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Boundary Integral Methods Theory and Applications Springer-Verlag Berlin and Heidelberg GmbH & Co. K? L. Morino? R. Piva? Springer-VerlagBerlinandHeidelbergGmbH&Co.K? L.Morino? R.Piva? ジャンル別? Subjects-Computers&Internet-Software-Design&Development-SoftwareDesign? Subjects-Engineering-General? Subjects-Engineering-Mechanical-FluidMechanics? Subjects-Professional&Technical-Engineering-Mechanical-FluidMechanics? Subjects-Professional&Technical-Engineering-General Subjects-Science-Mathematics-Applied? Subjects-Science-Physics-Dynamics-FluidDynamics? Subjects-Science-Physics-FluidMechanics? Advanced Structural and Functional Materials Springer-Verlag Berlin and Heidelberg GmbH & Co. K? Wolfgang G.J. Bunk? Springer-VerlagBerlinandHeidelbergGmbH&Co.K? WolfgangG.J.Bunk? ジャンル別? Subjects-Engineering-General? 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Subjects-Professional&Technical-Engineering-General Fluid Dynamics of High Angle of Attack (IUTAM Symposia) Springer-Verlag Berlin and Heidelberg GmbH & Co. K? R. Kawamura? Y. Aihara? Springer-VerlagBerlinandHeidelbergGmbH&Co.K? R.Kawamura? Y.Aihara? ジャンル別? Substores-UnknownASINs-47? Subjects-Engineering-Aerospace-Aerodynamics? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-Aerospace-Aerodynamics? Subjects-Professional&Technical-Engineering-General Subjects-Science-Astronomy-Aeronautics&Astronautics? Applications of Laser Techniques to Fluid Mechanics Springer-Verlag Berlin and Heidelberg GmbH & Co. K? R.J. Adrian? D.F.G. Durao? F. Durst? M.M. Heitor? M. Maeda? J.H. Whitelaw? Springer-VerlagBerlinandHeidelbergGmbH&Co.K? R.J.Adrian? D.F.G.Durao? F.Durst? M.M.Heitor? M.Maeda? J.H.Whitelaw? ジャンル別? Subjects-Computers&Internet-ComputerScience-Circuitry-Communication&SignalProcessing? Subjects-Engineering-General? 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CHAPTER I UP CHAPTER III CHAPTER II Matthew Cuthbert is surprised Matthew Cuthbert and the sorrel mare jogged comfortably over the eight miles to Bright River. It was a pretty road, running along between snug farmsteads, with now and again a bit of balsamy fir wood to drive through or a hollow where wild plums hung out their filmy bloom. The air was sweet with the breath of many apple orchards and the meadows sloped away in the distance to horizon mists of pearl and purple; while "The little birds sang as if it were The one day of summer in all the year." Matthew enjoyed the drive after his own fashion, except during the moments when he met women and had to nod to them-- for in Prince Edward island you are supposed to nod to all and sundry you meet on the road whether you know them or not. Matthew dreaded all women except Marilla and Mrs. Rachel; he had an uncomfortable feeling that the mysterious creatures were secretly laughing at him. He may have been quite right in thinking so, for he was an odd-looking personage, with an ungainly figure and long iron-gray hair that touched his stooping shoulders, and a full, soft brown beard which he had worn ever since he was twenty. In fact, he had looked at twenty very much as he looked at sixty, lacking a little of the grayness. When he reached Bright River there was no sign of any train; he thought he was too early, so he tied his horse in the yard of the small Bright River hotel and went over to the station house. The long platform was almost deserted; the only living creature in sight being a girl who was sitting on a pile of shingles at the extreme end. Matthew, barely noting that it WAS a girl, sidled past her as quickly as possible without looking at her. Had he looked he could hardly have failed to notice the tense rigidity and expectation of her attitude and expression. She was sitting there waiting for something or somebody and, since sitting and waiting was the only thing to do just then, she sat and waited with all her might and main. Matthew encountered the stationmaster locking up the ticket office preparatory to going home for supper, and asked him if the five-thirty train would soon be along. "The five-thirty train has been in and gone half an hour ago," answered that brisk official. "But there was a passenger dropped off for you--a little girl. She s sitting out there on the shingles. I asked her to go into the ladies waiting room, but she informed me gravely that she preferred to stay outside. `There was more scope for imagination, she said. She s a case, I should say." "I m not expecting a girl," said Matthew blankly. "It s a boy I ve come for. He should be here. Mrs. Alexander Spencer was to bring him over from Nova Scotia for me." The stationmaster whistled. "Guess there s some mistake," he said. "Mrs. Spencer came off the train with that girl and gave her into my charge. Said you and your sister were adopting her from an orphan asylum and that you would be along for her presently. That s all I know about it--and I haven t got any more orphans concealed hereabouts." "I don t understand," said Matthew helplessly, wishing that Marilla was at hand to cope with the situation. "Well, you d better question the girl," said the station- master carelessly. "I dare say she ll be able to explain-- she s got a tongue of her own, that s certain. Maybe they were out of boys of the brand you wanted." He walked jauntily away, being hungry, and the unfortunate Matthew was left to do that which was harder for him than bearding a lion in its den--walk up to a girl--a strange girl--an orphan girl--and demand of her why she wasn t a boy. Matthew groaned in spirit as he turned about and shuffled gently down the platform towards her. She had been watching him ever since he had passed her and she had her eyes on him now. Matthew was not looking at her and would not have seen what she was really like if he had been, but an ordinary observer would have seen this A child of about eleven, garbed in a very short, very tight, very ugly dress of yellowish-gray wincey. She wore a faded brown sailor hat and beneath the hat, extending down her back, were two braids of very thick, decidedly red hair. Her face was small, white and thin, also much freckled; her mouth was large and so were her eyes, which looked green in some lights and moods and gray in others. So far, the ordinary observer; an extraordinary observer might have seen that