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【登録タグ A-One Akane L TOHO EUROBEAT VOL.7 曲 麓の神社】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/gtavi_gta6/pages/2897.html
National Transfer Storage Co. 概要 解説 概要 日本語：ナショナル・トランスファー ストレージ 業種：倉庫業 所在地：ラ・メサ - ベスプッチ大通りとポピュラー・ストリートの交差点。 解説 Darnell Bros.の向かいにある倉庫。
https://w.atwiki.jp/nm_7/pages/77.html
収録 still in the groove DREAM SKIPPER THE MUSEUM 参考 「NANA MIZUKI LIVE CASTLE×JOURNEY -QUEEN-」収録 NANA MIZUKI LIVE JOURNEY 2011 SAITAMA SUPPER ARENA はい！ はい！：ペンライトをリズムに合わせて振りながら、上にあげたところで はい！ はい！(例：SUPER GENERATION イントロ) 振り2：上をドコドコやる感じ。ノリのいい曲やサビにて。楽しい。(例：Take A Shot サビ) 裏跳び：１小節の２拍目、４拍目ではい！の掛け声と共に跳ぶ。 青字：水樹奈々さん歌唱パート イントロ：(はい！ はい！) Ａメロ：(振り2) 急ぐ心を～ Ｂメロ：(裏跳び) たとえば～ サビ：(振り2) ～自身はすり抜けるモノFUWAFUWAFUWAFUWA ～プライドなんて投げ捨てHai!(ジャンプ) 間奏：(はい！ はい！) Ａメロ：(振り2) 愛情！救いの～ Ｂメロ：(裏跳び) 遠くに～ サビ：(振り2) ～success一人占めしてFUWAFUWAFUWAFUWA ～見落としてしまうモノはHai!(ジャンプ) 間奏：(はい！ はい！) サビ：(振り2) ～自身はすり抜けるモノFUWAFUWAFUWAFUWA ～プライドなんて投げ捨てHai!(ジャンプ) 後奏：(はい！ はい！) あいうえお順からもシングルのところからもリンク貼られてないよ～。 -- 名無しさん (2015-07-26 22 52 36) メニューに追加しました -- 名無しさん (2015-07-27 08 42 01) 名前 コメント
https://w.atwiki.jp/nicepaper/pages/376.html
cakePHP3であとからテーブルのカラムを追加したり、削除したり、indexを付けたい時というのは運営してよくあります。 そんな中で、どんな変更をしたのかの軌跡を記録したりする方法について考えていきます。 Migrations 基本コマンド 既存のデータベースからマイグレーションファイルを作成する（もうすでにテーブルを作っている人用） migrationファイルを作成（詳細は後日） ステータス確認 実行。 元に戻す（ロールバック）。 Migrations cakePHPのDBバージョン管理システム。 基本コマンド 既存のデータベースからマイグレーションファイルを作成する（もうすでにテーブルを作っている人用） bin/cake bake migration_snapshot Initial プロジェクト内のディレクトリで実行。 migrationファイルを作成（詳細は後日） bin/cake bake migration addrelease_news ステータス確認 bin/cake migrations migrate status 実行。 bin/cake migrations migrate 元に戻す（ロールバック）。 bin/cake migrations rollback
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/touhoukashi/pages/6529.html
【登録タグ FELT Fluster Escape R Rebirth Story 4 シンデレラケージ ～ Kagome-Kagome 曲 美歌】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/0souchi/pages/18.html
Decoration 名前 Population Range Cost 必要条件 サイズ WelomeSign 10 2 S1000 最初から 1x1 Billboard 15 2 S1200 最初から 2x1 WhiteFlowerbed 6 2 S600 最初から 1x1 RelayTower 6 2 M150 最初から 1x1 GreenTree 6 2 S650 最初から 1x1 BeachVolleyballCout 9 2 S2500 最初から 3X2 Treehouse 30 2 D14 最初から 1x1 HotDogStand 10 2 S1200 最初から 1x1 OrangeTree 8 2 S800 最初から 1x1 CobblestonePatch 2 5 S500 最初から 1x1 ATM 18 2 S1600 最初から 2x1 GiantTrampoline 18 3 S5000 最初から 2x2 PinkTree 33 3 D16 最初から 1x1 "Capitalism" 150 5 D299 最初から 2x1 PinkFlowerbed 33 3 D16 最初から 1x1 SuperHighDive 36 4 D16 最初から 2x2 BlueFlowerbed 10 2 S1200 最初から 1x1 WeightliftingArena 25 3 S9000 最初から 1x1 TacoTruck 18 2 M600 最初から 1x2 Playground 24 2 S2500 最初から 2x2 RockClimbingTerrace 36 4 D22 最初から ? FoodTruckCorner 33 3 S18 最初から 1x2 CherryBlossomTree 30 3 D17 最初から 1x1 martialArtsTatami 30 4 S1500 最初から 3x2 OrangeFlowerbed 14 2 人口400 1x1 PineTree 15 2 人口500 