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SET LIST from Hungary (English ver) English page Japanese 10 songs , Hungarian 10 songs , Taiwanese 10 songs 日本語ページ 日本の10曲リスト , ハンガリーの10曲リスト , 台湾の10曲リスト V Moto-Rock - Varj mig fel kel majd a nap (5 00) Varga Miklos - Europe (4 57) Omega - Petroleumlampa (3 13) LGT - Ugye mi jo baratok vagyunk (3 18) Máté Péter - There are the friends, because... (3 42) Cserhati Zsuzsa - Akad amit nem gyógyít meg az idõ sem (3 56) Edda - A kőr (A Ring) (4 54) KFT - Balatoni nyar (Summer of Balatoni Lake) (4 33) Republic - Kek es narancssarga (Blue Orange) (6 04) Piramis - Ajandek (Gift) (3 01) 1. V Moto-Rock - Varj mig fel kel majd a nap (5 00) hanocha4870.jpg V-Moto-Rock was founded in 1977. and the band existed till 1989. Their first album was not very succesful, but later they became really popular, due to the unique voice of the lead singer, and the perfect instrumental skills of the members. Maybe this was their greatest hit. The singer made a respectful solo career after the band had broke up. Várj míg felkel majd a Nap (Wait til the Sun rises up) The message of the song is, that if you are lonely or you are confused, you should trust in a happy future, and go on, because like the sun rises up after every dark night, your next day could be better, and you should not lose hope. 2. Varga Miklos - Europe（Európa） (4 57) hanocha4840.jpg Varga Miklós was borned in 1956 and started to sing in 1975, and he made a great career. He sang in several bands, and performed on stage in many rock-operas during the 80s, 90s and in the new century. He is an excellent componist, too, he scored five movies, four of them is about hungarian history. He is very patriotic, and takes part in history-related peformances. Európa (Europe) In the song, the artist sings about Europe, like "she s the mother of all european people". He sings about his love and patriotism for the old continent, "who" cares about the children, even if they fight bloody wars, and kill each-other. 3. Omega - Petroleumlampa (3 13) hanocha4841.jpg Omega is one of the most known and beloved groups in Hungary. The group was founded in 1962., but they were on the top in the 70s. First they played famous songs from forein artists, but later they could perform their own style, which made them one of the best beat-hardrock group in hungary. Omega was well known in Europe, and they are together in the recent days, and sometimes make live performances nowadays, too. Their songs are usually romantic and very mystical as well as surrealistic. Petróleumlámpa (Paraffine lamp) A simple, old lamp can be a witness of the history of a hundred years, and can stand proudly and bright among lies, just like a noble man. 4. LGT - Ugye mi jo baratok vagyunk (3 18) hanocha4842.jpg LGT was founded in 1971. by well known artists. They made a great affection on hungarian rock music, and earn a popularity in many countries across the world (they have even performed in Tokio, two times). They have concerts in the recent years, too. Ugye mi jóbarátok vagyunk (We are good friends, aren t we?) The song is about the devotion and treachery in a friendship. If someone gives everything, even if she/he doesn t get back anything, that s the real friendship. 5. Máté Péter - There are the friends, because... （Azért vannak a jóbarátok） (3 42) hanocha4843.jpg Máté Péter was a very popular and famous singer in the 60s 70s and 80s. He was a talented musician either, so he wrote his own songs, and they made him a well known artist in foreign countries across Europe. Besides many albums, he composed music to drama and orchestrated a musical. He was died in 1984. He was only 37 years old. In (maybe his best song, which became a hit in the whole world) Elmegyek (I m fading), he foretold his own death, which is a mistery since then.Most hungarian people agree in the fact, that he was the best hungarian singer ever. Azért vannak a jóbarátok (There are the friends, because...) This song is about the importance of friends. The refrain says, that the friends, who make you remember to the happy days of your youth, when you live your old years. You cannot change your mistakes, or stop the flow of the time, but you don t have to worry, if you have friends, who make you happy. 6. Cserhati Zsuzsa - Akad amit nem gyógyít meg az idõ sem (3 56) hanocha4844.jpg Cserháti ZSuzsa was famous and beloved from the early 70s till 2003., when she s gone. She made more than a dozen of albums, and had many-many performances, in Hungary and abroad, too. She was the lead singer of the hungarian Moulin Rogue. Akad amit nem gyógyít meg az idõ sem (Even the time won t heal everything) When good things pass by, and you become lonely, and sad, maybe time can t heal your sadness. But it s treating every day, and you ll be fine, maybe sooner than you d think. 7. Edda - A kőr (A Ring) (4 54) hanocha4845.jpg The hard-rock music group Edda started to play in the 70s, and they were very popular in the next two decades. Nowadays the singer of the group sings as solo in a different music style. A kör (The ring) Despite the title, it is not scary. It s about one s friends and enemies, who stand around him. The refrain says that if he left the ring, as the enemies wanted, they would miss him like the friends. So don t give up even if a lot of people wants you to stop what you re doing and wants you to leave. 8. KFT - Balatoni nyar (Summer of Balatoni Lake) (4 33) hanocha4846.jpg KFT was founded in 1981., they were the most determining new-wave group in the 80s and the 90s, and they are on stage in the recent days, too. Their songs are mostly happy and humorous, and sometimes a little crazy. They commonly use theatre-like features or new technologies in their concerts, for example vocal feature through the internet. Their music was broadcasted into the space with some messages to aliens. Balatoni nyár (Summer at Lake Balaton 1986.) The song is about a summer at lake Balaton in Hungary. It s about a typical case, when a girl and a boy meet during a holyday, and have fun, and the boy doesn t tell that he has someone else. But the days with the girl will be an eternal reminescense for him. 9. Republic - Kek es narancssarga (Blue Orange) (6 04) hanocha4848.jpg The band Republic was founded in 1990, after the new state of government had been declared in 1989. It was Republic,too. Their music is a mixture of punk, hard-rock and beat, and sometimes a little bit of folk sounds. Kék és narancssárga (Blue and orange) There s a point in every life, when everything becomes unimportant, when noone can hurt you anymore, when you can lose everything you love. Maybe...it is...death? 10. Piramis - Ajandek (Gift) (3 01) hanocha4849.jpg Piramis was founded in 1975 for the inspiration of Black Sabbath, and until the break-up in the early 80s, it was one of the most popular hard-rock bands. They made a comeback in 1992, and held an almost a week long live performance. Ajándék (Gift) In the late 70s, when this song was borned, it was sung by a nation s rebellious youngs, who wanted only to live free, and can say anything freely, without restrictions. It was a hymn of peace and freedom.
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httperfは、HP社（の系列会社？）で作成されたWebサーバーの負荷テストツールです。 現在はsourceforgeで管理されているようです。 http //sourceforge.net/projects/httperf/ インストール ubuntu10.10ではすでにパッケージになっており、以下でインストールできます。 $ sudo apt-get install httperf 使い方 コマンドの書式は以下のとおり。 $ httperf --help Usage httperf [-hdvV] [--add-header S] [--burst-length N] [--client N/N] [--close-with-reset] [--debug N] [--failure-status N] [--help] [--hog] [--http-version S] [--max-connections N] [--max-piped-calls N] [--method S] [--no-host-hdr] [--num-calls N] [--num-conns N] [--period [d|u|e]T1[,T2]] [--port N] [--print-reply [header|body]] [--print-request [header|body]] [--rate X] [--recv-buffer N] [--retry-on-failure] [--send-buffer N] [--server S] [--server-name S] [--session-cookies] [--ssl] [--ssl-ciphers L] [--ssl-no-reuse] [--think-timeout X] [--timeout X] [--uri S] [--verbose] [--version] [--wlog y|n,file] [--wsess N,N,X] [--wsesslog N,X,file] [--wset N,X] 詳細はmanをみてもらうとして、簡単には以下のように指定すると実行できます。 $ httperf --server localhost --port 8080 --uri /tmp/testfile --rate 10 --num-conn 100 --num-call 3 –server サーバのホスト指定 –port ポート番号を指定 –uri ドキュメントのパスを指定 –rate 1秒間に生成するコネクション数 –num-conn ベンチマークを終了するコネクション数。 –num-call KeepAliveを設定している場合、1コネクションに含めるリクエスト数を指定 上記のオプションだと、1秒間に10コネクションずつ生成し、１つのコネクションで3回「http //localhost 8080/tmp/testfile」に対し、GETメソッドを実行します。少しして生成したコネクション数が100になると、ベンチマークが終了します。 実行例 $ httperf --server 127.0.0.1 --port 8080 --uri /tmp/testfile --rate 10 --num-conn 100 --num-call 3 httperf --client=0/1 --server=127.0.0.1 --port=8080 --uri=/tmp/testfile --rate=10 --send-buffer=4096 --recv-buffer=16384 --num-conns=100 --num-calls=3 Maximum connect burst length 1 Total connections 100 requests 300 replies 300 test-duration 9.998 s Connection rate 10.0 conn/s (100.0 ms/conn, =2 concurrent connections) Connection time [ms] min 73.5 avg 84.2 max 125.0 median 81.5 stddev 6.8 Connection time [ms] connect 0.1 Connection length [replies/conn] 3.000 Request rate 30.0 req/s (33.3 ms/req) Request size [B] 74.0 Reply rate [replies/s] min 30.0 avg 30.0 max 30.0 stddev 0.0 (1 samples) Reply time [ms] response 1.9 transfer 26.2 Reply size [B] header 110.0 content 48.0 footer 2.0 (total 160.0) Reply status 1xx=0 2xx=300 3xx=0 4xx=0 5xx=0 CPU time [s] user 0.96 system 4.57 (user 9.6% system 45.7% total 55.3%) Net I/O 6.8 KB/s (0.1*10^6 bps) Errors total 0 client-timo 0 socket-timo 0 connrefused 0 connreset 0 Errors fd-unavail 0 addrunavail 0 ftab-full 0 other 0 名前 コメント
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Opening the Shot ショットを開く ショットのトラッキングを始めるには、起動後File/New（ファイル/新規）やFile/Import/Shot（ファイル/入力/ショット）を選択します。 AVI、QTムービー、MPEGファイル、連番ファイルの最初のフレームのJPEG、TIFF、BMP、SGI、Cineon、SMPTE DPX、Targaファイルなどを選択する必要があります。 Macでは、正しく書き出されていれば、ファイルの種類は拡張子が無くとも自動的に決められます（OSXで定められている拡張子に限ります）。 PCかMacで、もしイメージファイルに拡張子がなかったりファイルの種類が判らないときには、Open File（ファイルを開く）ダイアログボックスで、Just Open It（それを開く）を選択して、それで表示されたファイルを選択すると、SynthEyesが自動的に種類を判定します。 注意 SynthEyesは、セキュリティの確立された環境で、既知のイメージ上での使用を前提としています。インターネットまたは他の未知の要因から得られたイメージによってもたらされるウィルスに対抗するようにアップデートされることはありません。そのようなイメージは、SynthEyesまたはコンピュータを破壊する原因になったり、あるいは、危険なソフトウェアによって不正にのっとられる原因になるかもしれません。 SynthEyesは、通常ファイル・シーケンスごとに1つのIFL(画像ファイルリスト)ファイルを作成し、イメージと同じフォルダに、それを書き出します。 IFLは全体のシーケンスのための信頼できるプレースホルダとして機能し、SynthEyesが全てのシーケンスを再チェックする必要がないので、特にネットワークを介してのシーケンスの開き直す時間を節約します。IFLファイルがあなたの画像管理システムと相性が悪い、もしくはあなたが異なったマシンから同じ画像シーケンスを頻繁に開くなら、各コンピュータから異なったファイル名の、同じ画像シーケンスを作り出して、あなたはWriteをオフにすることができます。 preferenceの Match image-sequence frame # s は,シーケンスの初めに余分なフレームを生成するよう、設定されます。そのため、SynthEyesフレーム番号はファイルのフレーム番号に合います。（全体のショットが既にありましたらこの必要は全くありません。）。この設定はいつもこのマッチング(シーケンスの番号を合わせる事)を必要とするある他のプログラムとの相互作用を簡素化できます。そして、ショットの‘in ポイントの周りで編集が変化した時の変更をより簡単にすることができます。 （下記のPrepend Additional Frames setting（前もって付加フレームを設定する）を参照。） このpreferenceが、全く他のアプリケーションまたはそれらのエクスポーターと必ずしも互換性を持つというわけではありません。 それを使用する前に、このpreferenceをテストして、影響を必ず熟知しておいてください。 Basic Open-Shot Settings 次の設定があなたのショットと一致するように調整してください。 あなたはこれらの設定をShot/Edit Shotの後に変えることができます。 もしあなたが始めるときに全ての設定を理解していなくても、うろたえないでください；多くは高度な状況の時だけに提供します。 Image Aspect は正しい結果を得る上で最も重要になる設定です。 Maya ユーザーが Maya プリセットに対応しているプリセットを使うことを望むかもしれません。 Image Preprocessingボタンが、もう１つのパネルを起動することに注意してください；私たちは、基本的なオープンショット・ダイアログの後にそれらを設定します。 Start Frame, End Frame フレームの範囲を調整します。このパネル、またはタイムバーの枠の端の「+-」をshift+ドラッグすることで調整できます。 Frame rate 通常1秒当たりのフレーム数は、24、24.98、または29.97です。NTSCは米国と日本、PALはヨーロッパで使用されます。 一般に、フィルムは24fpsです。 高(低)フレームレートショットやマルチメディアプロジェクトの為に、他のレートを設定することもできます。ソフトウェアによっては25か30fpsに、(小数点を)丸めるかもしれません。 SynthEyesは、あなたが正確であるか大体の値を使用するかどうか気にかけません。 Interlacing フィルムかプログレッシブ・スキャンDVの時はNone。25/30fpsはYesを(常に他のフィールドをスキップします)。 急速なぶれをトラッキングする能力をいくらか損失しますが、必要なトラッキングの量を最小にします。 同じものにYesとButを使用してください。Butは、他のフィールドを保つときに使用してください。インターレースビデオの最初のフィールドによって、Starting OddかStarting Evenを使用してください。推測でなら、いったんショットを開いた後、いくつかのフレームをコマ送りしてください。