the chin was very pointed and pronounced; that the big eyes were full of spirit and vivacity; that the mouth was sweet-lipped and expressive; that the forehead was broad and full; in short, our discerning extraordinary observer might have concluded that no commonplace soul inhabited the body of this stray woman- child of whom shy Matthew Cuthbert was so ludicrously afraid. Matthew, however, was spared the ordeal of speaking first, for as soon as she concluded that he was coming to her she stood up, grasping with one thin brown hand the handle of a shabby, old-fashioned carpet-bag; the other she held out to him. "I suppose you are Mr. Matthew Cuthbert of Green Gables?" she said in a peculiarly clear, sweet voice. "I m very glad to see you. I was beginning to be afraid you weren t coming for me and I was imagining all the things that might have happened to prevent you. I had made up my mind that if you didn t come for me to-night I d go down the track to that big wild cherry-tree at the bend, and climb up into it to stay all night. I wouldn t be a bit afraid, and it would be lovely to sleep in a wild cherry-tree all white with bloom in the moonshine, don t you think? You could imagine you were dwelling in marble halls, couldn t you? And I was quite sure you would come for me in the morning, if you didn t to-night." Matthew had taken the scrawny little hand awkwardly in his; then and there he decided what to do. He could not tell this child with the glowing eyes that there had been a mistake; he would take her home and let Marilla do that. She couldn t be left at Bright River anyhow, no matter what mistake had been made, so all questions and explanations might as well be deferred until he was safely back at Green Gables. "I m sorry I was late," he said shyly. "Come along. The horse is over in the yard. Give me your bag." "Oh, I can carry it," the child responded cheerfully. "It isn t heavy. I ve got all my worldly goods in it, but it isn t heavy. And if it isn t carried in just a certain way the handle pulls out--so I d better keep it because I know the exact knack of it. It s an extremely old carpet-bag. Oh, I m very glad you ve come, even if it would have been nice to sleep in a wild cherry-tree. We ve got to drive a long piece, haven t we? Mrs. Spencer said it was eight miles. I m glad because I love driving. Oh, it seems so wonderful that I m going to live with you and belong to you. I ve never belonged to anybody--not really. But the asylum was the worst. I ve only been in it four months, but that was enough. I don t suppose you ever were an orphan in an asylum, so you can t possibly understand what it is like. It s worse than anything you could imagine. Mrs. Spencer said it was wicked of me to talk like that, but I didn t mean to be wicked. It s so easy to be wicked without knowing it, isn t it? They were good, you know--the asylum people. But there is so little scope for the imagination in an asylum--only just in the other orphans. It was pretty interesting to imagine things about them--to imagine that perhaps the girl who sat next to you was really the daughter of a belted earl, who had been stolen away from her parents in her infancy by a cruel nurse who died before she could confess. I used to lie awake at nights and imagine things like that, because I didn t have time in the day. I guess that s why I m so thin--I AM dreadful thin, ain t I? There isn t a pick on my bones. I do love to imagine I m nice and plump, with dimples in my elbows." With this Matthew s companion stopped talking, partly because she was out of breath and partly because they had reached the buggy. Not another word did she say until they had left the village and were driving down a steep little hill, the road part of which had been cut so deeply into the soft soil, that the banks, fringed with blooming wild cherry-trees and slim white birches, were several feet above their heads. The child put out her hand and broke off a branch of wild plum that brushed against the side of the buggy. "Isn t that beautiful? What did that tree, leaning out from the bank, all white and lacy, make you think of?" she asked. "Well now, I dunno," said Matthew. "Why, a bride, of course--a bride all in white with a lovely misty veil. I ve never seen one, but I can imagine what she would look like. I don t ever expect to be a bride myself. I m so homely nobody will ever want to marry me-- unless it might be a foreign missionary. I suppose a foreign missionary mightn t be very particular. But I do hope that some day I shall have a white dress. That is my highest ideal of earthly bliss. I just love pretty clothes. And I ve never had a pretty dress in my life that I can remember--but of course it s all the more to look forward to, isn t it? And then I can imagine that I m dressed gorgeously. This morning when I left the asylum I felt so ashamed because I had to wear this horrid old wincey dress. All the orphans had to wear them, you know. A merchant in Hopeton last winter donated three hundred yards of wincey to the asylum. Some people said it was because he couldn t sell it, but I d rather believe that it was out of the kindness of his heart, wouldn t you? When we got on the train I felt as if everybody must be looking at me and pitying me. But I just went to work and imagined that I had on the most beautiful pale blue silk dress--because when you ARE imagining you might as well imagine something worth while--and a big hat all flowers and nodding plumes, and a gold watch, and kid gloves and boots. I felt cheered up right away and I enjoyed my trip to the Island with all my might. I wasn t a bit sick coming over in the boat. Neither was Mrs. Spencer although she generally is. She said she hadn t time to get sick, watching to see that I didn t fall overboard. She said she never saw the beat of me for prowling about. But if it kept her from being seasick it s a mercy I did prowl, isn t it? And I wanted to see everything that was to be seen on that boat, because I didn t know whether I d ever have another opportunity. Oh, there are a lot more cherry-trees all in bloom! This Island is the bloomiest place. I just love it already, and I m so glad I m going to live here. I ve always heard that Prince Edward Island was the prettiest place in the world, and I used to imagine I was living