1x1 FerrisWheel 38 3 人口650 ? ConstructionCrane 20 2 人口700 1x1 Clotheslines 18 2 人口800 2x1 PizzaTruck 25 2 人口1500 1x2 Gazebo 33 2 人口900 1x1 Grove 24 2 人口1000 2x2 LampholderStatue 25 2 人口1100 2x1 yellowFlowerbed 16 2 人口1200 1x1 OldShippingCrane 45 3 人口1300 ? GiantRedwood 23 2 人口1450 1x1 GraffitiWall 26 2 人口1600 2x1 Plaza 24 2 人口1800 1x1 BellTower 36 2 人口2000 1 AtlasStatue 25 2 人口2100 1 Graveyard 18 3 人口2200 4 BigGraveyard 20 3 人口2500 ? PalmTree 26 2 人口2750 1x1 Promenade 20 3 人口3000 1x1 GiantScreen 30 2 人口3500 1x2 CampingArea 22 3 人口4000 3x2 Statue 15 3 人口4200 1x1 WaterTower 27 2 人口4800 1x1 BasketballCourt 45 2 人口5400 ? PublicPool 32 2 人口6000 2x2 CylinderGarage 53 3 人口7000 ? Orchard 32 2 人口8000 2x2 Amphitheater 35 2 人口9000 2x2 TheArch 38 3 人口10000 ? TennisCourt 32 2 人口11000 1x2 "MeritsofIndustry" 36 2 人口11500 ? SoccerPitch 36 3 人口12000 ? StreetFair 35 2 人口13000 ? ExoticFruitorchard 36 2 人口14000 ? DoggyPark 36 2 人口15000 ? HedgeMaze 25 3 人口16000 ? BikeRack 18 3 人口17000 ? HotAirBalloonRide 30 4 人口18000 ? DrivingRange 30 4 人口19000 ? WarMonument 22 3 人口20000 ? PEgyptianStatue 68 3 人口21000 ? DinoSkeleton 45 4 人口22000 ? CityLake 32 3 人口23000 ? SatelliteDish 22 3 人口24000 ? FroyoHut 28 3 人口25000 ? ArcheryRange 53 4 人口26000 ? HeartStatue 28 3 人口27000 ? PerpetualWaterfallMill 54 4 人口28000 ? TickerBillboard 30 3 人口29000 ? LargeFountain 32 3 人口30000 ? BoogiePlaza 44 3 人口31000 ? CherryOrchard 44 3 人口33000 ? LemonadeStand 20 3 人口34000 ? MakeoutPoint 48 4 人口35000 ? ChampionshipTorch 27 3 D15 最初から 1x1
https://w.atwiki.jp/syusei/pages/16.html
Transactionサンプル applicationContext.xml beans bean id="myAction" class="com.app.TestAction" property name="jdbcTemplate ref bean="jdbcTemplate"/ /property /bean !-- jdbcTemplateの定義 -- bean id="jdbcTemplate" class="org.springframework.jdbc.core.JdbcTemplate" property name="dataSource" ref local="dataSource"/ /property /bean !-- コネクションプーリングの定義 -- bean id="dataSource" class="org.enhydra.jdbc.pool.StandardXAPoolDataSource" destroy-method="shutdown" property name="dataSource" ref bean="xaDataSource"/ /property /bean !-- XAデータソース -- bean id="xaDataSource" class="org.enhydra.jdbc.standard.StandardXADataSource" destroy-method="shutdown" property name="transactionManager" ref bean="jotm"/ /property property name="driverName" value org.postgresql.Driver /value /property property name="url" value jdbc postgresql //host port/db?user=xxx amp;password=xxx /value /property /bean !-- JOTM -- bean id="jotm" class="org.springframework.transaction.jta.JotmFactoryBean"/ !-- SpringのUserTransaction -- bean id="transactionManager" class="org.springframework.transaction.jta.JtaTransactionManager" property name="userTransaction" ref bean="jotm"/ /property /bean !