2ステップで次のコマに行くなら、一旦戻ってShot/Edit Shotメニューの項目を選択し、設定を修正してください。JPEGシーケンスなどのnon-field-savvyコーデックで圧縮されたソースビデオにはYesかNoneを使用してください。 Apply Preset 異なったフィルム形式のリストをドロップダウンからクリックしてください。それらの1つを選択すると、 Image Aspect ・ Back Plate ・ Anamorphic Squeeze や、大部分のパラメーターがプリセットによって設定されるでしょう。あなたは、自分のプリセットを、作成・変更・消去できます。プリセットリストの一番下の、 Save As や Delete を使用して、登録します。 Image aspect ratio(縦横比) 画像の幅を高さで割った値。1.333はビデオ,1.777はHDTV, 2.35や他の値はフィルムです。注意 通常、これはimage preprocessorへの縦横比入力です。 右下に示された“Final aspect”は、 image preprocessor から出て来る縦横比です。 ひずみを適用し、 image preprocessor がモードを適用するように設定されるなら、このスピナーの値は出力された縦横比です。(その比は、オリジナルのショットの縦横比です)。 右下で“Final aspect”を見る代わりに、“source aspect.”とラベルされて、入力されたイメージの縦横比は出てくるでしょう。 Pixel aspect ratio それぞれの画素の縦横比。 (画素の縦横比は最終的なイメージのためのもので、アナモルフィック・ネガの画素の、細い幅ではない。) Back Plate Width バーチャルカメラの焦点距離の解析を決定し、“film”の幅を設定します。 特定のカメラにおいて、焦点距離とバックプレート幅の実際の値が、“book values” といつもわずかに異なっていることに注意してください。注意 Mayaはこの値に関して、非常に気難しいです。 Back Plate Height 幅、イメージ比率および縮尺から計算された、フィルムの高さ。 Back Plate Units. in が表示されている時はインチ、 mm の時はミリメートルです。 クリックして、希望する方に変更してください。 Anamorphic Squeeze アナモルフィック・レンズがフィルム・カメラで使用されているとき、ワイドスクリーンイメージをより細長いネガまで絞ります。 圧縮要素は多くの絞りがどうかかわるかを反映します。2の値は、最終的なイメージがマイナス2倍広いことを意味します。 圧縮を便利に提供します。それは全体的なSynthEyesシーンで必要ではありません。 Negative s Aspect アナモルフィックな圧縮が存在していない場合、最終的なイメージと同じ値の、マイナス縦横比。 イメージの比率と圧縮要素から計算されています。 Prepend Extra Frames shot/Change Shot Imageryメニューアイテムの間だけ、選択可能です。 このスピナーは、追加フレームがショットの始めに加えられるのを示し、それは全てのトラッカー、 オブジェクトのパス、スプラインなどは後でショットにかほど移行するべきです。 Exposure Adjustment 読まれた、多くの絞り値による、ショットの露出の増減の調節。 値を変えると、メインウィンドウが更新されます。 これは、CineonやDPXなどの特定の画像形式だけに反応します。浮動小数点形式のOpenEXRは特に重要です。 HiRez 手動トラッキングのための、画素間の再サンプリングと補間法の量のプリセット。 いくらかトラッキングが遅くなりますが、より大きい値とより高度なタイプはより鮮明なイメージを与え、 より良いトラッキングデータになるかもしれない。 デフォルトのLinear x 4で、大概十分でしょう。 より高度なタイプは、高品質の圧縮されていないソース場面のために検討することができます。 Queue Length RAMに格納する(全てのフレームが望ましい)、フレームの数。 関連しているディスプレイには、どのくらいのメモリがコンピュータに残っているかを示しています。 Photoshopや3Dアプリケーションの様なRAMが必要な他のアプリケーションは蓄えたメモリー容量を減少させるかもしれません。 とにかく、SynthEyesを稼働している間、それらの他のアプリケーションを一時的に遅くなるのを気にしないならば、マシンの多くの物理メモリ(RAM)を必要とする、キューの長さを要求できます。 比較的わずかなメモリー容量だけが、1,000個以上のフレーム、または大きい・動作中・フィルムスキャンのショットを除いた、自動トラッキングのために必要です。 16 Bit/Channel 入力ファイルが1チャンネルあたり16bitなら、16bitで処理されるか8bitに減らすかを、このチェックボックスで制御します。 8bitのイメージは多少正確ではありませんが、軽く、16bitと比べると速いです。 逆に、16bitのイメージは正確ですが、重く、8bitに比べると遅いです。 あなたは、16bitで自動トラッキングをし、そして、ショットを素早くスクラブするために、8bitに落とすことができます。 Keep Alpha チェックすると、ファイルを開くときに、SynthEyesはアルファチャンネル付きで処理します(ロトスコープするために、アルファチャンネルの使用が無いように見えても)。 レンズディストーションやスタビライズのために image preprocessor を使い、アルファチャンネルも一緒に書き出したいとき、チェックしてください。 Image Preprocessing 様々なイメージレベル調整で、トラッキングをよりやり易くする、画像前処理(準備)ダイアログがあります (マシンよりも、人間の為のもの)。 色やガンマなどの調節ができ、シングルチャンネルや表示領域を制限するなど、メモリの使用を抑えるオプションもあります。 また、このダイアログは、スタビライズ機能も提供します。 Memory Status 画像の解像度・画像のRAMに取り込まれるサイズ(MB表記)・ショットのスレーム数・ マシンが使える残りのRAMの量と、シーケンスを取り込むのに必要なメモリー容量の見積もりが表示されます。 最後の必要メモリー容量が、目安に過ぎないことに注意してください。この後の(トラッキング等の)処理によって、 変わってきます。1フレーム目のサイズで必要なメモリー量を計算しているので、 Image Preprocessing システムで表示領域を変更した場合、 非常に不正確になります。 また、 Image Preprocessing 処理後から出てくる、最終的な縦横比もここに示されています。 それは Image Preprocessing によって実行された、再サンプリング、パディング(空白部分の埋め合わせ)、 およびクロッピング(必要な領域を指定し、画像を切り取ること)を反映します。 ロードした後に ショットをロードするためにOKを押すと、素早くアクセス出来るように、RAMにシーケンスを読み込み始めます。 ショットを通して、再生やスクラブをするのに、プレイバーとタイムバーを使用できます。注意! この処理は、RAIDディスクなどの高速処理量装置を利用して出来るだけ速くすべてをロードしようとし、プロセッサに負荷を掛けます。 しかしながら、フッテージが低帯域幅のリモートドライブの状態だと、OSがデータを得ようとして、マシンは一時的に鈍くなるかもしれません。 これを避けたいなら、 Shot メニューで Enable Prefetch をオフにするか、または preference の Prefetch enable をオフに変更してください。 下記のような、RAMにイメージを読み込むのに役立つ、 Image Preprocessing を使用できます。 ショットがRAMをうまく読み込まなくても、timebarの小さい緑色の、赤い再生マーカーを使用することでショットの一部のRAM再生を得ることができます。 あなたはループにしたい部分をドラッグすることができます。 時々、全体のショットを開きたくなるかもしれませんが、読み込んでいる部分だけをトラッキング・解析してください。 タイムバーのショットの両端をshift+ドラッグして、再生範囲を変更できます。 ここで、座標系タイプ(MAX, Maya, Lightwaveなどに適したもの)を選んでください。 必要なら、 scene setting や preference の調整をしてください。 Changing the Imagery You may need to replace the imagery of a shot, for example, with lower- or higher-resolution versions. Use theShot/Change Shot Imagesmenu item to do this. The shot settings dialog will re-appear, so you can adjust or correct settings such as the aspect ratio. When activated as part of Change Shot Images, the shot settings dialog also features aPrepend Extra Framessetting. If you have tracked a shot, but suddenly the director wants to extend a shot with additional frames at the beginning, use the Change Shot Images selection, re-select the shot with the additional images, and set the Prepend Extra Frames setting to the number of additional frames. This will shift all the trackers, splines, object paths, etc later in the shot by that amount. You can extend the trackers or add additional ones, and re-solve the shot. Note that if frames from the beginning of the shot are no longer needed, you should leave them in place, but change the shot start value by shift-dragging it in the time bar. あなたは例えば、ショットの画質を低い、あるいはより高い解像度のバージョンで置き換える必要があるかもしれません。 これを行うために、Shot/Change Shot Imagesmenu項目を使用してください。 shot settings dialog が再び表示されるでしょう、それであなたはアスペクト比のような設定を調整したり修正することができます。 Change Shot Imagesの一部として作動するるとき、shot settings dialogは同じくPrepend Extra Framessetting として起用します。 もしあなたがショットを追跡した、しかし突然ディレクタが始めに追加のフレームでショットを拡張することを望むなら、Change Shot Images セレクションを使って、ショットの追加のイメージを再び選択して、Prepend Extra Framesで追加のフレームをセットしてください。 これはその量によってショットすべてのトラッカー、スプライン、オブジェクトパスなどを変えるでしょう。 あなたはトラッカーを延長するか、あるいは追加を加えて、ショットを解決することができます。 もしショットの最初からのフレームがもう必要とされないなら、実施されているままにしておくべきであることに注意してください、しかし、タイムバーにそれをシフト - ドラッグで、ショットのスタート値を変えてください。 Image Preprocessing Basics The image preparation dialog provides a range of capabilities aimed at the following primary issues · Stabilizing the images, reducing wobbles and jiggles in the source imagery, · Making features more visible, especially to you for supervised tracking, · Reducing the amount of memory required to store the shot in RAM, to facilitate real-time playback, · Correcting image geometry distortion or the optic axis position. You can activate the image preprocessing panel either from the Open-Shot dialog, or from the Shot menu directly. The individual controls of the image preprocessor are spread among several tabbed subpanels, much like the main SynthEyes window. These include Rez, Levels, Cropping, Stabilize, Lens, Adjust, Output, and ROI. As you modify the image preprocessing controls, you can use the frame spinner and assorted buttons to move through the shot to verify that the settings are appropriate throughout it. Fetching and preprocessing the images can take a while, especially with film-resolution images. You can control whether or not the image updates as you change the frame# spinner, using the control button on the right hand side of the image preprocessor. The image preprocessing engine affects the shots as they are read from disk, before they are stored in RAM for tracking and playback. The preprocessing engine can change the image resolution, aspect ratio, and overall geometry. Accordingly, youmust take care if you change the image format---if you change the image geometry, you may need to use theApply to Trackersbutton, or you will have to delete the trackers and do them over, since their positions will no longer match the image currently being supplied by the preprocessing engine. (The apply/remove lens distortion script can also help recover.) The image preprocessor allows you to create presets within a scene, so that you can use one preset for the entire scene, and a separate preset for a small region around a moving object, for example. Image Adjustments As mentioned, the image adjustments allow you to fix up the image a bit to make it easier for you and SynthEyes to see the features to be tracked. The preprocessor s image adjustments encompass the basic saturation and hue, level adjustments, and channel selection. The level adjustments map the specified Low level to blackest black out (luma=0), and specified High level to whitest white (luma=1), so that you can select a portion of the dynamic range to examine. The Mid level is mapped to 50% gray (luma=0.5) by performing a gamma-type adjustment; the gamma value is displayed and can be modified. You should be a bit careful that in the interests of making the image look good on your monitor, you don’t compress the dynamic range into the upper end of brightness, which reduces that actual contrast available for tracking. The level adjustments can be animated to adjust over the course of the shot, see the section on animated shot setup below. It may be worthwhile to use only one of the R, G, or B channels for tracking, or perhaps the basic luminance, as obtained using the Channel setting. (The Alpha channel can also be selected, mainly for a quick check of the alpha channel.) If you think selecting a single channel might be a good idea, be sure to check them all. If you are tracking small colored trackers, especially on video, you will find they often aren’t very colorful. Rather than trying to increase the saturation, use a different channel. For example, with small green markers for face tracking, the red channel is probably the best choice. The blue channel is usually substantially noisier than red or green. The hue adjustment can be used to tweak the color before the channel selection; by making yellows red, you can have a virtual yellow channel, for example. Note that you can change the image adjustments in this section without having to re-track, since the overall image geometry does not change. Minimizing Grain The grain in film images can perturb tracking somewhat. Use the Blur setting on the image preparation panel to slightly filter the image, minimizing the grain. This tactic can be effective for compression artifacts as well. SynthEyes can stabilize the images, re-size them, or correct for lens distortion. As it does that, it interpolates between the existing pixels. There are severalinterpolation modesavailable. You can produce a sharper image when you are re-sampling using the more advanced modes, but you increase the grain as you do so. Handling Strobes and Explosion Shots Quickly varying lighting can cause problems for tracking, especially supervised tracking. You can reduce the lighting variations by hi-pass filtering the image with the Hi-Pass setting. The image will turn into a fairly monotonous gray version (consider using only the Luma channel to save memory). The Hi-Pass setting is also a Gaussian filter size, but it is generally much larger than a 2-pixel blur to compensate for grain, say around 10 pixels. The larger the value, the more the original image will “show through,” which is not necessarily the objective, and the longer it will take to process. You can increase the hi-pass image contrast using the Levels settings, for example low=0.25, high=0.75. You can use a small blur for grain/compression in conjunction with the high-pass filtering. It will also reduce any slight banding if you have used the Levels to expand the range. Memory Reduction It is much faster to track, and check tracking, when the shot is entirely in the PC s RAM memory, as fetching each image from disk, and possibly decompressing it, takes an appreciable amount of time. This is especially true for film-resolution images, which take up more of the RAM, and take longer to load from disk. SynthEyes offers several ways to control RAM consumption, ranging from blunt to scalpel-sharp. Starting from the basic Open-Shot dialog, if your source images have 16 bit data, you can elect to reduce them to 8 bit for storage, by unchecking the 16-bit checkbox and reducing memory by a factor of two. Of course, this doesn’t help if the image is already 8 bit. If you have a 2K or 4K resolution film image, you might be able to track at a lower resolution. The DeRez control allows you to select ½ or ¼ image resolution selections. If you reduce resolution by ½, the storage required drops to ¼ the previous level, and a reduction by ¼ reduces the storage to 1/16ththe prior amount, since the resolution reduction affects both horizontal and vertical directions. Note that by reducing the incoming image