here, but I never really expected I would. It s delightful when your imaginations come true, isn t it? But those red roads are so funny. When we got into the train at Charlottetown and the red roads began to flash past I asked Mrs. Spencer what made them red and she said she didn t know and for pity s sake not to ask her any more questions. She said I must have asked her a thousand already. I suppose I had, too, but how you going to find out about things if you don t ask questions? And what DOES make the roads red?" "Well now, I dunno," said Matthew. "Well, that is one of the things to find out sometime. Isn t it splendid to think of all the things there are to find out about? It just makes me feel glad to be alive-- it s such an interesting world. It wouldn t be half so interesting if we know all about everything, would it? There d be no scope for imagination then, would there? But am I talking too much? People are always telling me I do. Would you rather I didn t talk? If you say so I ll stop. I can STOP when I make up my mind to it, although it s difficult." Matthew, much to his own surprise, was enjoying himself. Like most quiet folks he liked talkative people when they were willing to do the talking themselves and did not expect him to keep up his end of it. But he had never expected to enjoy the society of a little girl. Women were bad enough in all conscience, but little girls were worse. He detested the way they had of sidling past him timidly, with sidewise glances, as if they expected him to gobble them up at a mouthful if they ventured to say a word. That was the Avonlea type of well-bred little girl. But this freckled witch was very different, and although he found it rather difficult for his slower intelligence to keep up with her brisk mental processes he thought that he "kind of liked her chatter." So he said as shyly as usual "Oh, you can talk as much as you like. I don t mind." "Oh, I m so glad. I know you and I are going to get along together fine. It s such a relief to talk when one wants to and not be told that children should be seen and not heard. I ve had that said to me a million times if I have once. And people laugh at me because I use big words. But if you have big ideas you have to use big words to express them, haven t you?" "Well now, that seems reasonable," said Matthew. "Mrs. Spencer said that my tongue must be hung in the middle. But it isn t--it s firmly fastened at one end. Mrs. Spencer said your place was named Green Gables. I asked her all about it. And she said there were trees all around it. I was gladder than ever. I just love trees. And there weren t any at all about the asylum, only a few poor weeny-teeny things out in front with little whitewashed cagey things about them. They just looked like orphans themselves, those trees did. It used to make me want to cry to look at them. I used to say to them, `Oh, you POOR little things! If you were out in a great big woods with other trees all around you and little mosses and Junebells growing over your roots and a brook not far away and birds singing in you branches, you could grow, couldn t you? But you can t where you are. I know just exactly how you feel, little trees. I felt sorry to leave them behind this morning. You do get so attached to things like that, don t you? Is there a brook anywhere near Green Gables? I forgot to ask Mrs. Spencer that." "Well now, yes, there s one right below the house." "Fancy. It s always been one of my dreams to live near a brook. I never expected I would, though. Dreams don t often come true, do they? Wouldn t it be nice if they did? But just now I feel pretty nearly perfectly happy. I can t feel exactly perfectly happy because--well, what color would you call this?" She twitched one of her long glossy braids over her thin shoulder and held it up before Matthew s eyes. Matthew was not used to deciding on the tints of ladies tresses, but in this case there couldn t be much doubt. "It s red, ain t it?" he said. The girl let the braid drop back with a sigh that seemed to come from her very toes and to exhale forth all the sorrows of the ages. "Yes, it s red," she said resignedly. "Now you see why I can t be perfectly happy. Nobody could who has red hair. I don t mind the other things so much--the freckles and the green eyes and my skinniness. I can imagine them away. I can imagine that I have a beautiful rose-leaf complexion and lovely starry violet eyes. But I CANNOT imagine that red hair away. I do my best. I think to myself, `Now my hair is a glorious black, black as the raven s wing. But all the time I KNOW it is just plain red and it breaks my heart. It will be my lifelong sorrow. I read of a girl once in a novel who had a lifelong sorrow but it wasn t red hair. Her hair was pure gold rippling back from her alabaster brow. What is an alabaster brow? I never could find out. Can you tell me?" "Well now, I m afraid I can t," said Matthew, who was getting a little dizzy. He felt as he had once felt in his rash youth when another boy had enticed him on the merry-go- round at a picnic. "Well, whatever it was it must have been something nice because she was divinely beautiful. Have you ever imagined what it must feel like to be divinely beautiful?" "Well now, no, I haven t," confessed Matthew ingenuously. "I have, often. Which would you rather be if you had the choice--divinely beautiful or dazzlingly clever or angelically good?" "Well now, I--I don t know exactly." "Neither do I. I can never decide. But it doesn t make much real difference for it isn t likely I ll ever be either. It s certain I ll never be angelically good. Mrs. Spencer says--oh, Mr. Cuthbert! Oh, Mr. Cuthbert!! Oh, Mr. Cuthbert!!!" That was not what Mrs. Spencer had said; neither had the child tumbled out of the buggy nor had Matthew done anything astonishing. They had simply rounded a curve in the road and found themselves in the "Avenue." The "Avenue," so called by the Newbridge people, was a stretch of road four or five hundred yards long, completely arched over with huge, wide-spreading apple-trees, planted years ago by an eccentric old farmer. Overhead was one long canopy of snowy fragrant bloom. Below the boughs the air was full of a purple twilight and far ahead a glimpse of painted sunset sky shone like a great rose window at the end