-- Base DAO -- bean id="sampledb_dao" class="com.app.SampleDbDAO" property name="jdbcTemplate" ref bean="jdbcTemplate"/ /property /bean /beans Java Source // DAO final BaseDAO dao = (BaseDAO)wac.getBean("sampledb_dao"); // プログラミングによるトランザクション制御 PlatformTransactionManager txManager = (PlatformTransactionManager)wac.getBean("transactionManager"); // TransactionTemplateを使用する TransactionTemplate txTemplate = new TransactionTemplate(txManager); txTemplate.execute(new TransactionCallbackWithoutResult() { @Override protected void doInTransactionWithoutResult(TransactionStatus status) { dao.insertData("hoge1", "Yaaaahooooo!!!"); dao.insertData("hoge2", "Hyaaaaaaaaa!!!"); // rollback status.setRollbackOnly(); } }); /* // トランザクションの属性設定 DefaultTransactionDefinition def = new DefaultTransactionDefinition(); def.setPropagationBehavior(TransactionDefinition.PROPAGATION_REQUIRED); // トランザクションの開始 TransactionStatus status = txManager.getTransaction(def); // DAO呼び出し（更新） dao.insertData("hoge", "Really?"); dao.insertData("hoge2", "Happy!"); // ロールバック txManager.rollback(status); */
https://w.atwiki.jp/xboxonescore/pages/1088.html
Train Station Renovation 項目数：54 総ポイント：1000 難易度：★☆☆☆☆ 一度クリアしたステージはクリア状況をリセットしない限り再度プレイできないので、 取り逃した実績がある場合は最初からやり直す事になる。 特に「Segregation is my passion」には注意。 技術を求められるような実績は無いので時間さえかければコンプは容易。 棚の傍など狭い場所にあるゴミを拾うと同時にゴミが一杯になると、ゴミ袋が地中に移動して回収できなくなる等のバグが発生する場合がある。 こうなると100％クリアは不可能になるので、ゴミを拾う際は要注意。 The old man s proud You ve completed Cleanvillle;Cleanvillleを完了させる 15 On the swamp You’ve completed Mudborough;Mudboroughを完了させる 15 Pumped it out You ve completed Gemtown;Gemtownを完了させる 15 I m the best at the playground You ve completed Enville;Envilleを完了させる 15 The blueprint on the wall… You’ve completed Catrough;Catroughを完了させる 15 Hooligans You ve completed Philville;Philvilleを完了させる 15 Radiation expert You ve completed Railtown;Railtownを完了させる 15 Light at the end of the tunnel… You’ve completed Highland Tunnel;Highland Tunnelを完了させる 15 The mouse ran up the clock... You ve completed Farmley;Farmleyを完了させる 15 Turntable mechanic You ve completed Playford Hills;Playford Hillsを完了させる 15 It s a small step for a Renovator... You picked up your first trash;初めてゴミを拾う 15 Senior Renovator You picked up 1000 small trash;小さいゴミを1000個拾う 15 Segregation expert 200 items were correctly thrown into a segregated container;200個のアイテムをリサイクルボックスに正しく入れる 15 #1 pick in the draft 3 pointer from Renovator;3ポイントシュートの距離からゴミを入れる 15 First star You managed to collect the first star;最初の星を獲得する 15 10 stars award You managed to collect 10 stars;星を10個獲得する 20 30 stars award You managed to collect 30 stars;星を30個獲得する 25 I’m pretty sure there is a little more! You managed to collect 75 stars!;星を75個獲得する 30 80 stars? Your Majesty… You managed to collect all 80 stars;85個の星を全て獲得する 50 Train mechanic You managed to repair 30 train parts!;列車のパーツを30個修復する 15 Storyteller You