resolution, your tracks will have a higher noise level which may be unacceptable; this is your decision. If you can track using only a single channel, such as R, G, or luma, you obtain an easy factor of 3 reduction in storage required. The most precise storage reduction tool is theRegion Of Interest (ROI), which preserves only a moving portion of the image that you specify, and makes the rest black. The black portion does not require any RAM storage, so if the ROI is only 1/8ththe width and height of the image, a reduction by 1/64thof storage is obtained. The region of interest is very useful with object-type shots, such as tracking a face or head, a chestplate, a car driving by, etc, where the interesting part is comparatively small. The ROI is also very useful in supervised tracking, where the ROI can be set up for a region of trackers; once that region is tracked, a different ROI can be configured for the next group. A time savings can be achieved even though the next group will require an image sequence reload. (See the section on presets, below, to be able to save such configurations.) The ROI is controlled by dragging it with the left mouse button in the Image Preprocessing dialog s viewport. Dragging the size-control box at its lower right of the ROI will change the ROI size. The next section describes animating the preprocessing level and ROI. It can also be helpful to adjust the ROI controls when doing supervised tracking of shots that contain a non-image border as an artifact of tracking. This extra border can defeat the mechanism that turns off supervised trackers when they reach the edge of the frame, because they run out of image to track before reaching the actual edge. Once the ROI has been decreased to exclude the image border, the trackers will shut off when they go outside the usable image. As with the image adjustments, changing the memory controls does not require any re-tracking, since the image geometry does not change. Animated Shot Setup The Level, Saturation/Hue, lens Field of View, Distortion/Scale, stabilizer adjustment, and Region of Interest controls may be animated, changing values over the course of the shot. Normally, when you alter the Level or ROI controls, a key at the first frame of the shot is changed, setting a fixed value over the entire shot. To animate the controls, turn on the Make Keys checkbox () at lower right of the image prep dialog. Changes to the animated controls will now create keys at the current frame, causing the spinners to light up with a red outline on keyframes. You can delete a keyframe by right-clicking a spinner. If you turn off Make Keys after creating multiple keys, subsequent changes will affect only the keyframe at the start of the shot (frame zero), and not subsequent keys, which will rarely be useful. You can navigate within the shot using the next frame and previous frame buttons, the next/previous key buttons, or the rewind and to-end buttons. Temporarily Disabling Preprocessing Especially when animating a ROI, it can be convenient to temporarily turn off most of the image preprocessor, to help you find what you are looking for. The enable button (a stoplight) at the lower right will do this. The color modifications, level adjustment, blur, down-sampling, channel selection, and ROI are all disabled by the enable button. The padding and lens distortion are not affected, since they change the image geometry—you do not want that to change or you can not then place the ROI in the correct location. Disabling Prefetch SynthEyes reads your images into RAM using a sophisticated multithreaded prefetch engine, which runs autonomously much of the time when nothing else is going on. If you have a smaller machine or are maybe trying to run some renders in the background, you can turn off theShot/Enable prefetchsetting on the main menu. Get Going!You don’t have to wait for prefetch to finish after you open a shot. It doesn’t need courtesy. You can plough ahead with what you want to do; the prefetcher is designed to work quietly in the background. Correcting Lens Distortion Most animation software assumes that the camera is perfect, with no lens distortion, and the camera s optic axis falls exactly in the center of the image. Of course, the real world is not always so accommodating. SynthEyes offers two methods to determine the lens distortion, either via a manual process that examines the image curvature of lines that are straight in the real world, or as a result of the solving process, if enough reliable trackers are available. SynthEyes accommodates the distortion, but your animation package probably will not. As a consequence, a particular workflow is required that we will introduce shortly and in the section on Lens Distortion. The image preprocessing system lets distortion be removed, though after doing so, any tracking must be repeated or corrected, making the manual distortion determination more useful for this purpose. The image preprocessing dialog offers a spinner to set the distortion to match that determined. A Scale spinner allows the image to be scaled up or down a bit as needed to compensate for the effect of the distortion removal. You can animate the distortion and scale to correct for varying distortion during zoom sequences. Image Centering The camera s optic axis is the point about which the image expands or contracts as objects move closer or further away. Lens distortion is also centered about this point. By convention of SynthEyes and most animation and compositing software, this point must fall at the exact center of the image. Usually, the exact optic center location in the image does not greatly affect the 3-D solving results, and for this reason, the optic center location is notoriously difficult to determine from tracking data without a laboratory-grade camera and lens calibration. Assuming that the optic axis falls in the center is good enough. There are two primary exceptions when an image has been cropped off-center, or when the shot contains a lot of camera roll. If the camera rolls a lot, it would be wise to make sure the optic axis is centered. Images can be cropped off-center during the first stages of the editorial process (when a 4 3 image is cropped to a usable 16 9 window), or if a film camera is used that places the optic axis allowing for a sound channel, and there is none, or vice versa (none is allowed for, but there is one). Image stabilization or pan/scan-type operations can also destroy image centering, which is why SynthEyes provides the tools to perform them itself, so they can be done correctly. Of course, shots will arrive that have been seriously cropped already. For this reason, the image preprocessing stage allows images to be padded up to their original size, putting the optic axis back at the correct location. Note that padding up is necessary, not even further cropping! It will be important to identify the degree of earlier cropping, to enable it to be corrected. The Fix Cropping (Pad) controls have two sets of three spinners, three each for horizontal and for vertical. Both directions operate the same way. Suppose you have a film scan such that the original image, with the optic axis centered, was 33 mm wide, but the left 3 mm were a sound track that has been cropped. You would enter 3 mm into the Left Crop spinner, 30 mm into the Width Used spinner, and 0 mm into the Right Crop spinner. The image will be padded back up to compensate for the imagery lost during cropping. The Width Used spinner is actually only a calculation convenience; if you later reentered the image preprocessing dialog you would see that the Left Crop was 0.1 and the Width Used 1.0, ie that 10% of the final width was cropped from the left. The Fix Cropping (Pad) controls change the image aspect ratio and image resolution values on the Open Shot dialog, since the image now includes the padded regions. The padding region will not use extra RAM, however. Image Preparation Preset Manager It can be helpful to have several different sets of image preprocessor settings, tailored to different regions of the image, or to different moving objects, or different sections of the overall shot. A preset manager permits this; it appears as a drop-down list at the center-bottom of the image preparation dialog. You can create a preset by selecting the New Preset item from the list; you will be prompted for the name (which you can later change via Rename). The new preset is created with the current settings, your new preset name appears and is selected in the preset manager listbox, and any changes you make to the panel continue to update your new preset. (This means that when you are creating several presets in a row, create each preset before modifying the controls for that preset.) Once you have created several presets, you can switch among them using the preset manager list. All changes in the image preprocessor controls update the preset active at that time. If you want to play for a bit without affecting any of your existing presets, switch to thePreset Mgr.setting, which acts as a catchall (it disconnects you from all presets). If you then decide you want to keep the settings, create a new preset. To reset the image preprocessor controls (and any active preset) back to the initial default conditions, which do nothing to the incoming image, select the Reset item from the preset manager. When you are creating several presets, this can be handy, allowing you to start a new preset from scratch if that is quicker. Finally, you can delete the current preset by selecting the Delete item. Rendering Sequences for Later Compositing The tracking results provided by SynthEyes will not produce a match within your animation or compositing package unless that package also uses the same padded, stabilized, resampled, and undistorted footage that SynthEyes tracked. This is also true of SynthEyes s perspective window. Use the Save Sequence button on the Image Preparation dialog s Output tab to save the processed sequence. If the source material is 16 bit, you can save the results as 16 bit or 8 bit. You can also elect whether or not to save an alpha channel, if present. If the source has an alpha channel, but you are not given the option to save it, open the Edit Shot dialog and turn on the Keep Alpha checkbox. Output file formats include Quicktime, BMP, Cineon, DPX, JPEG, OpenEXR, PNG, SGI, Targa, TIFF(Mac only). Details of supported number of bits per channel and alpha availability vary with format and platform. If you have stabilized the footage, you will want to use this stabilized footage subsequently. However, if you have only removed distortion, you have an additional option that maximized image quality and minimizes the amount of changes made to the original footage you can take your rendered effects and run them back through the image preprocessor (or maybe your compositing package) to re-introduce the distortion and cropping specified in the image preprocessing panel, using the Apply It checkbox. This redistorted footage can then be composited with theoriginalfootage, preserving the match. The complexity of this workflow is an excellent argument for using high-quality lenses and avoiding excessively wide fields of view (short focal lengths). You can also use theSave Sequence dialogto render an alpha mask version of theroto-spline informationand/orgreen-screenkeys.