of a cathedral aisle. Its beauty seemed to strike the child dumb. She leaned back in the buggy, her thin hands clasped before her, her face lifted rapturously to the white splendor above. Even when they had passed out and were driving down the long slope to Newbridge she never moved or spoke. Still with rapt face she gazed afar into the sunset west, with eyes that saw visions trooping splendidly across that glowing background. Through Newbridge, a bustling little village where dogs barked at them and small boys hooted and curious faces peered from the windows, they drove, still in silence. When three more miles had dropped away behind them the child had not spoken. She could keep silence, it was evident, as energetically as she could talk. "I guess you re feeling pretty tired and hungry," Matthew ventured to say at last, accounting for her long visitation of dumbness with the only reason he could think of. "But we haven t very far to go now--only another mile." She came out of her reverie with a deep sigh and looked at him with the dreamy gaze of a soul that had been wondering afar, star-led. "Oh, Mr. Cuthbert," she whispered, "that place we came through--that white place--what was it?" "Well now, you must mean the Avenue," said Matthew after a few moments profound reflection. "It is a kind of pretty place." "Pretty? Oh, PRETTY doesn t seem the right word to use. Nor beautiful, either. They don t go far enough. Oh, it was wonderful--wonderful. It s the first thing I ever saw that couldn t be improved upon by imagination. It just satisfies me here"--she put one hand on her breast--"it made a queer funny ache and yet it was a pleasant ache. Did you ever have an ache like that, Mr. Cuthbert?" "Well now, I just can t recollect that I ever had." "I have it lots of time--whenever I see anything royally beautiful. But they shouldn t call that lovely place the Avenue. There is no meaning in a name like that. They should call it--let me see--the White Way of Delight. Isn t that a nice imaginative name? When I don t like the name of a place or a person I always imagine a new one and always think of them so. There was a girl at the asylum whose name was Hepzibah Jenkins, but I always imagined her as Rosalia DeVere. Other people may call that place the Avenue, but I shall always call it the White Way of Delight. Have we really only another mile to go before we get home? I m glad and I m sorry. I m sorry because this drive has been so pleasant and I m always sorry when pleasant things end. Something still pleasanter may come after, but you can never be sure. And it s so often the case that it isn t pleasanter. That has been my experience anyhow. But I m glad to think of getting home. You see, I ve never had a real home since I can remember. It gives me that pleasant ache again just to think of coming to a really truly home. Oh, isn t that pretty!" They had driven over the crest of a hill. Below them was a pond, looking almost like a river so long and winding was it. A bridge spanned it midway and from there to its lower end, where an amber-hued belt of sand-hills shut it in from the dark blue gulf beyond, the water was a glory of many shifting hues--the most spiritual shadings of crocus and rose and ethereal green, with other elusive tintings for which no name has ever been found. Above the bridge the pond ran up into fringing groves of fir and maple and lay all darkly translucent in their wavering shadows. Here and there a wild plum leaned out from the bank like a white-clad girl tip-toeing to her own reflection. From the marsh at the head of the pond came the clear, mournfully-sweet chorus of the frogs. There was a little gray house peering around a white apple orchard on a slope beyond and, although it was not yet quite dark, a light was shining from one of its windows. "That s Barry s pond," said Matthew. "Oh, I don t like that name, either. I shall call it--let me see--the Lake of Shining Waters. Yes, that is the right name for it. I know because of the thrill. When I hit on a name that suits exactly it gives me a thrill. Do things ever give you a thrill?" Matthew ruminated. "Well now, yes. It always kind of gives me a thrill to see them ugly white grubs that spade up in the cucumber beds. I hate the look of them." "Oh, I don t think that can be exactly the same kind of a thrill. Do you think it can? There doesn t seem to be much connection between grubs and lakes of shining waters, does there? But why do other people call it Barry s pond?" "I reckon because Mr. Barry lives up there in that house. Orchard Slope s the name of his place. If it wasn t for that big bush behind it you could see Green Gables from here. But we have to go over the bridge and round by the road, so it s near half a mile further." "Has Mr. Barry any little girls? Well, not so very little either--about my size." "He s got one about eleven. Her name is Diana." "Oh!" with a long indrawing of breath. "What a perfectly lovely name!" "Well now, I dunno. There s something dreadful heathenish about it, seems to me. I d ruther Jane or Mary or some sensible name like that. But when Diana was born there was a schoolmaster boarding there and they gave him the naming of her and he called her Diana." "I wish there had been a schoolmaster like that around when I was born, then. Oh, here we are at the bridge. I m going to shut my eyes tight. I m always afraid going over bridges. I can t help imagining that perhaps just as we get to the middle, they ll crumple up like a jack-knife and nip us. So I shut my eyes. But I always have to open them for all when I think we re getting near the middle. Because, you see, if the bridge DID crumple up I d want to SEE it crumple. What a jolly rumble it makes! I always like the rumble part of it. Isn t it splendid there are so many things to like in this world? There we re over. Now I ll look back. Good night, dear Lake of Shining Waters. I always say good night to the things I love, just as I would to people. I think they like it. That water looks as if it was smiling at me." When they had driven up the further hill and around a corner Matthew said "We re pretty near home now. That s Green Gables over--" "Oh, don t tell me," she interrupted breathlessly, catching at his partially raised arm and shutting her eyes that she might not see his