁する。 元々は海外版DDR(PS3/Wii/XBox360)での収録曲で鬼譜面は新規譜面である。 24分主体の低速高密度曲だがbag(激)と違いFAや同時踏みもあり、また48分が一部存在する。 BPM85の48分=BPM255の16分相当であり、この速度以上で3連を踏ませる譜面はΔMAX(鬼)、PARANOiA Revolution(鬼)くらいしかない。 コメント コメント(感想など) 最新の10件を表示しています。コメント過去ログ BPM85の48分=BPM255の16分。一瞬しかなくとも気が抜けない。 - 2013-03-27 21 33 05 BPM252の16分じゃね？ - 2013-03-29 12 14 03 48分を16分換算するんだから48/16=3でBPMを3倍すればいい。ということで85x3=255相当。 - 2013-03-29 15 21 24 ホントだただの計算ミスでした。なぜか途中でBPM504の８分になってしまっていた。 - 2013-03-31 10 22 11 ＦＡビジから縦連がある影響と元々２４分２連がバラバラなのもあって、シャッフルがかなり有効。レフトは２４分５連が地雷に… - 2013-04-16 01 38 42 クリア難度はともかくスコア難度は並の14よりかなり高い。FAを踏ませたまま横を縦連を向いて縦連を踏ませる鬼畜配置など全体的にミスしやすい配置が散りばめられている。 - 2013-04-19 22 22 53 ラスト直前の↑←↓（48分）が速いわ遠いわで強烈。ここもシャッフルで楽になるかと。 - 2014-07-27 10 59 12 なんだかんだシャッフルかけるよりも正規譜面の方がコンボ繋げられるしスコアも上がっていった。サビにあるFA後の24分2連縦連配置は捻って取っても良いけど、FAをスイッチしながら正面で取るのが良いと思う。あとラストの48分の縦ビジステップ3連配置は…1gr覚悟で気合で頑張れば繋がるはずｗ - 2014-09-15 18 42 48 スイッチスキップの練習に最適な3連符系の譜面で、技術要素は足13強か。歌が終了してからは、交互踏みを捨てて対処したほうが最後までコンボをつなぎやすい。（フルコンAA取得の経験上） - 2014-10-20 10 57 44 縦ビジの48分はずらした2枚抜きの方が割と追いつきやすい。 上手くやれば光らせられる。 (2022-02-16 06 53 21)
https://w.atwiki.jp/k-pop/pages/233.html
FTIsland（えふてぃーあいらんど/에프티아일랜드/エプティアイランドゥ）は5人組の男性グループ。FNCミュージック所属。 FTIsland 韓国語表記 FT아일랜드 ジャンル ロック 活動時期 2007- 所属会社 FNCミュージック 公式サイト http //www.ftisland.com/（韓国)http //www.ftisland.jp/(日本) メンバー チェ・ジョンフン?イ・ホンギ?イ・ジェジン?チェ・ミンファン?ソン・スンヒョン? 概要 来歴 現メンバーチェ・ジョンフン? イ・ホンギ? イ・ジェジン? チェ・ミンファン? ソン・スンヒョン? 元メンバーオ・ウォンビン? ディスコグラフィーデジタルシングル シングル ミニアルバム アルバム OST DVD 関連作品ソロ作品 参加作品 MV 賞歴 海外活動 出演TV ドラマ/映画 ファンクラブ 外部リンク 概要 来歴 現メンバー チェ・ジョンフン? 本名：チェ・ジョンフン/최종훈/Choi Jong-Hoon 生年月日：1990年3月7日（満31歳 ） 血液型：A型 身長：178㎝ ポジション：ギター、キーボード、リーダー イ・ホンギ? 本名：イ・ホンギ/이홍기/Lee Hong-Gi 生年月日：1990年3月2日（満31歳 ） 血液型：AB型 身長：174㎝ ポジション：ボーカル イ・ジェジン? 本名：イ・ジェジン/이재진/Lee Jae-Jin 生年月日：1991年12月17日（満29歳 ） 血液型：A型 身長：177㎝ ポジション：ベース、ボーカル チェ・ミンファン? 本名：チェ・ミンファン/최민환/Choi Min-Hwan 生年月日：1992年11月11日（満29歳 ） 血液型：A型 身長：171㎝ ポジション：ドラム ソン・スンヒョン? 本名：ソン・スンヒョン/송승현/Song Seung-Hyun 生年月日：1992年8月21日（満29歳 ） 血液型：O型 身長：181㎝ ポジション：ギター、ボーカル、ラップ 2009年1月加入 元メンバー オ・ウォンビン? 2009年1月脱退 ディスコグラフィー 詳細はｘｘのディスコグラフィーに記載 デジタルシングル シングル ミニアルバム アルバム OST DVD [部分編集] 関連作品 ソロ作品 参加作品 [部分編集] MV 年 タイトル 動画 備考 [部分編集] 賞歴 [部分編集] 海外活動 出演 TV ドラマ/映画 ファンクラブ 外部リンク 2007年デビュー 5人組 FNCミュージック FTIsland 男性グループ 今日 - ; 昨日 - ; 合計 - ;
https://w.atwiki.jp/pcs_explanation/pages/16.html
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.