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Subjects-Professional&Technical-Engineering-General Subjects-Science-General Humans and Machines in Space The Vision, the Challenge, the Payoff 29th Goddard Memorial Symposium (Science and Technology Series) Amer Astronautical Society? Bradley Johnson? Gayle L. May? Paula Korn? AmerAstronauticalSociety? BradleyJohnson? GayleL.May? PaulaKorn? ジャンル別? Substores-UnknownASINs-27? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Dynamics of Space Tether Systems (Advances in the Astronautical Sciences) Amer Astronautical Society? Vladimir V. Beletsky? Evgenii M. Levin? American Astronautical Society? AmerAstronauticalSociety? VladimirV.Beletsky? EvgeniiM.Levin? AmericanAstronauticalSociety? ジャンル別? Substores-UnknownASINs-27? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Spaceflight Dynamics 1993 Proceedings of an Aas/Nasa International Symposium Held April 26-30, 1993, Greenbelt, Maryland (Advances in the Astronautical Sciences) Univelt? Jerome Teles? Aas? American Astronautical Society? Gsfc International Symposium on Space Flight Dynamics? Mina V. Samii? Univelt? JeromeTeles? Aas? AmericanAstronauticalSociety? GsfcInternationalSymposiumonSpaceFlightDynamics? MinaV.Samii? ジャンル別? Substores-UnknownASINs-27? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Astrodynamics, 1993 Proceedings of the Aas/Aiaa Astrodynamics Conference Held August 16-19, 1993, Victoria, British Columbia, Canada (Advances in the Astronautical Sciences) Amer Astronautical Society? Aas? B. C.) Aiaa Astrodynamics Conference (1993 Victoria? Vinod J. Modi? Richard Holdaway? Peter M. Bainum? Arun K. Misra? American Astronautical Society? 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Israel) Space Safety and Rescue Symposium 1994 (Jerusalem? American Astronautical Society? International Academy of Astronautics? israe International Astronautical Federation Congress 1994 Jerusalem? Gloria W. Heath? AmerAstronauticalSociety? Israel)SpaceSafetyandRescueSymposium1994(Jerusalem? AmericanAstronauticalSociety? InternationalAcademyofAstronautics? israeInternationalAstronauticalFederationCongress1994Jerusalem? GloriaW.Heath? ジャンル別? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-ProfessionalScience-Astronomy-Astrophysics&SpaceScience? Subjects-Science-General Subjects-Science-Physics-Astrophysics? Case for Mars Iv Mission Strategy and Architectures The International Exploration of Mars--Mission Strategy and Architectures Proceedings of the Fourth Case for Mars Conference Held June 4-8, 1990, at (Science and Technology Series) Amer Astronautical Society? Case for Mars Conference 1990 (University of Colorado)? 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DRITTER AUFZUG Eine öde, von dichtem Gebüsch umwachsene Felsschlucht. Über eine kleine Anhöhe rechts führt ein steiler Pfad herein. Im Vordergrund links eine von Trauerweiden umgebene Quelle, in deren Nähe ein Moossitz.Vollmondnacht ERSTER AUFTRITT Adolar schwarz gerüstet, das Schwert, mit dem er sich den Weg gebahnt, in der Hand, steigt langsam den Pfad von rechts nieder und bleibt, im Kampfe mit sich, sinnend stehen. Euryanthe in wallendem Haar und in einem einfachen weissen Kleide, folgt ihm matt und bebend Nr. 15 - Recitativ und Duett Recitativ EURYANTHE Hier weilest du? Hier darf ich ruhn? Sich rechts vorn an ein Felsstück lehnend O gönn auch Frieden meiner Seele nun! Bei Sonnenglut, bei Sternenschimmer Durchirrtest du den öden Hain, Sie wendet sich mit einigen Schritten zu ihm Verschmähtest Rast und Labung immer, Und neben dir, o Gott! war ich allein! Sei milde nun! Adolar wendet sich und blickt sie durchbohrend an. EURYANTHE flieht von ihm Weh! solch ein Blick ist Tod! Was ist s, dass mir dein Zürnen droht? Du wendest dich hinweg von meinen Leiden? Lass mich nicht ohne Trost verscheiden! Ein lindernd Wort nur lass der Lipp entbeben, Nur einen Blick, wie du mir sonst gegeben! ADOLAR Dies ist der Ort, So schaurig, öd und still, Wie meine That ihn will! Ich führte dich zum Tode fort. EURYANTHE Barmherzigkeit! ADOLAR Vernimm mein letztes Wort! Es wecke meine Stimme Dein schlummerndes Gewissen! Du sollst in meinem Grimme Erbarmen nicht vermissen. Bereu ! EURYANTHE Ich bin mir Liebe nur bewusst! Fühlst du nicht meine Treu in deiner Brust? ADOLAR Du, die entweiht das heiligste Vertrauen, Den Himmel log und barg des Abgrunds Grauen - Duett ADOLAR Wie liebt ich dich! Du warst mein höchstes Gut! Du warst mein höchstes Gut! wie liebt ich dich! EURYANTHE O stille deines Zornes Glut! Mein Herz ist rein, wie meine Thaten. ADOLAR Der höchsten Liebe sprachst du Hohn! So grässlich ward noch nie die Treu verraten; Empfange nun der Unthat Lohn! EURYANTHE O höre mich. ADOLAR Zu oft von deinen Lippen Hört ich den holden Liebeton. Sirenenlied an Todesklippen, Verstumm auf ewig! EURYANTHE Kann nichts dich bewegen, So töte mich! Mein letzter Hauch ist Segen Für dich, mein letzter Herzschlag dir geweiht! ADOLAR Verworfene! Zum Tode sei bereit! EURYANTHE Du klagst mich an! ADOLAR Der Tod macht dich - EURYANTHE O herbe Pein! ADOLAR Von Makel rein! EURYANTHE Vertraun und Glauben sind geschwunden - ADOLAR Der Tod macht dich von Makel rein! EURYANTHE Du klagst mich an - ADOLAR Im Sterben nur - EURYANTHE O herbe Pein! ADOLAR Kannst du gesunden! EURYANTHE Vertraun und Glauben sind verschwunden, So bittrer Tod war nie gefunden, Mein Leben war in dir allein! ADOLAR Mein Herzblut quillt aus deinen Wunden! Weh, dass ich muss dein Richter sein! EURYANTHE Du klagst mich an! ADOLAR Der Tod macht dich - EURYANTHE O herbe Pein! ADOLAR Von Makel rein! EURYANTHE Vertraun und Glauben sind verschwunden, Mein Leben war in dir allein! Du klagst mich an, o herbe Pein, Mein Leben war in dir allein! ADOLAR Weh, dass ich muss dein Richter sein! Der Tod macht dich von Makel rein, Weh, dass ich muss dein Richter sein! EURYANTHE scheint Grässliches zu gewahren und eilt zurück an Adolars Brust, als wolle sie ihn schützen Entsetzen! rette dich! Nach links hineinsehend Sieh, eine Schlange, fürchterlich, Wälzt sich herbei durch das Gestein! Hinweg, lass mich das Opfer sein! Für dich zu sterben, o versage Dies höchste Glück nicht meinem Fleh n! Schon naht die Schlange, flüchte! ADOLAR sie von sich stossend Nicht verzage! Mit Gott will ich den Kampf bestehn! Ab nach links vorn ZWEITER AUFTRITT Euryanthe allein Nr. 16 - Arioso und Recitativ EURYANTHE in heftiger Angst Schirmende Engel Schar, Wachend allimmerdar, In tiefster Mächte Schoss Über der Menschen Los, Blicke herab! Schirmende Engelschar, blicke herab! Schäumend in Kampfes Wut, Qualmend in Dampf und Glut Dringet die Feindin ein! O wo wird Hilfe sein In dieser Not? Wie sie dichter ihn umzingelt, Sich nach seinem Herzen ringelt! Weh! er fällt! - Nein! mein Held Ringt sich auf und hochgeschwungen Blitzt sein Schwert! Es ist gelungen! Heil! der Sieg ist ihm gegeben! Seele, fühle ganz dein Glück! O was ist mein Leben Gegen diesen Augenblick! - Sie eilt in höchster Freudigkeit dem zurückkehrenden Adolar entgegen DRITTER AUFTRITT Euryanthe. Adolar zu ihrer Linken Recitativ EURYANTHE Nun lass mich sterben! ADOLAR Nein, das sei mir fern! Dich töten war der Ehre streng Gebot, Du aber wolltest gehn für mich in Tod, So kann ich nicht dein Richter sein; Im Schutz des Höchsten bleibe hier allein! Er eilt, nach schmerzlichem innern Kampf sich losreissend, mit einem letzten Blick auf Euryanthe nach links ab VIERTER AUFTRITT Euryanthe allein Nr. 17 - Recitativ und Kavatine Recitativ EURYANTHE So bin ich nun verlassen, So muss ich hier erblassen Im öden Felsenthal, In Einsamkeit und Qual! Was rieselst du im Haine, Du Quelle, mildiglich? Was blickst mit goldnem Scheine, So lieblich, Mond, auf mich? Nicht sieget deine Pracht Ob meiner Leiden Nacht. Wo irr ich hin? Ach, nirgend hin! Die ganze Welt ist öd und leer, Mir bleibet keine Heimat mehr! Kavatine Hier dicht am Quell, wo Weiden stehn, Die Sterne hell durchschauen, Da will ich mir den Tod erflehn, Mein stilles Grab mir bauen. Wohl kommt auch er einst weit daher, Und findet kaum die Stätte mehr; Dann rauscht ihm sanft die Weide zu Sie fand von Lieb und Leide Ruh ! Die Blum im Thaue spricht Nein sie verriet dich nicht! Sie sinkt erschöpft auf den Moossitz an der Quelle links hin. Die Morgenröte bricht an. Bauern Männerchor, treten beim Beginn der Hornmusik von links hinten auf und nehmen die rechte Seite FÜNFTER AUFTRITT Euryanthe. Bauern. Dann Jäger und Musikanten Nr. 18 - Jägerchor Die erste Strophe entfernt. CHOR Die Thale dampfen, die Höhen glühn, Welch fröhlich Jagen im Waldesgrün! Der Morgen weckt zu frischer Lust, Hoch schwillt die Brust, des Siegs bewusst. Dringt mutig durch Schluchten und Moor, Lasst schmettern die Hörner im Chor Ihr Fürsten der Waldung hervor! Die Jäger kommen von rechts hinten und nehmen die linke Seite. Die Musikanten folgen ihnen, indem sie die Mitte nehmen CHOR Nun freudig sieget das goldne Licht, Vom Bogen flieget des Pfeils Gewicht, Ereilt den Aar auf luft gem Horst, Erlegt die Schlang im dichten Forst. Wohlauf denn durch Schluchten und Moor, Lasst schmettern die Hörner im Chor Ihr Fürsten der Waldung hervor! Der König erscheint nach Beendigung des Jagdchors auf der kleinen Anhöhe rechts. Vier Pagen und zwei Jagdjunker folgen ihm und nehmen dann hinter ihm Aufstellung SECHSTER AUFTRITT Die Vorigen. Der König und Gefolge KÖNIG blickt nach links vorn hinein und scheint dort die getötete Schlange wahrzunehmen O seht! die Schlang erlegt von starker Hand! CHOR hat inzwischen Euryanthe bemerkt und lenkt des Königs Aufmerksamkeit auf sie Und hier in Thränen eine zarte Frau! KÖNIG ist herabgestiegen und hat sich Euryanthe genähert Wer du auch sein magst, holde Unbekannte, Verbanne jede Scheu, blick auf zu mir, Des Unglücks Hort, dein König, spricht zu dir! Euryanthe wendet ihr Antlitz gegen den König, ohne aufzustehn KÖNIG UND CHOR sie erkennend Himmel! Euryanthe! Jäger ziehen sich nach rechts vor die Bauern Nr. 19 - Duett mit Chor EURYANTHE Lasst mich hier in Ruh erblassen, Gönnt mir diese letzte Huld! KÖNIG Nein, ich will dich nicht verlassen, Komm , zu sühnen deine Schuld! EURYANTHE Meine Brust ist rein von Schuld. KÖNIG Du nicht schuldig? Dürft ich s hoffen? CHOR Hilf uns auf der Wahrheit Spur! EURYANTHE Eglantines flehend Kosen Lockt mir mein Geheimnis ab; Natter war sie unter Rosen, Die den Tod mir schmeichelnd gab. KÖNIG Euryanthe, sprichst du Wahrheit, O so nimm mein Wort zum Pfand, Höllentrug bring ich zur Klarheit, Neu knüpf ich dein schönes Band. EURYANTHE Wiedersehn! Sich langsam aufrichtend Mich ihm versöhnen, Wär es möglich? CHOR Hoffe! Lebe! EURYANTHE Stürb ich hin in diesen Tönen! CHOR Hoffe! EURYANTHE Täuscht mich nicht! KÖNIG Glaube, hoffe, lebe! CHOR Glaube, hoffe, liebe, lebe! EURYANTHE O wie ich bebe! o kann ich s fassen! Nr. 20 - Arie mit Chor EURYANTHE in Wonneglut aufspringend Zu ihm, zu ihm, zu ihm! o weilet nicht! Wo bist du meines Daseins Licht? Wo bist du wo bist du, wo? Zu ihm, dass ich ihn fest umfasse, Ihn nimmer, nimmer lasse! So Herz an Herzen, Aug in Auge, Aus seinen Blicken Leben sauge! Wo bist du meines Daseins Licht, Dass ich dich fest umfasse, Nimmer, nimmer lasse! Wo bist du, wo bist du? Zu ihm, o weilet nicht! CHOR. Fort - o weilet nicht! EURYANTHE Zu ihm, zu ihm, zu ihm! O weilet nicht! Wo bist du meines Daseins Licht? Wo bist du, wo bist du, wo? Zu ihm, zu ihm, zu ihm! CHOR Fort, fort, fort! o weilet nicht! Fort, o weilet nicht! fort zu ihm! EURYANTHE Dass ich ihn fest umfasse, Ihn nimmer, nimmer lasse! Herz an Herzen, Aug in Auge Seiner Blicke Leben sauge! Dass ich ihn fest umfasse, Nimmer lasse, nimmer lasse! Zu ihm! o Hoffnung! Himmelsstrahl! Ich trag es nicht! Ich sterb in Wonn und Qual! Ich trag es nicht! Ich sterb in Wonn und Qual! CHOR Hoffe, liebe, lebe! Dir winkt ein Himmelsstrahl! EURYANTHE Ach! Sie sinkt zusammen CHOR O Jammer, unerhört! O lieblichste der Blüten, Wie hat so früh das Wüten Des Sturmes dich zerstört! Alle umstehen Euryanthe mit teilnahmsvollen Gebärden Verwandlung Freier Platz vor der Burg Nevers, deren Eingangsthor man links hinten hoch oben erblickt; die Zugbrücke führt auf einen im Zickzack nach unten verlaufenden Weg. Im Vordergrunde rechts und links die Hütten der Landleute; rechts vorn diejenige des Brautpaars. Rasenbänke rechts und links ganz vorn. In weiter Ferne sieht man die weinumlaubten Berge der schönen Landschaft SIEBENTER AUFTRITT Die Brautmutter. Der Bräutigam. Die Braut. Bertha. Bauern und Bäuerinnen. Man beglückwünscht das Brautpaar