gesture. "Let me guess. I m sure I ll guess right." She opened her eyes and looked about her. They were on the crest of a hill. The sun had set some time since, but the landscape was still clear in the mellow afterlight. To the west a dark church spire rose up against a marigold sky. Below was a little valley and beyond a long, gently-rising slope with snug farmsteads scattered along it. From one to another the child s eyes darted, eager and wistful. At last they lingered on one away to the left, far back from the road, dimly white with blossoming trees in the twilight of the surrounding woods. Over it, in the stainless southwest sky, a great crystal-white star was shining like a lamp of guidance and promise. "That s it, isn t it?" she said, pointing. Matthew slapped the reins on the sorrel s back delightedly. "Well now, you ve guessed it! But I reckon Mrs. Spencer described it so s you could tell." "No, she didn t--really she didn t. All she said might just as well have been about most of those other places. I hadn t any real idea what it looked like. But just as soon as I saw it I felt it was home. Oh, it seems as if I must be in a dream. Do you know, my arm must be black and blue from the elbow up, for I ve pinched myself so many times today. Every little while a horrible sickening feeling would come over me and I d be so afraid it was all a dream. Then I d pinch myself to see if it was real--until suddenly I remembered that even supposing it was only a dream I d better go on dreaming as long as I could; so I stopped pinching. But it IS real and we re nearly home." With a sigh of rapture she relapsed into silence. Matthew stirred uneasily. He felt glad that it would be Marilla and not he who would have to tell this waif of the world that the home she longed for was not to be hers after all. They drove over Lynde s Hollow, where it was already quite dark, but not so dark that Mrs. Rachel could not see them from her window vantage, and up the hill and into the long lane of Green Gables. By the time they arrived at the house Matthew was shrinking from the approaching revelation with an energy he did not understand. It was not of Marilla or himself he was thinking of the trouble this mistake was probably going to make for them, but of the child s disappointment. When he thought of that rapt light being quenched in her eyes he had an uncomfortable feeling that he was going to assist at murdering something--much the same feeling that came over him when he had to kill a lamb or calf or any other innocent little creature. The yard was quite dark as they turned into it and the poplar leaves were rustling silkily all round it. "Listen to the trees talking in their sleep," she whispered, as he lifted her to the ground. "What nice dreams they must have!" Then, holding tightly to the carpet-bag which contained "all her worldly goods," she followed him into the house. CHAPTER I UP CHAPTER III 今日 - | 昨日 - | Total - since 04 June 2007 last update 2007-06-05 01 32 53 (Tue)
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!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "DTD/xhtml1-transitional.dtd" !-- Japanese Translated by Testing Engineer s Forum (TEF) in Japan, Working Group of TestLink Japanese Translation Project -- html xmlns="http //www.w3.org/1999/xhtml" lang="jp" head meta http-equiv="Content-Type" content="text/html; charset=UTF-8" / meta http-equiv="Content-language" content="jp" / meta name="author" content="Martin Havlat" / meta name="copyright" content="GNU" / meta name="robots" content="NOFOLLOW" / title TestLink Help Print Test Cases /title link rel="stylesheet" type="text/css" href="../../{$smarty.const.TL_THEME_CSS_DIR}tl_docs.css" / /head body h1 テストケース印刷のフィルタリング /h1 {include file="nav.tpl"} p この表により表示するテストケースをフィルタリングすることができます。選択したデータを表示します。チェックを変更したり、"フィルター"ボタンをクリックしたり、必要なデータのレベルをツリーから選択したりすることで表示するデータを切り替えることができます。 /p h2 ドキュメントのヘッダ /h2 p ドキュメントのヘッダ情報をフィルタリングすることもできます。ドキュメントのヘッダ情報には以下のものが含まれます イントロダクション、スコープ、参照、テスト手法、テストの制限事項。 /p h2 テストケース本体 /h2 p テストケース本体に含まれる情報をフィルタリングすることもできます。テストケース本体には以下の情報が含まれます 概要、ステップ、実行結果、キーワード。 /p h2 テストケースの概要 /h2 p テストケースのタイトルから、テストケースの概要情報をフィルタリングすることもできます。しかし、テストケース本体から概要をフィルタリングすることはできません。テストケースのタイトルを表示するときに、概要のみを表示して、その他のステップ、実行結果、キーワードを非表示にすることはできます。しかし、テストケース本体を表示するときには必ずテスト概要は表示されます。 /p h2 目次 /h2 p テストリンクは全てのタイトルのリストを内部のハイパーリンク付きで挿入します。 /p h2 出力形式 /h2 p HTMLとMS Wordの２種類の形式で出力することができます。後者の場合、ブラウザがMS Wordのコンポーネントを自動で読み込み、ドキュメントを表示します。 /p /body /html
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https://w.atwiki.jp/twuconfe2007temp1/pages/15.html
The most updated copy is available at http //www12.atwiki.jp/twuconfe2007temp1/?requests-abs . This article is a partial translation. More discussion is on http //www12.atwiki.jp/twuconfe2007temp1/?requests , which is the abstract of BBS http //jbbs.livedoor.jp/bbs/read.cgi/game/30348/1193046900/ . Note atwiki.jp is down for maintainance, Nov.17 22 00 - Nov.18 07 00 JST. translator s responsibility sign by hash DtV8q0jtSIlKUuKKHfowiR8nY/tnlk Congratulation for user conference 2007 today, now go directly to report petitions for our worlds, where we attached to. User experiences. Some skill effects like Smart Crusher of Boris, Toryu(JP) of Sivelin is too loud or too jolt (maybe/especially at some less response speed LCD) and treated as to be deserved censure for nuisance or abuse, therefore cannot use at public maps. Option switches of reduce these effect sound/display desired. Some items that works internally like Kouunn-no-monsyo(JP, Coat of lucks), Takumi-no-gouseizai(JP, compounds of swordsmith) have no visual effects and cannot verify if it s working. wanted Easy method for item move in the same account. wanted Compensation for Kouunn-no-monsyo(JP, Coat of lucks), Syuurenn-no-ishi(JP, stone of discipline, XP 50%up), corresponds to server-down time. (These items are a little expensive for pocket moneys.) About nProtect. nProtect/Themida is too heavy for some players, since TW in Japan is widely introduced to less specs PC users (like DirectX7 games), spreads users to users. What s more, some antimalware vender says nProtect module worse only because for packed by Themida. Some nProtect libraries ceases NT logon keyin if TW client sets installed for external disks. Many of TW users are youth, so cannot operate sysrestore, so OS