https://w.atwiki.jp/international_law/pages/12.html
What law is international law? Definition A set of rules generally regarded and accepted as binding in relations between states and nations. Also called law of nations. Or suitable law of international society. Birth of international law ウェストファリア条約(英 Peace of Westphalia)or ヴェストファーレン条約(独 Westfälischer Friede) The prevailing view in the study of international law is that it emerged in Europe in the period after the Peace of Westphalia(1648), which concluded the Thirty Years War. In state practice, the year 1648 marking the Peace of Westphalia is considered as a watershed, at least in Europe where a new policital order was created, to be replaced only after the defeat of Napoleon by the Vienna Congress of 1815. There are two key points to answer the question that why the modern birth of international society had begun with Peace of Westphalia. 1 First is clear recognizion of birth of sovereign state. The sovereing state we know today is found in a fall of medieval feudal system in West Europe as absolute sovereign state. 2 Second is the completion of coexistence of sovereign state. In 16th century at West Europe, England and France were about to establish absolute sovereing state. The Peace of Westphalia determined teritories. The Peace of Westphalia virtually demolished the Holy Roman Empire. Regional lords had been recieved sovereingty and recognized as independent nation. The Peace of Westphalia denied universal authority of the Holy Roman Empire and Pope and represented the establsihment of modern sovereing state mean. This is the first time but the international society was found as coexistence of sovereign state at limited area West Europe.
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Behind Adobe Walls The Hidden Homes and Gardens of Santa Fe and Taos Landt DennisLisl Dennis Living in Morocco Design from Casablanca to Marrakesh Landt DennisLisl Dennis Soap For Body and Soul Lisl DennisLandt Dennis How to Take Better Travel Photographs Lisl Dennis Morocco Designs from Casablanca to Marrakesh Lisl DennisLandt Dennis Travel Photography Lisl Dennis The Traveler's Eye A Guide to Still and Video Travel Photography Lisl Dennis Santa Fe and Taos Under a Coyote Moon Landt DennisLisl Dennis The Essential Image Lisl Dennis Tiles Choosing, Designing, and Living With Ceramic Tile Olivia Bell Buehl?Lisl Dennis Shooting Portraits on Location Professional Techniques for Photographing People in Their Surroundings Lisl Dennis The Essential Image Lisl Dennis Living in Morocco Lisl DennisLandt Dennis Martha's Vineyard Houses and Gardens Polly Burroughs?Lisl Dennis Travel Photography Developing a Personal Style Lisl Dennis Santa Fe Lisl DennisLandt Dennis Morocco Casablanca to Marrakesh Lisl DennisLandt Dennis
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Radio Netherlands, Mar 28, 2008 http //www.radionetherlands.nl/news/international/5706266/Court-blames-Japanese-army-for-WWII-mass-suicide Court blames Japanese army for WWII mass suicide Published Friday 28 March 2008 09 07 UTC Last updated Friday 28 March 2008 09 07 UTC Osaka - A Japanese court has ruled that soldiers in the Second World War were in part responsible for the mass suicide on the island of Okinawa. The case was brought by a former soldier against Nobel Literature laureate Kenzaburo Oë. In an essay, the writer had alleged that Japanese troops ordered the islanders to kill themselves rather than surrender to United States forces. The issue is highly sensitive in Japan where passages mentioning the forced suicide were scrapped from school books only last year. It is still not known just how many people killed themselves, but some put the number at about 1,000. 大阪地裁判決に対する各紙論評など
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Solomon Islands Sign Language【szs】 00 Sign language 《現》living language ソロモン諸島【SB】 言語名別称 alternate names SISL 方言名 dialect names 参考文献 references WEB ISO 639-3 Registration Authority - SIL International Ethnologue Wikipedia
https://w.atwiki.jp/kakis/pages/4290.html
enislank /// / 主権、独立権 e\nis\lank \ 14 seren klel 独立の権利 \ [ ova ] \ klos-e enislank 主権を主張する \ fat-e enislank 主権を握る \ as-e enislank 主権を行使する \ ebas-e enislank 主権を侵害する \
https://w.atwiki.jp/u2jk/pages/32.html
FTISLAND（エフティー・アイランド）は、韓国の5人組バンド。 バンド名の「FTIsland」は「Five Treasure Island」の略。 メンバー チェ・ジョンフン（최종훈 崔鍾訓 Choi Jong-Hoon）（リーダー） 担当 ギター キーボード 1990年3月7日生まれ 身長 178cm、体重65kg 血液型 A型 趣味 音楽鑑賞、ネット 特技 ピアノ イ・ジェジン（이재진 李在眞 Lee Jae-Jin） 担当 ベース・ボーカル・ラップ 1991年12月17日生まれ 身長177cm、体重58kg 血液型 A型 趣味 ネットサーフィン 特技 ベース演奏、昔の曲を聴くこと イ・ホンギ（이홍기 李弘基 Lee Hong-gi） 担当 ボーカル 1990年3月2日生まれ 身長 176cm、体重60kg 血液型 AB型 趣味 歌、音楽鑑賞、サッカーゲーム、料理 特技 歌、サッカー 血液型 O型 趣味：歌うこと、ショッピング、映画鑑賞 チェ・ミンファン（최민환 崔敏煥 Choi Min-Hwan） 担当 ドラム 1992年11月11日生まれ 身長は173cm、体重56kg 血液型 A型 趣味 音楽鑑賞、インターネット人気検索語を見ること 特技 ドラム、チキンを食べること ソン・スンヒョン（송승현 宋承炫 Song Seung-Hyun）（2009年1月29日加入） 担当 ギター・ボーカル・ラップ 1992年8月21日生まれ 身長180cm、体重60kg 血液型 O型 趣味 音楽鑑賞、演技 特技 ラップ 元メンバー オ・ウォンビン（2009年1月28日脱退） 担当 ギター・ボーカル・ラップ 1990年3月26日生まれ 身長181cm、体重 62kg 血液型 O型 趣味 運動