und schmückt dessen Hütte rechts vorn mit Blumengewinden Nr. 21 - Tanz mit Gesang und Chor Pas de cinq Bauerntanz Gesang und Chor. BERTHA Der Mai bringt frische Rosen dar, Die Rose schmückt der Jungfrau Haar, Und niemand weiss im grünen Mai, Was Rose, noch was Mädchen sei. CHOR Berthas Gesang mit teilnehmenden Gebärden begleitend Denn was da blüht, ist Ros im Mai. BERTHA Der Mai bringt frische Blüten viel, Die Liebe ist des Maien Spiel, Und niemand weiss im grünen Mai, Was Blüte, noch was Liebe sei. CHOR Denn was da blüht, das liebt im Mai! BERTHA Der Mai bringt dir, du teures Paar, Der Blüten allerschönste dar. Wohl wisst ihr zwei im grünen Mai, Wie selig Lieb und Treue sei. CHOR Denn eure Treu krönt heut der Mai! Adolar mit gesenktem Visier, wankt, ohne das festliche Treiben zu beachten, von rechts hinten herzu und steht sinnend rechts vorn ACHTER AUFTRITT Die Vorigen. Adolar. Alle Übrigen sind erstaunt über das Erscheinen des Unbekannten ADOLAR Giebts keine Treu auf weiter Erde mehr, Davon, davon ist mir das Herz so schwer. In Liebesglut ist nichts als Wankelmut, Am falschen Herzen sich s gefährlich ruht. DIE LANDLEUTE Welch Klagen hier trübt froher Liebe Mut? ADOLAR Fahr hin, fahr hin, du süsser Liebestraum, Gieb dunkler Nacht und ihren Schrecken Raum. Nacht ohne Licht herein mit Stürmen bricht; Heimat, versag ein Grab dem Müden nicht. Er öffnet sein Visier. Die Landleute erkennen ihren Herrn; freudige Bewegung CHOR Er ist s, o Glück, o neuer Hoffnung Licht! BERTHA So musste der ersehnte Tag erscheinen! ALLE Geliebter Herr! willkommen bei den deinen! ADOLAR Hinweg! Lasst meiner Trauer mich! BERTHA Hier schlägt noch jedes Herz für dich! CHOR Führ an der Jugend mut ge Schar, befreie Dein seufzend Land - ADOLAR Du süsse, heil ge Treue! Du lebst, doch nicht in Euryanthes Brust! CHOR Den schnödesten Verdacht entferne, Ich spreche Wahrheit sonder Scheu Es wankten eh des Himmels Sterne, Als unsrer süssen Herrin Treu ! ADOLAR Nein! sie verriet mich! BERTHA Hör gewicht ge Kunde Mit deinem Feind ist Eglantin im Bunde, Auf deiner Ahnen stolzem Sitz, Wo du ihr Zuflucht einst gegeben, Will Lysiart heut zur Herrin sie erheben. ADOLAR Allwaltender, wo ist dein Blitz?! Nr. 22 - Solo mit Chor BERTHA UND CHOR Vernichte kühn das Werk der Tücke, Vertrau der Liebe und dem Glücke! Es jauchzt dir zu dein ganzes Land, Zum Schwert für dich greift jede Hand! ADOLAR Hilf mir durchschau n das Werk der Tücke, Allwissender, mit klarem Blicke; Gieb Kraft zum Siege meiner Hand, Für Ehre, Treue, Gut und Land. Er schliesst seinen Helm und tritt beobachtend nach links vorn NEUNTER AUFTRITT Die Vorigen. Die Personen des Hochzeitsmarsches Nr. 23 - Hochzeitsmarsch und Chor Die acht Trompeter welche aus dem Eingangsthor des Schlosses links hinten den Hochzeitszug eröffnen, beginnen die Marschmusik. Es folgen ihnen im Marsch ohne Tritt ein Offizier, zwei Fahnenträger mit schwarzen Fahnen, zwei Fahnenträger mit den Fahnen von Nevers und Rethel, vierzehn Soldaten, zwei Chorknaben mit Fahnen, zwei Chorknaben mit Räucherbecken, zwei Chorknaben mit Lichtern, zwei Geistliche, Lysiart und Eglantine totenbleich, zwei Pagen die Eglantines Schleppe tragen, vier Damen, vierzehn Ritter, ein Offizier, zwei Fahnenträger mit den Fahnen von Nevers und Rethel, zwölf Soldaten. Die Fahnenträger mit den schwarzen Fahnen nehmen am untern Ausgang des vom Schloss herabkommenden Weges Aufstellung. Der erste Offizier mit den beiden andern Fahnenträgern und die vierzehn Soldaten marschieren nach rechts und von da nach links um den Raum und nehmen zuerst auf der linken Seite Aufstellung, um den Zug, der den ganzen Raum umschreitet, an sich vorüber ziehen zu lassen; dann ziehen sie sich nach rechts hinüber und nehmen dort Aufstellung. Der letzte Offizier mit seinen zwei Fahnenträgern und zwölf Soldaten nimmt auf dem Burgweg Aufstellung LANDLEUTE Das Frevlerpaar! Weh diesem Bunde! ADOLAR O klopfend Herz - sei stark zu dieser Stunde! EGLANTINE mit Gebärden des Schmerzes, indem sie mit Entsetzen, das in Wahnsinn übergeht, stehen bleibt Ich kann nicht weiter! Todesschauer Durchrieseln mein Gebein! Mich drückt die Luft - Sieh! Emma steigt aus dunkler Gruft, Sie winket mir mit starrer Hand! Was forderst du zurück der Rache Pfand? Ich gab es hin, die Unschuld zu ermorden! Hinweg! Hier bin ich Herrscherin geworden! Auf ewig, Lysiart, bin ich dein! Geschmiedet ist der Trauring, fest und eigen, Mit Meineid, Blut und Thränen - kannst du schweigen? Sei ruhig! Nacht hüllt unsre Thaten ein! Lysiart schaut sie ingrimmig an CHOR Welch Entsetzen! Welch Gericht! Die Vergeltung schlummert nicht. LYSIART Hört! dass Wahnsinn aus ihr spricht! ADOLAR für sich Ha! mir tagt ein schrecklich Licht! Vortretend, Lysiart zur Linken Erzittre, ruchlos Paar! Es naht die Rache. Der Himmel führt bedrückter Unschuld Sache! LYSIART Was zischest aus dem Staub du, nicht ger Wurm? Vasallen, werft den Fremdling in den Turm! Die vierzehn Ritter zur Linken, wollen auf Adolar eindringen ADOLAR zu ihnen Mich wollt ihr fahen? mich? Er schlägt den Helmsturz auf CHOR in freudigem Erstaunen, in Jubel ausbrechend Heil, Adolar, in seiner Väter Hallen! Die Ritter drängen sich um ihn CHOR Geliebter, unsre Demut dich versöhne! EGLANTINE aus dumpfer Betäubung erwachend und in die Arme ihrer rechts vorn stehenden Frauen sinkend Er ist s! in seiner Glorie, seiner Schöne! Weh mir! LYSIART Verderben, Fluch euch allen! Verwegne Knechte, büssend sollt ihr fallen! Nr. 24 - Chor mit Duett DIE RITTER Chor, sich drohend gegen Lysiart gruppierend Trotze nicht, Vermessener! Strafe dräut, Verräter. Tilgt das Werk der Nacht! Zittre, Gottvergessener! Birg dich, Missethäter! Gottes Auge wacht. ADOLAR Zum Kampf, zum Gottgerichte, Verruchter Frevler, du! LYSIART Dass ich dich, Feind! vernichte, Jauchzt mir der Abgrund zu! ADOLAR Dein schwarzes Herz durchwühle Mein sieggewohnter Stahl! LYSIART Dein strömend Herzblut kühle Der Seele Folterqual! ADOLAR Dein schwarzes Herz durchwühle Mein sieggewohnter Stahl! LYSIART Dein strömend Herzblut kühle Der Seele Folterqual! CHOR Trotze nicht, Vermessener! Zittre, Gottvergessener! Trotze nicht, Vermessener! Strafe dräut, Verräter, Tilgt, das Werk der Nacht! Erzittre, Gottvergessener! Birg dich, Missethäter! Gottes Auge wacht! ADOLAR Dein schwarzes Herz durchwühle Mein sieggewohnter Stahl! LYSIART Dein strömend Herzblut kühle Der Seele Folterqual! CHOR Zittre, Gottvergessener! ADOLAR Zum Kampf! Zum Gottgerichte! Verruchter Frevler du! Trotze nicht! Gottes Auge wacht! LYSIART Zum Kampf! will nicht um Mitleid werben, Heran! ich bin bereit! heran! CHOR Birg dich, Missethäter! Gottes Auge wacht! Schande nur und Verderben Ist ewig dir geweiht! Trotze nicht! trotze nicht! Gottes Auge wacht! Adolar, Lysiart ziehen die Schwerter und dringen aufeinander ein. Der König, zwei Jagdjunker, vier Pagen nahen sich von rechts hinten. Die zwei Jagdjunker trennen die Kämpfenden ZEHNTER AUFTRITT Der König nimmt zwischen Lysiart und Adolar die Mitte. Die vier Pagen stehen hinter ihm. Die beiden Jagdjunker nehmen, zurückstehend, zur Linken des Königs Aufstellung Nr. 25 - Finale KÖNIG zürnend Lasst ruhn das Schwert, der höchste Richter naht, Der Rächer jeder Frevelthat! Alle beugen sich ehrerbietig. Lysiart das Schwert senkend, tritt zurück ADOLAR knieend Mein König, hör den grässlichsten Verrat! Wir sind getäuschet, aller Tugend Bildnis War Euryanthe! - Weh mir! in der Wildnis Verlassen irret sie umher! Hilf, rette, strafe! KÖNIG Hemme deine Klagen, Fass dich, als Held das Grässlichste zu tragen, Dich segnend ist das treuste Herz gebrochen! EGLANTINE in teuflischer Lust auffahrend Triumph! gerochen Ist meine Schmach! der Feindin Herz gebrochen! Es stürmt der Tod durch deine Brust! Betrogner! war dir meine Glut bewusst, Wie legtest sorglos und vermessen Die Schlange du an der Geliebten Brust? So hattest du mein Flehn vergessen? Vergessen meinen Todesschmerz? Vergessen deines Kaltsinns Hohn? Vergessen meines Zornes Drohn? ADOLAR Abscheuliche! EGLANTINE Grausamer Adolar! Verzweifle, da sie schuldlos war! Ich war s, von deren Hand den Ring Der kühne Räuber dort empfing. Ich war s, die ihn der Gruft entwandte. Rein, wie das Licht, war Euryanthe! CHOR O höllischer Verrat! o herb Geschick! LYSIART nähert sich Eglantine Wahnsinn ge! EGLANTINE Schnödes Werkzeug meiner Rache, Dich schleudr ich in dein Nichts zurück! LYSIART Was hält mich, dass ich dich zermalme, Meineidige! Verräterin! Er stösst sie nieder. Eglantine fällt ihren Frauen in die Arme, die sie nach rechts vorn abführen CHOR Ruchloser Mörder! KÖNIG winkt Führt zum Tod ihn! ADOLAR Nein, gebt ihn frei! Lasst ganz sein Werk ihn krönen. Hier ist mein Herz, der Mörder sei Befriedigt. - Gott! wen nannt ich Mörder? Ich! Ich bin der Mörder und der Fluch trifft mich! Wer mordete mit wildem Triebe Die höchste Treue, Glauben, Unschuld, Liebe! Wo lebt ein Frevler sonst, als ich? Er versinkt in dumpfe Verzweiflung. Der König winkt noch einmal. Lysiart wendet sich nach hinten. Die beiden Jagdjunker, der Offizier rechts hinten und sechs Mann seiner Soldaten begleiten Lysiart als Gefangenen nach rechts hinten hinaus. Hornsignale rechts hinten CHOR DER JÄGER rechts hinten O Wonne! sie atmet! sie lebet! Euryanthe, Chor der Jäger kommen von rechts hinten ELFTER AUFTRITT Die Vorigen. Euryanthe zu Adolar in den Vordergrund eilend. Jagdchor Duett mit Chor Der Jagdchor nimmt vor den Trompetern Ausstellung. Adolar kniet vor Euryanthe. Der König in der Mitte, hinter beiden stehend EURYANTHE, ADOLAR Hin nimm die Seele mein, Atme mein Leben ein! Hin nimm die Seele mein, Mein Leben atme ein, Ganz bin ich dein! Lass mich in Lust und Wehn An deiner Brust vergehn! CHOR O Lust nach Todespein, O Treue, stark und rein, Du sein, er dein! Holdseliger Verein, O Lust nach Todespein! Recitativ ADOLAR von Entzückung ergriffen Ich ahne, Emma, selig ist sie jetzt Der Unschuld Thräne hat den Ring benetzt. Treu bot dem Mörder Rettung an für Mord, Ewig vereint mit Udo weilt sie dort! König nähert sich und vereinigt die Hände der Liebenden Schlusschor EURYANTHE, ADOLAR Nun selig Glück will jedes Leid versöhnen! CHOR Nun feiert hoch in vollen Jubeltönen Der Ritter Schmuck, die treu ste aller Schönen. Geprüftes Paar, besiegt ist Nacht und Tod, Die Wahrheit strahlt im reinsten Morgenrot, Der Himmel schirmt dies Band! Heil Adolar! In vollen Jubeltönen! Heil Euryanth ! Der Treusten aller Schönen. Heil Adolar! Heil Euryanth . DRITTER AUFZUG Eine öde, von dichtem Gebüsch umwachsene Felsschlucht. Über eine kleine Anhöhe rechts führt ein steiler Pfad herein. Im Vordergrund links eine von Trauerweiden umgebene Quelle, in deren Nähe ein Moossitz.Vollmondnacht ERSTER AUFTRITT Adolar schwarz gerüstet, das Schwert, mit dem er sich den Weg gebahnt, in der Hand, steigt langsam den Pfad von rechts nieder und bleibt, im Kampfe mit sich, sinnend stehen. Euryanthe in wallendem Haar und in einem einfachen weissen Kleide, folgt ihm matt und bebend Nr. 15 - Recitativ und Duett Recitativ EURYANTHE Hier weilest du? Hier darf ich ruhn? Sich rechts vorn an ein Felsstück lehnend O gönn auch Frieden meiner Seele nun! Bei Sonnenglut, bei Sternenschimmer Durchirrtest du den öden Hain, Sie wendet sich mit einigen Schritten zu ihm Verschmähtest Rast und Labung immer, Und neben dir, o Gott! war ich allein! Sei milde nun! Adolar wendet sich und blickt sie durchbohrend an. EURYANTHE flieht von ihm Weh! solch ein Blick ist Tod! Was ist s, dass mir dein Zürnen droht? Du wendest dich hinweg von meinen Leiden? Lass mich nicht ohne Trost verscheiden! Ein lindernd Wort nur lass der Lipp entbeben, Nur einen Blick, wie du mir sonst gegeben! ADOLAR Dies ist der Ort, So schaurig, öd und still, Wie meine That ihn will! Ich führte dich zum Tode fort. EURYANTHE Barmherzigkeit! ADOLAR Vernimm mein letztes Wort! Es wecke meine Stimme Dein schlummerndes Gewissen! Du sollst in meinem Grimme Erbarmen nicht vermissen. Bereu ! EURYANTHE Ich bin mir Liebe nur bewusst! Fühlst du nicht meine Treu in deiner