is down practically. USB HID lower-filter cannot loaded at kernel boot and ceases using USB keyboard, so cannot enter passwords. That filter driver is implicitly installed but no uninstallation tools publicly. These petitions seems not accepted both Nexon and INCA, no feels of supported. Nexon teams sometimes say report troubles to INCA, but nProtect suite is licensed to and managed by Nexon, not end users. At lease Nexon teams seems to have to accept the report once, and redirect to INCA, and obtain updates. And many BOTs appeared today. Many users recognize nProtect refuses ONLY some (small) casual cheaters, not balanced between installation and side effects, and so no longer effective. // This section is by amateur C++ programmer who have knowledge of major packers, and agreed NOT run reverse-engineering. About BOTs. Too many BOTs, BOTs, BOTs, .... Such many BOTs causes obvious inflation of Seeds we afraid and decrease manners and orders. Some one click function like expose this character proposed. GMs can check for accounts in order of expose counts. About GMs. Some GMs killed NOT ALL BOTs at the map, some user complaint. Many users DOESN T encounter GMs (are they using hide-portions at works?) Please be much more familiar in virtual world. TW has emoticons implemented, so GMs can be as pantomimist. Illegal users, sanctions, unattended temporary locks, and preventive architecture Many users complaint about no sanctions on illegal users.... (Remember many TW users are very young, others never lost there childlike innocence.) Some users guess server should have more properties for items and transaction logs for tracks of illegal item duplication or transaction. Megi-mithril is still locked and cannot move Tichiel to Croe on the same user today. Februally, in Japan, production (not Kertica) servers have *hidden* Croe implemented, with detachable Megi-mithril initialized(may be for tests). Some players eager for Croe-release have crack the client and illegally instanciate Croes, and soon some groups create/sell/deploy many inappropriate Megi-mithrils. Some user guess we cannot distinguish between legal/illegal Megi-mithrils internally, so no sanctions, no unlocks today. (Incidentally master IDs with illegal Croes have banned.) If some item creation information attached internally, we may tracks illegal Megi-mithrils, and illegal players, guessed, as mentioned above. Some rude users increasingly realize TW have less logging, consistency checks, or sanctions, so feel less hesitant to illegal/reckless plays, and others disappointed and exit TWs.... User supports. Many users compalint about support for many times... support forms (on web) only reply quick receipt message and feels like beating the air. Almost of users endure, but wants grumble. We want to talk with dev/admin staffs friendly, more! more response than autoreply, even it s unattended, unassigned for a while. role like MVP of Microsoft... NVP(Nexon Valuable Player)? issue DB like Bugzilla? and more and more ... ... to live in TW .... Many users *love* and *live in* TW world, and want to continue *live in* TW world. We want Nexon teams *love* TW more and more, continually, and *result of* improve our experience for ever. Yours sincerely, many TW residences
https://w.atwiki.jp/rockband/pages/172.html
RB3VerのDLCはRB1､2では使用不可 Artist Song title Decade Genre Rush Subdivisions 1980s Progressive New Order Blue Monday 1980s New Wave Talking Heads Burning Down the House 1980s New Wave Deftones My Own Summer (Shove It) 1990s Metal B.B.King The Thrill Is Gone 1960s Blues Procol Harum A Whiter Shade of Pale 1960s Classic Rock .38 Special Hold On Loosely 1980s Southern Rock Bad Company Can't Get Enough 1970s Classic Rock Anaïs Croze Peut-Être une Angine 2000s Pop/Rock BAP Verdamp Lang Her 1980s Rock BB Brunes Dis-Moi 2000s Pop/Rock Caesars Jerk It Out 2000s Indie Rock John Yoko,The Plastic Ono Band Happy Xmas(War Is Over) 1970s Classic Rock Linea 77 Fantasma 2000s Nu-Metal Litfiba Proibito 1990s Rock Skizoo Dame Aire 2000s Metal Tutankamon Starting to Appreciate 2010s Pop/Rock Wir sind Helden Nur ein Wort 2000s Pop/Rock Inhabited Open My Eyes 2000s Pop/Rock Siouxsie and The Banshees Cities in Dust 1980s Pop/Rock Death Cab for Cutie I Will Possess Your Heart 2000s Indie Rock OK Go Shooting the Moon 2000s Pop/Rock The Police Every Breath You Take 1980s Pop/Rock The Police So Lonely 1970s Pop/Rock War Spill the Wine 1970s Classic Rock DragonForce Through the Fire and Flames 2000s Metal DragonForce Operation Ground and Pound 2000s Metal Grand Funk Railroad The Loco-Motion 1970s Classic Rock Grand Funk Railroad We're an American Band 1970s Classic Rock J.Geils Band Freeze-Frame 1980s Rock Joy Division Love Will Tear Us Apart 1980s New Wave Anberlin Breaking 2000s Alternative Mastodon Blood and Thunder 2000s Metal Ohio Players Fire 1970s R B/Soul/Funk Ohio Players Love Rollercoaster 1970s R B/Soul/Funk Relient K Must Have Done Something Right 2000s Pop/Rock Tommy Tutone 867-5309/Jenny 1980s Rock Kiss Rock and Roll All Nite(Live) 1970s Classic Rock Kiss Strutter(Live) 1970s Classic Rock Culture Club Do You Really Want to Hurt Me 1980s New Wave Faith No More From Out of Nowhere 1980s Rock Loverboy Working for the Weekend 1980s Pop/Rock Phish Stash 1990s Rock Phish Tweezer 1990s Rock Stone Temple Pilots Big Bang Baby 1990s Alternative Lordi Hard Rock Hallelujah 2000s Metal Run-DMC King of Rock 1980s Rap/Hip-Hop Peter Frampton Do You Feel Like We Do(Live) 1970s Rock Foreigner Hot Blooded 1970s Classic Rock Foreigner Urgent 1980s Classic Rock a-ha Take On Me 1980s New Wave Avenged Sevenfold Unholy Confessions 2000s Metal Avenged Sevenfold Welcome to the Family 2010s Metal Chumbawamba Tubthumping 1990s Pop-Rock Live I Alone 1990s Alternative Live Lightning Crashes 1990s Alternative Buffalo Springfield For What It's Worth 1960s Classic Rock R.E.M. Man on the Moon 1990s Alternative System of a Down Aerials 2000s Nu-Metal System of a Down Hypnotize 2000s Nu-Metal The Vapors Turning Japanese 1980s Punk Erasure A Little Respect 1980s New Wave Frankie Goes to Hollywood Relax (Come Fighting) 1980s Pop/Dance/Electronic P.O.D. Boom 2000s Nu-Metal P.O.D. Youth of the Nation 2000s Nu-Metal Beastie Boys Make Some Noise 2010s Hip-Hop/Rap Beastie Boys No Sleep till Brooklyn 1980s Hip-Hop/Rap Heart Barracuda 