約 4,520,157 件
https://w.atwiki.jp/resonark/pages/39.html
Imagination 楽曲情報 Artist Chart BPM WiredLain sep-neko 138 譜面情報 難易度 Level ノーツ数 ロングノーツ数 ブローノーツ数 クラップノーツ数 Beg 3 249 8 0 16 Adv 6 603 16 90 29 Nmr X1 851 譜面動画 解説 コメント(感想など) 名前 コメント
https://w.atwiki.jp/ddrdp/pages/2074.html
Destination(踊) 曲名 アーティスト フォルダ 難易度 BPM NOTES/FA(SA) その他 Destination Sota F. 2014 踊12 85-170 376 / 32 Replicant D-ignition STREAM VOLTAGE AIR FREEZE CHAOS 68 84 14 60 80 楽譜面(9) /踊譜面(12) / 激譜面(15) / 鬼譜面(-) 属性 渡り、ひねり、ソフラン(減速)、停止、リズム難、フリーズアロー 譜面動画 https //www.youtube.com/watch?v=pRHecrVhjhQ (x1.25, NOTE, Clap) 解説 BPM推移 170-(停止)-170-(停止)-170-85-170-(停止)-170-(停止)-170-85 2015/03/05から開催されたReplicant D-ignition、緑の器。RDiの中ではエゴイズムに次いでソフランが激しい sotaの例に漏れず、踊譜面の時点でかなりのリズム難。楽に引き続き交差配置が多く、更に停止明けが8分~である為合わせ難い。全FA地帯は楽同様1箇所だけ付点3連ではなく8分2連なのを留意。若干FA捻りが遠いので反復横飛びでスイッチしても良い。低速も容赦無く交差配置があり、一度目の音合せは密度が薄いのでスライドも視野に。スコア難易度はかなり高い -- 名無しさん (2015-03-08 23 04 25) 踏みにくくスコアも出にくい問題児。停止はそれぞれ -- 名無しさん (2015-04-15 02 28 25) 104コンボ目の2P↓ 目印は96コンボ目の2P左のフリーズ -- 名無しさん (2015-04-15 02 29 46) 2回目は156コンボ目の2P↓ 目印は150コンボ目の↓縦2連 -- 名無しさん (2015-04-15 02 31 16) 3回目は低速開け264コンボ目の1P↑ 目印はジャンプ混じりのフリーズ。ここのリズムは停止から8分2連であること。曲とリズムに乗せられ符点8分踏みするとgoodやコンボを切りやすい。 -- 名無しさん (2015-04-15 02 33 59) 4回目は309コンボ目の1P← 目印は唐突に表れる16分2連地帯を抜けた後。これも停止明けは8分2連である。 -- 名無しさん (2015-04-15 02 36 02) ラスト低速は初歩の4分を踏んでからの16分中央捻りは11連であり次の逆足入り16分3連渡りと混同や11連を3連などの小間切れと判断しないように注意。 -- 名無しさん (2015-04-15 02 40 11) 名前 コメント コメント(私的なことや感想はこちら) 停止を覚えたら楽勝 と思いきや停止周りに交差渡りがあったりしてやたら踏みにくい。 -- 名無しさん (2015-04-02 01 12 50) 名前 コメント
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/wm_rev/pages/111.html
(111p) NAVAL OPERATIONS Another option to spice a campaign up is to add ship battles on sea. Main task of fleets in a campaign is to support ground operation on shores. Of course this is only possible when your map includes a sea. The main problem is that ship battles are not included in Warmaster rules and so you would need to play them using some stand-alone rule system with its own models (eg. old Man O’War game). For this reason the naval operation rules are optional and can be used only when at least two players agree on that. Set sails! Naval operations can only take place at sea, not on rivers. Players who agreed on involving naval operations can challenge each other to fight sea battles in the same manner as in ordinary ground battles. Sea battles are fought in Battle sequence no matter the order. A player who wins a sea battle gets a Naval Advantage over the defeated player. Naval Advantage means you can conquer a shore tile of the player defeated at sea for 1 EP less (usually 2) while it costs 1 EP more for the defeated player to conquer a shore tile (usually 4) of the player who has Naval Advantage over him. Note that a player still has to defeat another player in a Warmaster battle in order to conqer his shore tiles. The Naval Advantage only makes it easier or more difficult depending on the situation at sea. The Naval Advantage is carried over into subsequent campaign rounds and lasts until the player with the advantage is defeated in naval battle by any involved player. Involved players with no shore ports can still fight sea battles for Naval Advantage, however they cannot conquer another player s shore tiles until a sea port is built.