Brust? ADOLAR Du, die entweiht das heiligste Vertrauen, Den Himmel log und barg des Abgrunds Grauen - Duett ADOLAR Wie liebt ich dich! Du warst mein höchstes Gut! Du warst mein höchstes Gut! wie liebt ich dich! EURYANTHE O stille deines Zornes Glut! Mein Herz ist rein, wie meine Thaten. ADOLAR Der höchsten Liebe sprachst du Hohn! So grässlich ward noch nie die Treu verraten; Empfange nun der Unthat Lohn! EURYANTHE O höre mich. ADOLAR Zu oft von deinen Lippen Hört ich den holden Liebeton. Sirenenlied an Todesklippen, Verstumm auf ewig! EURYANTHE Kann nichts dich bewegen, So töte mich! Mein letzter Hauch ist Segen Für dich, mein letzter Herzschlag dir geweiht! ADOLAR Verworfene! Zum Tode sei bereit! EURYANTHE Du klagst mich an! ADOLAR Der Tod macht dich - EURYANTHE O herbe Pein! ADOLAR Von Makel rein! EURYANTHE Vertraun und Glauben sind geschwunden - ADOLAR Der Tod macht dich von Makel rein! EURYANTHE Du klagst mich an - ADOLAR Im Sterben nur - EURYANTHE O herbe Pein! ADOLAR Kannst du gesunden! EURYANTHE Vertraun und Glauben sind verschwunden, So bittrer Tod war nie gefunden, Mein Leben war in dir allein! ADOLAR Mein Herzblut quillt aus deinen Wunden! Weh, dass ich muss dein Richter sein! EURYANTHE Du klagst mich an! ADOLAR Der Tod macht dich - EURYANTHE O herbe Pein! ADOLAR Von Makel rein! EURYANTHE Vertraun und Glauben sind verschwunden, Mein Leben war in dir allein! Du klagst mich an, o herbe Pein, Mein Leben war in dir allein! ADOLAR Weh, dass ich muss dein Richter sein! Der Tod macht dich von Makel rein, Weh, dass ich muss dein Richter sein! EURYANTHE scheint Grässliches zu gewahren und eilt zurück an Adolars Brust, als wolle sie ihn schützen Entsetzen! rette dich! Nach links hineinsehend Sieh, eine Schlange, fürchterlich, Wälzt sich herbei durch das Gestein! Hinweg, lass mich das Opfer sein! Für dich zu sterben, o versage Dies höchste Glück nicht meinem Fleh n! Schon naht die Schlange, flüchte! ADOLAR sie von sich stossend Nicht verzage! Mit Gott will ich den Kampf bestehn! Ab nach links vorn ZWEITER AUFTRITT Euryanthe allein Nr. 16 - Arioso und Recitativ EURYANTHE in heftiger Angst Schirmende Engel Schar, Wachend allimmerdar, In tiefster Mächte Schoss Über der Menschen Los, Blicke herab! Schirmende Engelschar, blicke herab! Schäumend in Kampfes Wut, Qualmend in Dampf und Glut Dringet die Feindin ein! O wo wird Hilfe sein In dieser Not? Wie sie dichter ihn umzingelt, Sich nach seinem Herzen ringelt! Weh! er fällt! - Nein! mein Held Ringt sich auf und hochgeschwungen Blitzt sein Schwert! Es ist gelungen! Heil! der Sieg ist ihm gegeben! Seele, fühle ganz dein Glück! O was ist mein Leben Gegen diesen Augenblick! - Sie eilt in höchster Freudigkeit dem zurückkehrenden Adolar entgegen DRITTER AUFTRITT Euryanthe. Adolar zu ihrer Linken Recitativ EURYANTHE Nun lass mich sterben! ADOLAR Nein, das sei mir fern! Dich töten war der Ehre streng Gebot, Du aber wolltest gehn für mich in Tod, So kann ich nicht dein Richter sein; Im Schutz des Höchsten bleibe hier allein! Er eilt, nach schmerzlichem innern Kampf sich losreissend, mit einem letzten Blick auf Euryanthe nach links ab VIERTER AUFTRITT Euryanthe allein Nr. 17 - Recitativ und Kavatine Recitativ EURYANTHE So bin ich nun verlassen, So muss ich hier erblassen Im öden Felsenthal, In Einsamkeit und Qual! Was rieselst du im Haine, Du Quelle, mildiglich? Was blickst mit goldnem Scheine, So lieblich, Mond, auf mich? Nicht sieget deine Pracht Ob meiner Leiden Nacht. Wo irr ich hin? Ach, nirgend hin! Die ganze Welt ist öd und leer, Mir bleibet keine Heimat mehr! Kavatine Hier dicht am Quell, wo Weiden stehn, Die Sterne hell durchschauen, Da will ich mir den Tod erflehn, Mein stilles Grab mir bauen. Wohl kommt auch er einst weit daher, Und findet kaum die Stätte mehr; Dann rauscht ihm sanft die Weide zu Sie fand von Lieb und Leide Ruh ! Die Blum im Thaue spricht Nein sie verriet dich nicht! Sie sinkt erschöpft auf den Moossitz an der Quelle links hin. Die Morgenröte bricht an. Bauern Männerchor, treten beim Beginn der Hornmusik von links hinten auf und nehmen die rechte Seite FÜNFTER AUFTRITT Euryanthe. Bauern. Dann Jäger und Musikanten Nr. 18 - Jägerchor Die erste Strophe entfernt. CHOR Die Thale dampfen, die Höhen glühn, Welch fröhlich Jagen im Waldesgrün! Der Morgen weckt zu frischer Lust, Hoch schwillt die Brust, des Siegs bewusst. Dringt mutig durch Schluchten und Moor, Lasst schmettern die Hörner im Chor Ihr Fürsten der Waldung hervor! Die Jäger kommen von rechts hinten und nehmen die linke Seite. Die Musikanten folgen ihnen, indem sie die Mitte nehmen CHOR Nun freudig sieget das goldne Licht, Vom Bogen flieget des Pfeils Gewicht, Ereilt den Aar auf luft gem Horst, Erlegt die Schlang im dichten Forst. Wohlauf denn durch Schluchten und Moor, Lasst schmettern die Hörner im Chor Ihr Fürsten der Waldung hervor! Der König erscheint nach Beendigung des Jagdchors auf der kleinen Anhöhe rechts. Vier Pagen und zwei Jagdjunker folgen ihm und nehmen dann hinter ihm Aufstellung SECHSTER AUFTRITT Die Vorigen. Der König und Gefolge KÖNIG blickt nach links vorn hinein und scheint dort die getötete Schlange wahrzunehmen O seht! die Schlang erlegt von starker Hand! CHOR hat inzwischen Euryanthe bemerkt und lenkt des Königs Aufmerksamkeit auf sie Und hier in Thränen eine zarte Frau! KÖNIG ist herabgestiegen und hat sich Euryanthe genähert Wer du auch sein magst, holde Unbekannte, Verbanne jede Scheu, blick auf zu mir, Des Unglücks Hort, dein König, spricht zu dir! Euryanthe wendet ihr Antlitz gegen den König, ohne aufzustehn KÖNIG UND CHOR sie erkennend Himmel! Euryanthe! Jäger ziehen sich nach rechts vor die Bauern Nr. 19 - Duett mit Chor EURYANTHE Lasst mich hier in Ruh erblassen, Gönnt mir diese letzte Huld! KÖNIG Nein, ich will dich nicht verlassen, Komm , zu sühnen deine Schuld! EURYANTHE Meine Brust ist rein von Schuld. KÖNIG Du nicht schuldig? Dürft ich s hoffen? CHOR Hilf uns auf der Wahrheit Spur! EURYANTHE Eglantines flehend Kosen Lockt mir mein Geheimnis ab; Natter war sie unter Rosen, Die den Tod mir schmeichelnd gab. KÖNIG Euryanthe, sprichst du Wahrheit, O so nimm mein Wort zum Pfand, Höllentrug bring ich zur Klarheit, Neu knüpf ich dein schönes Band. EURYANTHE Wiedersehn! Sich langsam aufrichtend Mich ihm versöhnen, Wär es möglich? CHOR Hoffe! Lebe! EURYANTHE Stürb ich hin in diesen Tönen! CHOR Hoffe! EURYANTHE Täuscht mich nicht! KÖNIG Glaube, hoffe, lebe! CHOR Glaube, hoffe, liebe, lebe! EURYANTHE O wie ich bebe! o kann ich s fassen! Nr. 20 - Arie mit Chor EURYANTHE in Wonneglut aufspringend Zu ihm, zu ihm, zu ihm! o weilet nicht! Wo bist du meines Daseins Licht? Wo bist du wo bist du, wo? Zu ihm, dass ich ihn fest umfasse, Ihn nimmer, nimmer lasse! So Herz an Herzen, Aug in Auge, Aus seinen Blicken Leben sauge! Wo bist du meines Daseins Licht, Dass ich dich fest umfasse, Nimmer, nimmer lasse! Wo bist du, wo bist du? Zu ihm, o weilet nicht! CHOR. Fort - o weilet nicht! EURYANTHE Zu ihm, zu ihm, zu ihm! O weilet nicht! Wo bist du meines Daseins Licht? Wo bist du, wo bist du, wo? Zu ihm, zu ihm, zu ihm! CHOR Fort, fort, fort! o weilet nicht! Fort, o weilet nicht! fort zu ihm! EURYANTHE Dass ich ihn fest umfasse, Ihn nimmer, nimmer lasse! Herz an Herzen, Aug in Auge Seiner Blicke Leben sauge! Dass ich ihn fest umfasse, Nimmer lasse, nimmer lasse! Zu ihm! o Hoffnung! Himmelsstrahl! Ich trag es nicht! Ich sterb in Wonn und Qual! Ich trag es nicht! Ich sterb in Wonn und Qual! CHOR Hoffe, liebe, lebe! Dir winkt ein Himmelsstrahl! EURYANTHE Ach! Sie sinkt zusammen CHOR O Jammer, unerhört! O lieblichste der Blüten, Wie hat so früh das Wüten Des Sturmes dich zerstört! Alle umstehen Euryanthe mit teilnahmsvollen Gebärden Verwandlung Freier Platz vor der Burg Nevers, deren Eingangsthor man links hinten hoch oben erblickt; die Zugbrücke führt auf einen im Zickzack nach unten verlaufenden Weg. Im Vordergrunde rechts und links die Hütten der Landleute; rechts vorn diejenige des Brautpaars. Rasenbänke rechts und links ganz vorn. In weiter Ferne sieht man die weinumlaubten Berge der schönen Landschaft SIEBENTER AUFTRITT Die Brautmutter. Der Bräutigam. Die Braut. Bertha. Bauern und Bäuerinnen. Man beglückwünscht das Brautpaar und schmückt dessen Hütte rechts vorn mit Blumengewinden Nr. 21 - Tanz mit Gesang und Chor Pas de cinq Bauerntanz Gesang und Chor. BERTHA Der Mai bringt frische Rosen dar, Die Rose schmückt der Jungfrau Haar, Und niemand weiss im grünen Mai, Was Rose, noch was Mädchen sei. CHOR Berthas Gesang mit teilnehmenden Gebärden begleitend Denn was da blüht, ist Ros im Mai. BERTHA Der Mai bringt frische Blüten viel, Die Liebe ist des Maien Spiel, Und niemand weiss im grünen Mai, Was Blüte, noch was Liebe sei. CHOR Denn was da blüht, das liebt im Mai! BERTHA Der Mai bringt dir, du teures Paar, Der Blüten allerschönste dar. Wohl wisst ihr zwei im grünen Mai, Wie selig Lieb und Treue sei. CHOR Denn eure Treu krönt heut der Mai! Adolar mit gesenktem Visier, wankt, ohne das festliche Treiben zu beachten, von rechts hinten herzu und steht sinnend rechts vorn ACHTER AUFTRITT Die Vorigen. Adolar. Alle Übrigen sind erstaunt über das Erscheinen des Unbekannten ADOLAR Giebts keine Treu auf weiter Erde mehr, Davon, davon ist mir das Herz so schwer. In Liebesglut ist nichts als Wankelmut, Am falschen Herzen sich s gefährlich ruht. DIE LANDLEUTE Welch Klagen hier trübt froher Liebe Mut? ADOLAR Fahr hin, fahr hin, du süsser Liebestraum, Gieb dunkler Nacht und ihren Schrecken Raum. Nacht ohne Licht herein mit Stürmen bricht; Heimat, versag ein Grab dem Müden nicht. Er öffnet sein Visier. Die Landleute erkennen ihren Herrn; freudige Bewegung CHOR Er ist s, o Glück, o neuer Hoffnung Licht! BERTHA So musste der ersehnte Tag erscheinen! ALLE Geliebter Herr! willkommen bei den deinen! ADOLAR Hinweg! Lasst meiner Trauer mich! BERTHA Hier schlägt noch jedes Herz für dich! CHOR Führ an der Jugend mut ge Schar, befreie Dein seufzend Land - ADOLAR Du süsse, heil ge Treue! Du lebst, doch nicht in Euryanthes Brust! CHOR Den schnödesten Verdacht entferne, Ich spreche Wahrheit sonder Scheu Es wankten eh des Himmels Sterne, Als unsrer süssen Herrin Treu ! ADOLAR Nein! sie verriet mich! BERTHA Hör gewicht ge Kunde Mit deinem Feind ist Eglantin im Bunde, Auf deiner Ahnen stolzem Sitz, Wo du ihr Zuflucht einst gegeben, Will Lysiart heut zur Herrin sie erheben. ADOLAR Allwaltender, wo ist dein Blitz?! Nr. 22 - Solo mit Chor BERTHA UND CHOR Vernichte kühn das Werk der Tücke, Vertrau der Liebe und dem Glücke! Es jauchzt dir zu dein ganzes Land, Zum Schwert für dich greift jede Hand! ADOLAR Hilf mir durchschau n das Werk der Tücke, Allwissender, mit klarem Blicke; Gieb Kraft zum Siege meiner Hand, Für Ehre, Treue, Gut und Land. Er schliesst seinen Helm und tritt beobachtend nach links vorn NEUNTER AUFTRITT Die Vorigen. Die Personen des Hochzeitsmarsches Nr. 23 - Hochzeitsmarsch und Chor Die acht Trompeter welche aus dem Eingangsthor des Schlosses links hinten den Hochzeitszug eröffnen, beginnen die Marschmusik. Es folgen ihnen im Marsch ohne Tritt ein Offizier, zwei Fahnenträger mit schwarzen Fahnen, zwei Fahnenträger mit den Fahnen von Nevers und Rethel, vierzehn Soldaten, zwei Chorknaben mit Fahnen, zwei Chorknaben mit Räucherbecken, zwei Chorknaben mit Lichtern, zwei Geistliche, Lysiart und Eglantine totenbleich, zwei Pagen die Eglantines Schleppe tragen, vier Damen, vierzehn Ritter, ein Offizier, zwei Fahnenträger mit den Fahnen von Nevers und Rethel, zwölf Soldaten. Die Fahnenträger mit den schwarzen Fahnen nehmen am untern Ausgang des vom Schloss herabkommenden Weges Aufstellung. Der erste Offizier mit den beiden andern Fahnenträgern und die vierzehn Soldaten marschieren nach rechts und von da nach links um den Raum und nehmen zuerst auf der linken Seite Aufstellung, um den Zug, der den ganzen Raum umschreitet, an sich vorüber ziehen zu lassen; dann ziehen sie sich nach rechts hinüber und nehmen dort Aufstellung. Der letzte Offizier mit