managed to complete all the tasks!;1ステージ内での全てのタスクを完了させる 15 Infinite power! Congratulations you managed to upgrade all tools!;全てのツールのアップグレードを完了させる 20 I like trains You created your first train on the model;初めて列車の模型を組み立てる 5 GET OVER HERE Nice try Renovator! Now come back to the station!;駅の外に出る 10 Getting started You ve completed Tutorial;チュートリアルを完了させる 10 Wait... what? There are tool upgrades? Complete the game without upgrades;ツールをアップグレードせずにゲームを完了させる 25 You can actually take a ride???? You’ve completed Rocky Hills Resort;Rocky Hills Resortを完了させる 15 It was all flooded You ve completed Carlsea;Carlseaを完了させる 15 Snowman s buddy You ve completed Oakdown;Oakdownを完了させる 15 Renovation of the underground? Sounds cool! You’ve completed Yellow Street Underground;Yellow Street Undergroundを完了させる 15 Godlike Renovator You ve completed Limingham;Liminghamを完了させる 15 Master of Cleanville You’ve completed Cleanville with 100% progress;Cleanvilleの作業を100%完了させる 25 Master of Mudborough You’ve completed Mudborough with 100% progress;Mudboroughの作業を100%完了させる 25 Master of Gemtown You’ve completed Gemtown with 100% progress;Gemtownの作業を100%完了させる 25 Master of Enville You’ve completed Enville with 100% progress;Enville withの作業を100%完了させる 25 Master of Catrough You’ve completed Catrough with 100% progress;Catroughの作業を100%完了させる 25 Master of Philville You’ve completed Philville with 100% progress;Philvilleの作業を100%完了させる 25 Master of Railtown You’ve completed Railtown with 100% progress;Railtownの作業を100%完了させる 25 Master of Highland Tunnel You’ve completed Highland tunnel with 100% progress;Highland tunnelの作業を100%完了させる 25 Master of Farmley You’ve completed Farmley with 100% progress;Farmleyの作業を100%完了させる 25 Master of Playford Hills You’ve completed Playford Hills with 100% progress;Playford Hillsの作業を100%完了させる 25 Master of Rocky Hills Resort You’ve completed Rocky Hills Resort with 100% progress;Rocky Hills Resortの作業を100%完了させる 25 Master of Carlsea You’ve completed Carlsea with 100% progress;Carlseaの作業を100%完了させる 25 Master of Oakdown You’ve completed Oakdown with 100% progress;Oakdownの作業を100%完了させる 25 Master of Yellow Street Underground You’ve completed Yellow Street Underground with 100% progress;Yellow Street Undergroundの作業を100%完了させる 25 Master of Limingham You’ve completed Limingham with 100% progress;Liminghamの作業を100%完了させる 25 Mr Sandbox You managed to collect 25 stars and unlocked Sandbox Mode!;星を25個集めてSandbox Modeをアンロックする 10 That looks cool! You painted your first wall;初めて壁を塗る 5 This floor looks different! You changed floor material for the first time;初めて床を変える 5 I wonder if I… Oh my! You changed material on the ceiling;初めて天井を変える 5 I’ll paint one train myself for fun! You painted your first train;初めて列車に色を塗る 5 Segregation is my passion 400 items were correctly thrown into a segregated container;400個のアイテムをリサイクルボックスに正しく入れる 20 The Boss You’ve $200.000 on your account;$200,000所有する 40 Having fun? You threw the pump in the designated place with maximum force;指定された場所に全力でポンプを投げる 10 #1 pick in the draft ゴミ箱に入ったゴミが固定された時点で離れていても解除される模様。 