https://w.atwiki.jp/international_law/pages/22.html
万国公法(Elements of International Law) 万国公法(ばんこくこうほう)は、19世紀後半から20世紀前半にかけて近代国際法を普及させたという点で、東アジア各国に多大な影響を与えた国際法解説書の翻訳名であり、同時に“International Law”の現在の訳語「国際法」以前に使用されていた旧訳語でもある。以下では最初に翻訳命名されたW.マーチンの『万国公法』とその重訳本[1]を中心に記述し、この本がもたらした西欧起源の国際法がアジア諸国にどのように受容されていったかについても触れる。 原著者ヘンリー・ホイートン [編集] 『万国公法』の原著は、ヘンリー・ホイートン (Henry Wheaton) の『国際法原理』(原題:Elements of International Law)である[6]。ホイートンは アメリカ国際法学草創期を代表する法律家・外交官である。彼は弁護士からスタートし、ニューヨーク海事裁判所判事、連邦最高裁レポーターを歴任した。また法律キャリアを重ねる一方で、アメリカの駐コペンハーゲン代理公使、駐プロシア代理公使(後に特命全権公使)に任命され、外交官としても活躍している(松隈1992)。法曹界に身を置きながら、外交官でもあった経験が結実したのが、『国際法原理』であった。なお明治期の日本や片仮名のない中国ではホイートンを「恵頓」(拼音:Huìdùn)と表記した。 Reference Wikipedia
https://w.atwiki.jp/re_incarnation/pages/12.html
office ENDLESS Produce vol.9 RE-INCARNATION 初演 2012年2月10日~2月19日 全労済ホール/スペース・ゼロ 【出演者】 諸葛亮孔明(しょかつりょうこうめい):米倉利紀 趙雲子龍(ちょううんしりゅう):中村誠治郎 張郃儁乂(ちょうこうしゅんがい):田中良子 夏侯惇元譲(かこうとんげんじょう):広瀬友祐 劉備玄徳(りゅうびげんとく):佐久間祐人 夏侯淵妙才(かこうえんみょうさい):サントス・アンナ 甘夫人(かんふじん):甲斐まり恵 張飛益徳(ちょうひえきとく):村田洋二郎 黄忠漢升(こうちゅうかんしょう):赤塚篤紀 虫 夏(はか):猪狩敦子 許褚仲康(きょちょ):椎名鯛造 張遼文遠(ちょうりょうぶんえん):谷口賢志 劉表景升(りゅうひょうけいしょう):塚本拓弥 曹仁子孝(そうじんしこう):杉山健一 楽進文謙(がくしんぶんけん):竹内諒太 荀彧文若(じゅんいくぶんじゃく):一内侑 魯粛子敬(ろしゅくしけい):平野雅史 龐徳令明(ほうとくれいめい):永島真之介 周 倉(しゅうそう):石井寛人 李典曼成(りてんまんせい):梅澤良太 蒯越異度(かいえついど):青木友成 文聘仲業(ぶんぺいちゅうぎょう):石田達郎 曹休分烈(そうきゅうぶんれつ):市森隼 曹洪子廉(そうこうしれん):桑田裕介 于禁文則(うきんぶんそく):澤田拓郎 曹純子和(そうじゅんしわ):内田悠一 関 平(かんぺい):中代雄樹 夏侯恩子雲(かこうおんしうん):尾関俊和 蔡瑁徳珪(さいぼうとくけい):本間健大 曹操孟徳(そうそうもうとく):西田大輔 【スタッフ】 脚本・演出:西田大輔 舞台監督:清水スミカ 舞台美術:角田知穂 照明:大波多 秀起(デイライト) 音響:前田規寛(M.S.W.) 音楽:和田俊輔(てらりすと) 衣装:瓢子ちあき ヘアメイク:新妻佑子 美容協力:STEP BY STEP 宣伝美術:Flyer-ya Webデザイン:まめなり 相川秀樹 撮影:カラーズイマジネーション 協力 AND ENDLESS bamboo bpm Revifront Artist Management SOS Entertainments sTYle72 inc 大沢事務所 エースクルー・エンタテインメント オスカー スペースクラフト・エンタテインメント センスアップ メインキャスト 礼泉堂 プロデューサー:下浦貴敬(Office ENDLESS ) 三角大(ダイス) 提携公演:全労済ホール/スペース・ゼロ 共催:ダイス 主催:Office ENDLESS
https://w.atwiki.jp/asigami/pages/2340.html