seinen zwei Fahnenträgern und zwölf Soldaten nimmt auf dem Burgweg Aufstellung LANDLEUTE Das Frevlerpaar! Weh diesem Bunde! ADOLAR O klopfend Herz - sei stark zu dieser Stunde! EGLANTINE mit Gebärden des Schmerzes, indem sie mit Entsetzen, das in Wahnsinn übergeht, stehen bleibt Ich kann nicht weiter! Todesschauer Durchrieseln mein Gebein! Mich drückt die Luft - Sieh! Emma steigt aus dunkler Gruft, Sie winket mir mit starrer Hand! Was forderst du zurück der Rache Pfand? Ich gab es hin, die Unschuld zu ermorden! Hinweg! Hier bin ich Herrscherin geworden! Auf ewig, Lysiart, bin ich dein! Geschmiedet ist der Trauring, fest und eigen, Mit Meineid, Blut und Thränen - kannst du schweigen? Sei ruhig! Nacht hüllt unsre Thaten ein! Lysiart schaut sie ingrimmig an CHOR Welch Entsetzen! Welch Gericht! Die Vergeltung schlummert nicht. LYSIART Hört! dass Wahnsinn aus ihr spricht! ADOLAR für sich Ha! mir tagt ein schrecklich Licht! Vortretend, Lysiart zur Linken Erzittre, ruchlos Paar! Es naht die Rache. Der Himmel führt bedrückter Unschuld Sache! LYSIART Was zischest aus dem Staub du, nicht ger Wurm? Vasallen, werft den Fremdling in den Turm! Die vierzehn Ritter zur Linken, wollen auf Adolar eindringen ADOLAR zu ihnen Mich wollt ihr fahen? mich? Er schlägt den Helmsturz auf CHOR in freudigem Erstaunen, in Jubel ausbrechend Heil, Adolar, in seiner Väter Hallen! Die Ritter drängen sich um ihn CHOR Geliebter, unsre Demut dich versöhne! EGLANTINE aus dumpfer Betäubung erwachend und in die Arme ihrer rechts vorn stehenden Frauen sinkend Er ist s! in seiner Glorie, seiner Schöne! Weh mir! LYSIART Verderben, Fluch euch allen! Verwegne Knechte, büssend sollt ihr fallen! Nr. 24 - Chor mit Duett DIE RITTER Chor, sich drohend gegen Lysiart gruppierend Trotze nicht, Vermessener! Strafe dräut, Verräter. Tilgt das Werk der Nacht! Zittre, Gottvergessener! Birg dich, Missethäter! Gottes Auge wacht. ADOLAR Zum Kampf, zum Gottgerichte, Verruchter Frevler, du! LYSIART Dass ich dich, Feind! vernichte, Jauchzt mir der Abgrund zu! ADOLAR Dein schwarzes Herz durchwühle Mein sieggewohnter Stahl! LYSIART Dein strömend Herzblut kühle Der Seele Folterqual! ADOLAR Dein schwarzes Herz durchwühle Mein sieggewohnter Stahl! LYSIART Dein strömend Herzblut kühle Der Seele Folterqual! CHOR Trotze nicht, Vermessener! Zittre, Gottvergessener! Trotze nicht, Vermessener! Strafe dräut, Verräter, Tilgt, das Werk der Nacht! Erzittre, Gottvergessener! Birg dich, Missethäter! Gottes Auge wacht! ADOLAR Dein schwarzes Herz durchwühle Mein sieggewohnter Stahl! LYSIART Dein strömend Herzblut kühle Der Seele Folterqual! CHOR Zittre, Gottvergessener! ADOLAR Zum Kampf! Zum Gottgerichte! Verruchter Frevler du! Trotze nicht! Gottes Auge wacht! LYSIART Zum Kampf! will nicht um Mitleid werben, Heran! ich bin bereit! heran! CHOR Birg dich, Missethäter! Gottes Auge wacht! Schande nur und Verderben Ist ewig dir geweiht! Trotze nicht! trotze nicht! Gottes Auge wacht! Adolar, Lysiart ziehen die Schwerter und dringen aufeinander ein. Der König, zwei Jagdjunker, vier Pagen nahen sich von rechts hinten. Die zwei Jagdjunker trennen die Kämpfenden ZEHNTER AUFTRITT Der König nimmt zwischen Lysiart und Adolar die Mitte. Die vier Pagen stehen hinter ihm. Die beiden Jagdjunker nehmen, zurückstehend, zur Linken des Königs Aufstellung Nr. 25 - Finale KÖNIG zürnend Lasst ruhn das Schwert, der höchste Richter naht, Der Rächer jeder Frevelthat! Alle beugen sich ehrerbietig. Lysiart das Schwert senkend, tritt zurück ADOLAR knieend Mein König, hör den grässlichsten Verrat! Wir sind getäuschet, aller Tugend Bildnis War Euryanthe! - Weh mir! in der Wildnis Verlassen irret sie umher! Hilf, rette, strafe! KÖNIG Hemme deine Klagen, Fass dich, als Held das Grässlichste zu tragen, Dich segnend ist das treuste Herz gebrochen! EGLANTINE in teuflischer Lust auffahrend Triumph! gerochen Ist meine Schmach! der Feindin Herz gebrochen! Es stürmt der Tod durch deine Brust! Betrogner! war dir meine Glut bewusst, Wie legtest sorglos und vermessen Die Schlange du an der Geliebten Brust? So hattest du mein Flehn vergessen? Vergessen meinen Todesschmerz? Vergessen deines Kaltsinns Hohn? Vergessen meines Zornes Drohn? ADOLAR Abscheuliche! EGLANTINE Grausamer Adolar! Verzweifle, da sie schuldlos war! Ich war s, von deren Hand den Ring Der kühne Räuber dort empfing. Ich war s, die ihn der Gruft entwandte. Rein, wie das Licht, war Euryanthe! CHOR O höllischer Verrat! o herb Geschick! LYSIART nähert sich Eglantine Wahnsinn ge! EGLANTINE Schnödes Werkzeug meiner Rache, Dich schleudr ich in dein Nichts zurück! LYSIART Was hält mich, dass ich dich zermalme, Meineidige! Verräterin! Er stösst sie nieder. Eglantine fällt ihren Frauen in die Arme, die sie nach rechts vorn abführen CHOR Ruchloser Mörder! KÖNIG winkt Führt zum Tod ihn! ADOLAR Nein, gebt ihn frei! Lasst ganz sein Werk ihn krönen. Hier ist mein Herz, der Mörder sei Befriedigt. - Gott! wen nannt ich Mörder? Ich! Ich bin der Mörder und der Fluch trifft mich! Wer mordete mit wildem Triebe Die höchste Treue, Glauben, Unschuld, Liebe! Wo lebt ein Frevler sonst, als ich? Er versinkt in dumpfe Verzweiflung. Der König winkt noch einmal. Lysiart wendet sich nach hinten. Die beiden Jagdjunker, der Offizier rechts hinten und sechs Mann seiner Soldaten begleiten Lysiart als Gefangenen nach rechts hinten hinaus. Hornsignale rechts hinten CHOR DER JÄGER rechts hinten O Wonne! sie atmet! sie lebet! Euryanthe, Chor der Jäger kommen von rechts hinten ELFTER AUFTRITT Die Vorigen. Euryanthe zu Adolar in den Vordergrund eilend. Jagdchor Duett mit Chor Der Jagdchor nimmt vor den Trompetern Ausstellung. Adolar kniet vor Euryanthe. Der König in der Mitte, hinter beiden stehend EURYANTHE, ADOLAR Hin nimm die Seele mein, Atme mein Leben ein! Hin nimm die Seele mein, Mein Leben atme ein, Ganz bin ich dein! Lass mich in Lust und Wehn An deiner Brust vergehn! CHOR O Lust nach Todespein, O Treue, stark und rein, Du sein, er dein! Holdseliger Verein, O Lust nach Todespein! Recitativ ADOLAR von Entzückung ergriffen Ich ahne, Emma, selig ist sie jetzt Der Unschuld Thräne hat den Ring benetzt. Treu bot dem Mörder Rettung an für Mord, Ewig vereint mit Udo weilt sie dort! König nähert sich und vereinigt die Hände der Liebenden Schlusschor EURYANTHE, ADOLAR Nun selig Glück will jedes Leid versöhnen! CHOR Nun feiert hoch in vollen Jubeltönen Der Ritter Schmuck, die treu ste aller Schönen. Geprüftes Paar, besiegt ist Nacht und Tod, Die Wahrheit strahlt im reinsten Morgenrot, Der Himmel schirmt dies Band! Heil Adolar! In vollen Jubeltönen! Heil Euryanth ! Der Treusten aller Schönen. Heil Adolar! Heil Euryanth . Weber,Carl Maria von/Euryanthe
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Loading Message Loading中に出てくる1行ヒント的なメッセージ。結局表示時間が短くて、読めないことがほとんどなわけだが。表示されている種類はこんな感じらしい。 GENERAL Press I to open your inventory. Press K to access your skill tree. Some items grant you skills while equipped. Personal Relocation Devices allow you to visit a station and then return to the battlefield. Items marked with a ? require an Analyzer to identify their properties. Battle Sets are mapped to F1, F2, and F3 and can hold different weapons and skills. You can pick up items by hitting F . Items such as Health Injectors and Powerpacks are consumed when you use them. So, stock up. Armor reduces the amount of damage received by an attack. Shields completely negate damage unless they are penetrated, knocked down, or overloaded. The Nano Forge is used to increase the basic power and level of items. The Augmentrex 3000 is used to add random enhancements to items. The Delux De-Modificator is used to remove mods from weapons. The six types of Mods are Fuel, Batteries, Ammo, Rockets, Techs, and Relics. Mods can only be removed from weapons by using the Delux De-Modificator found in most Stations. Mods of all sorts can be used to make your weapons more specialized or versatile. You can place items in a Storage Depot locker found in most Stations. Some environments have rare locations that you can find. Make sure you explore everywhere. Right-click and hold when selecting an NPC or Item to activate a radial menu with several fast-action options. NAVIGATION Press TAB to open the Mini-map. Press TAB again to expand the map to the center of your display. Press M to view the World Map. A purple question mark (?) on the Mini-map shows the location of a storyline quest. A yellow exclamation point (!) on the Mini-map shows the location of a side mission. A green British pound symbol (￡) on the Mini-map shows the location of a vendor. A red cross (+) on the Mini-map shows the location of a medic or healer. A blue X on the Mini-map shows the location of an open portal, passage or Hellrift. A red X on the Mini-map shows the location of a closed portal, passage or Hellrift. To zoom in on the Mini-map, press the + symbol on the map. STAT FEED ADVICE Higher Strength will allow you to equip heavier armor. Higher Accuracy will allow you to equip more powerful guns. Higher Willpower will allow you to equip more powerful swords. Higher Willpower will allow you to equip more powerful weapon mods. Higher Willpower will allow you to equip more powerful focus items. Higher Stamina will allow you to equip better shields. Higher Willpower will allow you to equip some weapons and armor with more powerful attributes. Higher Stamina will allow you to equip some armor with more powerful attributes. SKILL POINTS STAT POINTS When you gain a level, you receive an additional skill point. You have skill points to spend. Press K to open your skill tree. When you gain a level, you earn 5 points to distribute amongst your attributes. You have attribute points to spend. Press I to open your inventory and attributes screen. SHIFT CONTROL KEYS When moving forward, pressing SHIFT will activate your Sprint skill. You can toggle whether a skill can be activated by SHIFT by checking it in your skill tree. The left side of the Action Bar shows which skill will be activated by SHIFT . The right side of the Action Bar shows which boost will be used by CONTROL . SECONDARY DAMAGE EFFECTS Phased monsters and characters deal half damage and take 50% more damage. When you re poisoned, you can t heal until the toxic effects are gone. "An ignited enemy loses 5% health per second." - Argus HIGH LEVEL CHARACTER ADVICE You should really know what you re doing by now. EVOKER ADVICE The Evoker s spell damage comes from his focus items and not the spells themselves. Almost all Evoker skills require a focus item. "Pick the proper skill for the moment." - Bogi "Two focus items means more damage." - Bogi "Higher damage focus items increase the damage of all Evoker spells." - Bogi Make sure that you use both long and short range spells. "Word of Fear is often your best protection." - Bogi "Use one Battle Set for damage and another for elemental attacks." - Bogi SUMMONER ADVICE "A Demon for every situation. . . choose carefully." - Ragthor Each Elemental that you control reduces your total available power. Meat Shield and Enrage are powerful commands for your Carnagor. "Receive every battle with an army." - Ragthor "When surrounded, use Word of Fear." - Ragthor "Select the perfect moment for the Reaper." - Ragthor "Use Blood Link to keep your minion alive." - Ragthor Pets can be dismissed by clicking on their portrait. BLADEMASTER ADVICE You can only have one Aura active at a time. "Do not lose heart in the heat of battle." - Adiss "Have a set of weapons ready for each opponent." - Adiss "Having more skills gives you more options." - Adiss "Call of the Chosen helps disperse crowds of enemies." - Adiss "Two swords are better than one." - Adiss "Sweeping Strike is very effective for packs of small enemies." - Adiss "Each enemy in your Holy Radius strengthens your Aura." - Adiss "Surges are gained by killing a monster with a surge skill." - Adiss "It is very powerful to have multiple surges." - Adiss GUARDIAN ADVICE "Have