I like trains 事務所の隣のジオラマにある駅を調べると、リワードで入手した列車のミニチュア一覧が表示される。 そこから列車を選んで組み立てればいい。 Segregation is my passion 全ステージクリアまでに解除する必要があるため、序盤のうちから意識しておかないと解除できない可能性あり。 ゴミ袋だけでは全然足りないので、廃棄コストを覚悟のうえでドラム缶や鉄柱など 入れられるものを片っ端から入れていけば若干の余裕をもって解除できる。 Having fun? 最初に解除できるタイミングはMudborough(ステージ2)。 トイレの排水を行う際、緑色で表示されている場所へ排水ポンプを全力で投げて収まれば解除。
https://w.atwiki.jp/proko_translation/pages/38.html
How to Draw Obliques - Anatomy and Motion 外腹斜筋の描き方 - 解剖学と動き https //www.youtube.com/watch?v=SUHjijIsvgg http //www.proko.com/how-to-draw-obliques-anatomy-and-motion/ "Welcome back to Wheel of Proko. Prokoの輪の時間です Skelly it s your turn. Skelly、君の番だ。 There s only one letter left." 残りはたった一文字。 Show the board, it says "Obli_ues". "Obli_ues"という ボードが表示される。 "Give me a K!" 欠けてる文字は"K"！ Show the board again and wrong sound buzzes. 再びボードが表示され、間違ったときの音が流れる。 Welcome to Proko, I m Stan Prokopenko. Prokoチャンネルへようこそ。 私はStan Prokopenkoです。 Last time we introduced the 4 muscle layers of the abdominal wall. 前回、腹壁の四つの筋肉の層を紹介しました。 We already learned about the vertical rectus abdominis. 我々は、垂直の腹直筋についてすでに学びました。 And We learned about the horizontal transversus abdominis. そして、水平の腹横筋についても学びました。 Well, the premium students learned about it 有料版の生徒は、です。 Now, let s learn about the diagonal External Oblique. さて今回は、 斜めの外腹斜筋について学びましょう。 Beginners often get overwhelmed by the interlocking digits of the serratus and oblique. 初心者はしばしば、前鋸筋と外腹斜筋のかみ合った指状構造に 圧倒されます。 They draw a bunch of out of control stripes across the side of the figure. 彼らは、人物の側面を横切る 制御不能のたくさんの線を描く傾向にあります。 That ends today! それは今日で終わりにしましょう！ Let s be disciplined boys and girls and start by learning the anatomical basics. 規律正しい少年少女となり、 解剖学の基礎を学び始めましょう。 Then we can have fun and learn how to draw the forms. そうすれば楽しめるし、どうやって形を描くか学べるでしょう。 Anatomical Basics 解剖学的基礎 The name "External Oblique" refers to the muscle s position, being on the outside. 外腹斜筋(External Oblique)という名前は、 筋肉の位置、つまり外側にあるということに 言及しています。 Contrary to the Internal Oblique which is on the inside. 内側にある内腹斜筋とは対照的です。 And it refers to the diagonal angle of the muscle fibers. そして、その名称は、筋繊維の斜めの方向も示唆しています。 External means Outside. Externalとは外側。 Oblique means Diagonal. Obliqueとは斜めという意味です。 The external oblique is a sheet muscle, which means it s large and thin, and its muscle fibers are parallel. 外腹斜筋はシート状の筋肉です。 このことは外腹斜筋は大きく薄いということを意味し、 そして筋繊維は平行ということです。 It sits on the sides of our torso and connects the ribcage to the pelvis. 外腹斜筋はトルソの側面に位置し、 胸郭と骨盤につながっています。 When flexed, the digitation of the oblique is revealed and you see tube-like striations at 45 degree angles on the upper half. 