曲名 アーティスト フォルダ 難易度 BPM NOTES/FREEZE(SHOCK) Destination Sota F. DDR2014 踊12 85-170 373/46 STREAM VOLTAGE AIR FREEZE CHAOS 68 84 21 60 80 楽譜面(9) / 踊譜面(12) / 激譜面(15) クリア難易度投票 スコア難易度投票 譜面 http //livedoor.blogimg.jp/yanmar195/imgs/b/1/b1a9f334.png 動画 http //www.nicovideo.jp/watch/sm26008640 http //www.nicovideo.jp/watch/sm26008640 (1p x1.0,NOTE 2p x2.25,NOTE handclap) https //www.youtube.com/watch?v=ISfbD_RSvec (x2.5, NOTE) https //www.youtube.com/watch?v=JwMvURbTV_A (x3.25, NOTE) 解説 BPM推移:170-(停止)-170-(停止)-170-85-170-(停止)-170-(停止)-170-85 それぞれ、NOTEでいう赤矢印の直前で1拍停止する。なので、停止で踏めなかった時は、4分のタイミングでもう一度踏めばOK。 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 アイエエエエ! - 2015-05-11 00 28 37 砂風呂ほどじゃないけど交互に踏みづらくて12台ではスコア難度は高め。 - 2016-03-20 10 02 26
https://w.atwiki.jp/pathofexile12/pages/929.html
RebirthはDivination Cardの一種 交換可能アイテム 入手方法 関連リンク Rebirth Charan s Sword He shattered Her smileScattered the fragments like ashAll she did was laugh 交換可能アイテム 入手方法 このカードがドロップするエリア The Battlefront • The Slave Pens • The Ruined Square • The Desecrated Chambers • The Control Blocks (Act 10) • The Reliquary (Act 10) • The Ossuary (Act 10) • The Broken Bridge (Act 7) • The Crypt (Act 7) • The Ashen Fields • The Blood Aqueduct • The Vastiri Desert • The Foothills • The Quarry カード等のドロップ以外の入手方法 アイテム 必要数 備考 The Gambler 5 Stacked Deck 1 関連リンク 英wiki https //pathofexile.gamepedia.com/Rebirth Divination Card
https://w.atwiki.jp/keroro00innovator/pages/1407.html
Next Destination Next Destination アーティスト 高垣彩陽 発売日 2013年8月14日 レーベル ミュージックレイン デイリー最高順位 3位(2013年8月14日) 週間最高順位 4位(2013年8月20日) 月間最高順位 18位(2013年8月) 年間最高順位 131位(2013年) 初動売上 9154 累計売上 15445 収録内容 曲名 タイアップ 視聴 1 Next Destination 戦姫絶唱シンフォギアG ED 2 Will 3 Memory ランキング 週 月日 順位 変動 週/月間枚数 累計枚数 1 8/20 4 新 9154 9154 2 8/27 14 ↓ 2662 11816 3 9/3 ↓ 1402 13218 2013年8月 18 新 13218 13218 4 9/10 706 13924 5 9/17 534 14458 6 9/24 417 14875 7 10/1 340 15215 2013年9月 41 ↓ 1997 15215 8 10/8 230 15445 戦姫絶唱シンフォギア ED 前作無印 次作GX Meteor Light Next Destination Rebirth-day 関連CD Vitalization 戦姫絶唱シンフォギア キャラクターソング戦姫絶唱シンフォギアG キャラクターソング6 雪音クリス 月のなみだ
https://w.atwiki.jp/pathofexile12/pages/847.html
Varunastra 必要枚数:10枚 Colosseum Map Painful suicide in the hands of a fool, Creative death in the hands of a master.- Icius Perandus, Antiquities Collection, Item 2992