faith in your shield. It can stun almost any foe." - George You can only have one Aura active at a time. "If you live longer than your enemy, you win." - George "You can control a battle with patience and a strong shield." - George "Anchor, Challenge and Sword of Reckoning are a deadly combination." - George "Get surrounded - each enemy strengthens your Aura." - George "Spiritual Strength allows you to equip much more powerful armor." - George "Switch auras as you fight - each one has a different purpose." - George MARKSMAN ADVICE "Know when to stand and when to withdraw." - Argus The Tactical Stance, Rapid Fire, and Sniper skills require you to stop moving. Precision Strike and Grenade skills improve as your character gains levels. Use the Escape skill when you re surrounded or overwhelmed. Critical Hits can trigger skills - like Ricochet and Reflected Shot. "Create a Battle Set for close range and another for long range." - Argus "Keep upgrading your weapons." - Argus "Grenades work well with low rate of fire guns." - Argus ENGINEER ADVICE "Metal is cheap. Let them hit the Drone." - Johnny "You can control only two kinds of Bots at once." - Johnny Your Drone can be upgraded with a handgun, rifle, sword, and torso armor. "Drones feel no pain." - Johnny The Drone s armor and weapons are saved with your character. "Watch your Inhibitor Bots, and no one will sneak up on you." - Johnny "Nanobots are quite effective." - Johnny Bots cannot be targeted. SOCIAL Treat others with the respect you would expect from them. Joining groups increases the experience and rewards you earn! Joining a Guild is a great way to always have friends to adventure with. Using all caps when chatting is considered rude because YOU ARE YELLING! You only see the items you can pick up when in a group. If you can t use an item, you can usually sell it, trade it, or dismantle it for scrap. Make sure to put people you know or like playing with on your Buddy List! Press B to access your Buddy List. To add a friend to your Buddy List, just type the name of the character you want to include in the Buddy panel. Now you ll know when they are online! CHAT WINDOW To talk with other players in the game, simply press ` to activate the chat window. To speak privately with a specific player, open the chat window and type /w playername your message To speak to everyone in your immediate vicinity, open the chat window and type /town your message To speak with everyone in your adventuring party, open the chat window and type /p your message Your chat log will fade after a time, but you view it again by pressing the small arrow button located on the top left of your Health orb. MISCELLANEOUS Take everything in moderation, including Hellgate London! It s a good idea to stretch your hands and legs every 15 - 20 minutes. Remember to eat a healthy meal, drink plenty of water, and get enough sleep! If something is frustrating you, fire up some Hellgate London and have fun! Take the time to say something nice to someone today.
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Aerodynamic Heating and Thermal Protection Systems Amer Inst of Aeronautics &? L. S. Fletcher? AmerInstofAeronautics&? L.S.Fletcher? ジャンル別? Substores-UnknownASINs-31? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Heat Transfer and Thermal Control System Amer Inst of Aeronautics &? Fletcher? AmerInstofAeronautics&? Fletcher? ジャンル別? Substores-UnknownASINs-31? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Thermophysics and Thermal Control Paas65 Amer Inst of Aeronautics &? Raymond Viskanta? AmerInstofAeronautics&? RaymondViskanta? ジャンル別? Substores-UnknownASINs-31? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Interior Ballistics of Guns (Progress in Astronautics and Aeronautics Vol 66) Amer Inst of Aeronautics &? Herman Krier? Martin Summerfield? AmerInstofAeronautics&? HermanKrier? MartinSummerfield? ジャンル別? Substores-UnknownASINs-31? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Remote Sensing of Earth from Role of Smart Sensors Technical Role of "Smart Sensors" Technical Papers from the Aiaa/Nasa Conference on "Smart" Sensors, November 1978, Subsequently Revised for This Volume, and (Progress in Astronautics and Aeronautics, V. 67) Amer Inst of Aeronautics &? Aiaa? Va.) Nasa Conference on Smart Sensors (1978 Hampton? Roger A. Breckenridge? American Institute of Aeronautics and Astronautics? United States National Aeronautics and Space Administration? AmerInstofAeronautics&? Aiaa? Va.)NasaConferenceon Smart Sensors(1978Hampton? RogerA.Breckenridge? AmericanInstituteofAeronauticsandAstronautics? UnitedStatesNationalAeronauticsandSpaceAdministration? ジャンル別? Substores-UnknownASINs-31? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Entry Heating and Thermal Protection Paas69 Amer Inst of Aeronautics &? W. B. Olstad? AmerInstofAeronautics&? W.B.Olstad? ジャンル別? Substores-UnknownASINs-31? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Heat Transfer Thermal Control and Heat Pipes Amer Inst of Aeronautics &? Olstad? AmerInstofAeronautics&? Olstad? ジャンル別? Substores-UnknownASINs-31? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Viscous Flow Drag Reduction Paas72 Amer Inst of Aeronautics &? Gary R. Hough? AmerInstofAeronautics&? GaryR.Hough? ジャンル別? Substores-UnknownASINs-31? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Aerothermodynamics and Planetary Entry Paas77 Technical Papers from the Aiaa 18th Aerospace Sciences Meeting, January 1980, and the Aiaa 15th Thermophysics Conference, July 1980 (Progress in Astronautics and Aeronautics, V. 77) Amer Inst of Aeronautics &? Calif.) Aiaa Aerospace Sciences Meeting 1980 (Los Angeles? A. L. Crosbie? Colo.) Aiaa Thermophysics Conference 1980 (Snowmass? American Institute of Aeronautics and Astronautics? A. L. Cosbie? AmerInstofAeronautics&? Calif.)AiaaAerospaceSciencesMeeting1980(LosAngeles? A.L.Crosbie? Colo.)AiaaThermophysicsConference1980(Snowmass? AmericanInstituteofAeronauticsandAstronautics? A.L.Cosbie? ジャンル別? Subjects-Engineering-SpecialTopics-AppliedAtmosphericSciences? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-SpecialTopics-AppliedAtmosphericSciences? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Electric Propulsion and Its Applications to Space Missions, Paas79 Technical Papers from the Aiaa/Dglr International Electric Propulsion Conference, Princeton, New Jersey, October 30-November 1, 1979 (Progress in Astronautics and Aeronautics, V. 79) Amer Inst of Aeronautics &? AIAA? N. J.) DGLR International Electric Propulsion Conference (1979 Princeton? Robert C. Finke? American Institute of Aeronautics and Astronautics? Deutsche Gesellschaft Fur Luft- Und Raumfahrt? AmerInstofAeronautics&? AIAA? N.J.)DGLRInternationalElectricPropulsionConference(1979 Princeton? RobertC.Finke? AmericanInstituteofAeronauticsandAstronautics? DeutscheGesellschaftFurLuft-UndRaumfahrt? ジャンル別? Substores-UnknownASINs-31? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Aeronautics in China Amer Inst of Aeronautics &? Jerry Grey? AmerInstofAeronautics&? JerryGrey? ジャンル別? Substores-UnknownASINs-31? Subjects-Engineering-General? Subjects-Engineering-Aerospace-General? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-Engineering-Aerospace-General? Transonic Aerodynamics, Paas81 Technical Papers Selected from the Transonic Perspective Symposium, Moffett Field, California, February 18-20, 1981 (Progress in Astronautics and Aeronautics, V. 81) Amer Inst of Aeronautics &? Calif.) Transonic Perspective Symposium (1981 Moffett Field? David Nixon? Ames Research Center Aerodynamics Research Branch? United States Office of Naval Research Fluid Dynamics Branch? AmerInstofAeronautics&? Calif.)TransonicPerspectiveSymposium(1981MoffettField? DavidNixon? AmesResearchCenterAerodynamicsResearchBranch? UnitedStatesOfficeofNavalResearchFluidDynamicsBranch? ジャンル別? Subjects-Engineering-Aerospace-Aerodynamics? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-Aerospace-Aerodynamics? Subjects-Professional&Technical-Engineering-General Thermophysics of Atmospheric Entry Paas82 Amer Inst of Aeronautics &? T. E. Horton? AmerInstofAeronautics&? T.E.Horton? ジャンル別? Substores-UnknownASINs-31? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Spacecraft Radiative Transfer and Temperature Control Paas83 Amer Inst of Aeronautics &? T. E. Horton? AmerInstofAeronautics&? T.E.Horton? ジャンル別? Substores-UnknownASINs-31? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Liquid-Metal Flows and Magnetohydrodynamics The Third International Seminar in the Mhd Flows and Turbulence Series (Progress in Astronautics and Aeronautics) Amer Inst of Aeronautics &? Beer-Sheva International Seminar on Magnetohydrodynamic Flows and Turbulence (3rd 1981 Ben-Gurion University of the Negev)? P. S. Lykoudis? A. Yakhot? American Institute of Aeronautics and Astronautics? Herman Branover? AmerInstofAeronautics&? Beer-ShevaInternationalSeminaronMagnetohydrodynamicFlowsandTurbulence(3rd 1981 Ben-GurionUniversityoftheNegev)? P.S.Lykoudis? A.Yakhot? AmericanInstituteofAeronauticsandAstronautics? HermanBranover? ジャンル別? 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ASME Joint Thermophysics? Paul E. Bauer? Howard E. Collicott? American Institute of Aeronautics and Astronautics? AmerInstofAeronautics&? AIAA? Fluids,Plasma,andHeatTransferConference(3rd 1982 SaintLouis,Mo.)ASMEJointThermophysics? PaulE.Bauer? HowardE.Collicott? AmericanInstituteofAeronauticsandAstronautics? ジャンル別? Subjects-Engineering-SpecialTopics-AppliedAtmosphericSciences? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-SpecialTopics-AppliedAtmosphericSciences? Subjects-Professional&Technical-Engineering-General Subjects-Science-Physics-Dynamics-Thermodynamics? Spacecraft Thermal Control, Design, and Operation (Progress in Astronautics and Aeronautics) Amer Inst of Aeronautics &? Paul E. Bauer? AmerInstofAeronautics&? PaulE.Bauer? ジャンル別? Substores-UnknownASINs-31? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Shock Waves, Explosions, and Detonations Tech Papers from the 8th Intl Colloquium, Held Minsk, Ussr, Aug 1981 (Progress in Astronautics and Aeronautics) Amer Inst of Aeronautics &? France) International Colloquium on Gasdynamics of Explosions and Reactive Systems (9th 1983 Poitiers? J. R. Bowen? AmerInstofAeronautics&? France)InternationalColloquiumonGasdynamicsofExplosionsandReactiveSystems(9th 1983 Poitiers? J.R.Bowen? ジャンル別? Substores-UnknownASINs-31? Subjects-Engineering-Chemical-Thermodynamics? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-Chemical-Thermodynamics? Subjects-Professional&Technical-Engineering-General Flames, Lasers, and Reactive Systems Tech Papers from the 8th Intl Colloquium, Held Minsk, Ussr, Aug 1981 (Progress in Astronautics and Aeronautics) Amer Inst of Aeronautics &? France) International Colloquium on Gasdynamics of Explosions and Reactive Systems (9th 1983 Poitiers? J. R. 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Subjects-Professional&Technical-Engineering-General International Cooperation and Space Missions Selection of Papers Presented at the 34th Congress of the International Astronautical Federation Oct 1 (International Astronautical Federation Congress//(Selected Proceedings)) Amer Inst of Aeronautics &? Hungary) International Astronautical Congress 1983 (Budapest? L. G. Napolitano? International Astronautical Federation.? AmerInstofAeronautics&? Hungary)InternationalAstronauticalCongress1983(Budapest? L.G.Napolitano? InternationalAstronauticalFederation.? ジャンル別? Substores-UnknownASINs-31? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Fundamentals of Solid-Propellent Combustion (Progress in Astronautics and Aeronautics, Vol 90) Amer Inst of Aeronautics &? Kenneth K. Kuo? Martin Summerfield? AmerInstofAeronautics&? KennethK.Kuo? MartinSummerfield? ジャンル別? Substores-UnknownASINs-31? Subjects-Engineering-General? 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