屈曲するとき、 外腹斜筋の指状構造が現れ、 上半分に45度のチューブ状の筋が見えます。 This upper half is called the Thoracic Portion and the lower half is called the Flank Portion. この上半分は胸部と呼ばれ、 下半分は側副パッド部と呼ばれます。 !--引用ここから-- アーティストのための解剖学 外腹斜筋の下方4つの指状の突起は、 この部分の筋が厚く丸く膨らんだ かたちをしているので、 一般に側腹パッド部 (flank pad portion) と呼ばれる !--ここまで-- It originates off the bottom 8 ribs, and inserts onto the anterior 2/3 of the iliac crest, xiphoid, linea alba, and pubis. 外腹斜筋は下8つの肋骨から始まり、 腸骨稜の前方2/3、剣状突起、白線、恥骨で停止します。 The muscle fibers don t reach all the way to the linea alba. 筋繊維は、 白線に至るすべてにおいて続いているわけではありません。 They attach to their tendon, called abdominal aponeurosis, at the edge of the linea semilunaris. 筋繊維は腱に付着し、 その腱は外腹斜筋の腱膜と呼ばれていますが、 半月線の位置で腱と筋繊維が付着しています。 This large aponeurosis covers the entire rectus abdominis muscle. この巨大な腱膜は、腹直筋全体を覆っています。 Motion 動き The function of the oblique is to bend the spine laterally and to twist it. 外腹斜筋の機能は、 脊椎を外側に曲げ、またひねることです。 When both sides work together they flex the torso forward. 両方の側が一緒に働いたとき、 外腹斜筋はトルソを前に屈曲させます。 Which is, incidentally, the exact sequence you use when you warm up, attempt to dance, and then pick your pride up off the floor. このことは、 ちなみに、 あなたが準備体操するときのあなたが使う正しい手順、 ダンスしようとするとか、 プライドを床から拾い上げるときの動きです。 Sometimes we re our own worst enemies... 時々、我々自身が我々の最悪の敵となります。 Much like how the external oblique is its own antagonist. 外腹斜筋がそれ自身の拮抗筋になっているようにです。 When one side flexes, the other side stretches, and vice-versa. 一方が屈曲しているとき、もう一方は伸びています。 逆の場合も同じです。 When the oblique is flexed you ll see digitation on the thoracic portion. 外腹斜筋が屈曲するとき、 胸部の指状突起が見えることでしょう。 The flank portion stays smooth, except maybe a hint of the digitation along the medial edge. 側副パッド部は、 内側の縁に沿った指状突起の兆候を除いて 滑らかなままです。 The motion that will flex the obliques most is a twisting and bending combo. 外腹斜筋を最も屈曲させる動作は、 ねじるのと曲げることの組み合わせです。 Basically, the angle of the muscle fibers. 基本的に、筋繊維の角度です。 When twisting without any kind of bending, there s actually little effect on the oblique. 曲げを含めないねじりの時、 実際には、外腹斜筋に於いて少しの効果しか発生しません。 The lumbar vertebrae are very limited in their twisting range of motion. 腰椎は、動作に於けるねじりの範囲に於いて、 大変制限されています。 You ll just see a subtle twisting of the muscle. 筋肉に於いてはわずかなひねりしか見えないでしょう。 When bending forward, the compression is in the Abs, as we learned last time. 前に曲がるとき、 圧縮は腹直筋で起きます。 前回学んだことです。 When bending backward, even though it s a very limited motion, the skin quickly folds. 後ろに曲がるとき、たとえそれが大変制限された動きでも、 皮膚はすぐに皺がよります。 When you bend to the side, a prominent fold is created at your waist. 皆さんが横へ曲がるとき、 目立つ皺が腰に作られます。 If the bend is really extreme, it might be a double-fold. 曲げが本当に極端になったとき、 それは二重の皺になります。 Use the concept of squash and stretch when you re drawing one compressed side, exaggerate how the flesh is bunched up, and really stretch the other side! 伸びと押しつぶしの概念を使いましょう- あなたが圧縮された側を描くとき、 表皮がどのぐらい一団となっているか誇張し、 もう一方を本当に伸ばすようにしましょう！ You might even show the bony iliac crest and rib cage on the stretched side to show how tight the skin and muscle are being pulled. 皆さんは、 どれだけきつく皮膚と筋肉が引っ張られているか見せるために、 骨ばった腸骨稜や胸郭を伸ばされた側に 描くことさえあるかもしれません。 Robo Bean and Anato Bean ロボビーンと解剖学ビーン Remember the bean and robo bean from the figure drawing course? 人物画のコースのビーンとロボビーンを覚えていますか？ Well, a lot of the motion we drew for the pinching, stretching, and twisting, was an indication of what s happening to the obliques. さて、 私たちが描いた多くの動作、 圧迫、伸び、ひねりは、 外腹斜筋に何が起きているかの示唆でした。 The bean was basically 2 ovals, connected with skin, like 2 balls in a sock. ビーンは基本的に二つの卵型です。 皮膚でつながれています。 靴下の中の二つのボールのようにです。 But, I m more interested in reviewing the Robo Bean because it has hard corners that indicate 2 important skeletal landmarks. しかし、 私はロボビーンを見直すことにより興味を持っています。 なぜなら、 それは二つの重要な骨の目印を示している硬い角を持っているからです。 The 10th rib of the rib cage and the ASIS of the pelvis. 胸骨の十番目の肋骨と、骨盤の上前腸骨棘です。 These are so useful for drawing the obliques in motion. これらは、動作中の外腹斜筋を描くときに大変有用です。 Now, what about the bucket and geometric rib cage that we learned about earlier in this course? さて、 このコースの初期で学んだ、 バケツと幾何学的な胸郭はどうでしょう？ Let s call these the Anato Bean. これを解剖学的ビーンと呼びましょう。 The concept and purpose are similar to the robo bean, but the robo bean is simpler. 概念と目的はロボビーンと同様です。 しかしロボビーンはより単純です。 We can say that the Robo Bean is Beginner and these are Advanced. ロボビーンは初心者用で、 解剖学ビーンは上級者用といえるでしょう。 This edge of the bottom box on the robo bean follows the angle of the oblique. ロボビーンに於ける下の箱のこの角は、 外腹斜筋の方向を追っています。 It s the angle you ll see on the surface. それは皆さんが表面に見るであろう角度です。 The bucket is a little tougher and can be counter intuitive. バケツ型は少々難しく、直観に反しています。 It follows the angle of the front half of the iliac crest and then keeps going. それは腸骨稜の前半分の角度を追っており、 そしてそのまま続いています。 The bucket is more anatomically accurate if you have a handle on perspective. バケツ型は、 もしあなたが透視図法を理解しているのなら、 より解剖学的に正確です。 If you re struggling with the construction of the bucket, the robo bean can be a good option for you. もし、あなたがバケツ型の構造に格闘しているのなら、 ロボビーンは良い選択肢になり得るでしょう。 If perspective is new, try the Robo Bean. 透視図法に慣れていないのなら、 ロボビーンを試してください。 If you re up for the challenge, try the Bucket. もし挑戦に乗り気なら、 バケツ型を試してください。 Assignment 課題 So, go ahead and try it. さて、 先に進み、試して下さい。 Use the model photos from proko.com/poses and draw the pelvis and ribcage. proko.com/poses からのモデル写真を使い、 骨盤と胸郭を描いて下さい。 !--ここから書き起こしにない-- You can use the beginner or advanced version 皆さんは初心者用、または上級者用を使えます。 !--ここまで-- Then add the oblique with the correct stretching, pinching, or twisting. その後、正確に伸びているか、縮んでいるか、ひねっている 外腹斜筋を加えましょう。 Think about the motion and how the motion deforms the shape of the muscle. 動きと、動きが筋肉の形をどのように変えるかを考えましょう。