1970s Classic Rock James Brown Super Bad, Pts.1 2 1970s R B/Soul/Funk Rufus(featuring Chaka Khan) Tell Me Something Good 1970s R B/Soul/Funk Deep Purple Child in Time 1970s Prog EMF Unbelievable 1990s Pop/Dance/Electronic Janis Joplin the Full Tilt Boogie Band Me and Bobby McGee 1970s Classic Rock The Clash Rock the Casbah 1980s Punk The Darkness I Believe in a Thing Called Love 2000s Glam Rob Zombie Living Dead Girl 1990s Nu-Metal White Zombie Super-Charger Heaven 1990s Metal White Zombie Thunder Kiss '65 1990s Metal Black Veil Brides Rebel Love Song 2010s Rock Volbeat A Warrior's Call 2010s Metal The Edgar Winter Group Free Ride 1970s Classic Rock The Edgar Winter Group Frankenstein 1970s Classic Rock Korn Freak on a Leash 1990s Nu Metal Korn Falling Away From Me 1990s Nu Metal Sum 41 Fat Lip 2000s Punk Sum 41 Still Waiting 2000s Punk Tears for Fears Head Over Heels 1980s New Wave Everclear Santa Monica 1990s Alternative Good Charlotte The Anthem 2000s Pop-Rock Mastodon Curl of the Burl 2010s Metal Men at Work Down Under 1980s New Wave Men at Work Overkill 1980s New Wave Santana (ft. Rob Thomas) Smooth 1990s Classic Rock Eddie Money Two Tickets to Paradise 1970s Classic Rock Train Drops of Jupiter 2000s Pop/Rock Yellowcard Only One 2000s Emo Cracker Teen Angst (What the World Needs Now) 1990s Alternative Florence + the Machine Dog Days Are Over 2000s Indie Rock Midnight Oil Power and the Passion 1980s New Wave Incubus Drive 1990s Alternative Angels Airwaves The Adventure 2000s Alternative Owl City Fireflies 2000s Pop/Dance/Electronic Queens of the Stone Age In My Head 2000s Alternative The All-American Rejects Gonzo 2010s Emo Mudvayne Happy? 2000s Metal Rise Against Satellite 2010s Punk The B-52's Love Shack 1980s Pop/Rock Staind Not Again 2010s Nu-Metal Young the Giant My Body 2010s Indie Rock Foster the People Helena Beat 2010s Indie Rock Foster the People Don't Stop (Color on the Walls) 2010s Indie Rock The Strokes Under Cover of Darkness 2010s Rock Cutting Crew (I Just) Died in Your Arms 1980s New Wave Hoobastank Crawling in the Dark 2000s Alternative Whitesnake Still of the Night 1980s Metal Foreigner I Want to Know What Love Is 1980s Classic Rock Foreigner Waiting for a Girl Like You 1980s Classic Rock Nightwish Amaranth 2000s Metal The Offspring Days Go By 2010s Rock Smash Mouth Why Can't We Be Friends? 1990s Pop/Rock Smash Mouth Can’t Get Enough of You Baby 1990s Pop/Rock A Flock of Seagulls I Ran (So Far Away) 1980s New Wave Billy Squier Everybody Wants You 1980s Classic Rock Billy Squier The Stroke 1980s Classic Rock Save Ferris Come on Eileen 1990s Reggae/Ska Sheryl Crow All I Wanna Do 1990s Pop/Rock Three Days Grace Animal I Have Become 2000s Rock Kenny Loggins Footloose 1980s Pop/Rock Kenny Loggins I'm Alright 1980s Pop/Rock The Allman Brothers Band Jessica 1970s Southern Rock The Band The Weight (Live) 1970s Classic Rock Crossfade Cold 2000s Rock Dragonforce Cry Thunder 2010s Metal Modern English I Melt With You 1980s New Wave Nine Inch Nails Closer 1990s Rock Carly Rae Jepsen Call Me Maybe 2010s Pop/Dance/Electronic Marcy Playground Sex and Candy 1990s Alternative Andrew W.K. Party Hard 2000s Rock Hot Chelle Rae Tonight Tonight 2010s Pop/Dance/Electronic Fun. ft. Janelle MonáeWe Are Young 2010s Indie Rock P!nk Raise Your Glass 2010s Pop-Rock
https://w.atwiki.jp/b-files/pages/27.html
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Digital Computer Control Systems Mcgraw-Hill (Tx)? G. S. Virk? Mcgraw-Hill(Tx)? G.S.Virk? ジャンル別? Subjects-Computers&Internet-Software-Business-ControlSystems? Subjects-Science-General Subjects-Science-Technology-General&Reference Introduction to Computer-aided Drafting McGraw-Hill? Donald D. Voisinet? McGraw-Hill? DonaldD.Voisinet? ジャンル別? Subjects-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Science-Technology-General&Reference Mechanical CAD Lab Manual Glencoe/Mcgraw-Hill? Donald D. Viosinet? Glencoe/Mcgraw-Hill? DonaldD.Viosinet? ジャンル別? Subjects-Arts&Photography-Architecture-Drawing&Modelling-CAD-CAD&CAM? Subjects-Computers&Internet-GraphicDesign-General? Subjects-Computers&Internet-GraphicDesign-CAD-CAD&CAM? Subjects-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Professional&Technical-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Professional&Technical-Architecture-Drawing&Modelling-CAD-CAD&CAM? Subjects-Science-Technology-General&Reference Computer Aided Drafting and Design Concepts and Applications Gregg/Community College Div? Donald D. Voisinet? Gregg/CommunityCollegeDiv? DonaldD.Voisinet? ジャンル別? Subjects-Computers&Internet-Networking-Networks,Protocols&APIs-Networks? Subjects-Computers&Internet-GraphicDesign-General? Subjects-Computers&Internet-GraphicDesign-DesktopPublishing-General? Subjects-Computers&Internet-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialDesign? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialDesign? Subjects-Science-Technology-General&Reference Handbook of Statistical Methods for Engineers and Scientists Mcgraw-Hill (Tx)? Harrison, M. Wadsworth? Mcgraw-Hill(Tx)? Harrison,M.Wadsworth? ジャンル別? Substores-UnknownASINs-2? Subjects-Engineering? Subjects-Professional&Technical-Engineering? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Applied-Statistics? Subjects-Science-General Subjects-Science-Mathematics-Applied-General? Subjects-Science-Mathematics-Applied-Probability&Statistics? Subjects-Science-Mathematics-Applied-Engineering-Statistics? Subjects-Science-Technology-General&Reference Chemical Hazard Communication Guidebook Osha, Epa, and Dot Requirements Mcgraw-Hill (Tx)? Andrew B. Waldo? Richard Dec Hinds? Mcgraw-Hill(Tx)? AndrewB.Waldo? RichardDecHinds? ジャンル別? Subjects-Engineering-Civil-Environmental-General Subjects-Health,Mind&Body-Safety&FirstAid? Subjects-Law-Family&HealthLaw-HealthLaw? Subjects-Medicine-Administration&Policy-PublicHealth? Subjects-Nonfiction-CurrentEvents-Poverty-SocialServices&Welfare? Subjects-Nonfiction-Law-Family&HealthLaw-HealthLaw? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Reference-General? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-Safety&Health? Subjects-Science-Medicine-Administration&Policy-PublicHealth? Introduction to Operational Amplifier Theory and Applications Mcgraw-Hill College? John V. Wait? Lawrence P. Huelsman? A. Korn Granino? Granino Arthur Korn? Mcgraw-HillCollege? JohnV.Wait? LawrenceP.Huelsman? A.KornGranino? GraninoArthurKorn? ジャンル別? Subjects-Computers&Internet-ComputerScience-Circuitry-CircuitComponents? Subjects-Engineering-Electrical&Electronics-Circuits? Subjects-Engineering-Electrical&Electronics-Electronics-Apparatus,Devices&Design? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Circuits? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Electronics-Apparatus,Devices&Design? Subjects-Science-General Subjects-Science-Physics-Applied? 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Subjects-Engineering-Civil-Construction-BuildingConstruction? Subjects-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Professional&Technical-Engineering-Civil-Construction-BuildingConstruction? Subjects-Professional&Technical-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Science-Technology-General&Reference Structural Detailing for Technicians Glencoe/Mcgraw-Hill? Gerald L. Weaver? Glencoe/Mcgraw-Hill? GeraldL.Weaver? ジャンル別? Substores-UnknownASINs-61? Subjects-Engineering-Civil-Structural? Subjects-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Professional&Technical-Engineering-Civil-Structural? Subjects-Professional&Technical-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Science-Technology-General&Reference ByPublisher-McGraw-Hill-McGraw-HillEngineeringStore-CivilEngineering-StructuralEngineering? Hazardous Waste Management Mcgraw-Hill College? Charles A. Wentz? Mcgraw-HillCollege? CharlesA.Wentz? ジャンル別? 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Computers and Engineering Management (Mcgraw Hill Engineering and Technology Management Series) Mcgraw-Hill (Tx)? Thomas F. Wheeler? Mcgraw-Hill(Tx)? ThomasF.Wheeler? ジャンル別? Substores-UnknownASINs-2? Subjects-Computers&Internet? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Subjects-Science-Technology-General&Reference Professional Workstations (Mcgraw Hill Engineering and Technology Management Series) Mcgraw-Hill (Tx)? Thomas F. Wheeler? Mcgraw-Hill(Tx)? ThomasF.Wheeler? ジャンル別? Substores-UnknownASINs-2? Subjects-Computers&Internet-Programming-General? Subjects-Computers&Internet-Hardware-PCs? Subjects-Computers&Internet-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Global Management of Quality Assurance Systems (Mcgraw Hill Engineering and Technology Management Series) Mcgraw-Hill (Tx)? Walter Willborn? T. C. Edwin Cheng? Mcgraw-Hill(Tx)? WalterWillborn? T.C.EdwinCheng? ジャンル別? Subjects-Business&Investing-General? Subjects-Business&Investing-Management&Leadership-QualityControl? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-QualityControl? Subjects-Engineering-Reference? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-QualityControl? Subjects-Professional&Technical-Engineering-Reference? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-QualityControl? Subjects-Science-Technology-General&Reference ByPublisher-McGraw-Hill-McGraw-HillEngineeringStore-QualityEngineering-Quality? ByPublisher-McGraw-Hill-McGraw-HillEngineeringStore-QualityEngineering-TQM? Drafting Symbol Sourcebook Mcgraw-Hill (Tx)? Doug Wolff? Mcgraw-Hill(Tx)? DougWolff? ジャンル別? Subjects-Arts&Photography-Architecture-General? Subjects-Arts&Photography-Architecture-Reference? Subjects-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Professional&Technical-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Professional&Technical-Architecture-General? Subjects-Professional&Technical-Architecture-Reference? Subjects-Reference? Subjects-Science-General Subjects-Science-Technology-General&Reference National Plumbing Codes Handbook Mcgraw-Hill (Tx)? R. Dodge Woodson? Mcgraw-Hill(Tx)? R.DodgeWoodson? ジャンル別? Subjects-Engineering-Civil-Construction-BuildingConstruction? Subjects-Engineering-Civil-Construction-General? Subjects-Engineering-Civil-Construction-Plumbing? Subjects-Engineering-Reference? Subjects-Home&Garden-How-to&HomeImprovements-Plumbing&HouseholdAutomation? Subjects-Professional&Technical-Engineering-Civil-Construction-BuildingConstruction? Subjects-Professional&Technical-Engineering-Civil-Construction-General? Subjects-Professional&Technical-Engineering-Civil-Construction-Plumbing? Subjects-Professional&Technical-Engineering-Reference? Subjects-Reference-General? Subjects-Science-Technology-General&Reference ByPublisher-McGraw-Hill-McGraw-HillEngineeringStore-CivilEngineering-BuildingMaterials? Roofing Contractor Start and Run a Money-Making Business Tab Books? R. Dodge Woodson? TabBooks? R.DodgeWoodson? ジャンル別? Subjects-Business&Investing-General? Subjects-Business&Investing-SmallBusiness&Entrepreneurship-General? Subjects-Engineering-Civil-Construction-BuildingConstruction? Subjects-Engineering-Civil-Construction-Management? Subjects-Engineering-Civil-Construction-General? Subjects-Home&Garden-How-to&HomeImprovements-Roofing? Subjects-Professional&Technical-Engineering-Civil-Construction-BuildingConstruction? Subjects-Professional&Technical-Engineering-Civil-Construction-Management? Subjects-Professional&Technical-Engineering-Civil-Construction-General? Subjects-Science-Technology-General&Reference Plumber's Field Manual Mcgraw-Hill (Tx)? R. Dodge Woodson? Mcgraw-Hill(Tx)? R.DodgeWoodson? ジャンル別? 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Subjects-Engineering-Civil-Construction-Plumbing? Subjects-Home&Garden-How-to&HomeImprovements-Plumbing&HouseholdAutomation? Subjects-Professional&Technical-Engineering-Civil-Construction-BuildingConstruction? Subjects-Professional&Technical-Engineering-Civil-Construction-General? Subjects-Professional&Technical-Engineering-Civil-Construction-Contracting? Subjects-Professional&Technical-Engineering-Civil-Construction-Plumbing? Subjects-Science-Technology-General&Reference ByPublisher-McGraw-Hill-McGraw-HillEngineeringStore-Construction-Plumbing? Television Production (The McGraw-Hill Series in Mass Communication) McGraw-Hill Education? Alan Wurtzel? Stephen R. Acker? McGraw-HillEducation? AlanWurtzel? StephenR.Acker? ジャンル別? Subjects-Arts&Photography-PerformingArts? Subjects-Business&Investing-BusinessLife-Communication-General? Subjects-Entertainment-Television-General? Subjects-Science-Technology-General&Reference Semiconductor Devices (Electronics and Electronic Circuits) Mcgraw-Hill College? Mauro Zambuto? Mcgraw-HillCollege? MauroZambuto? ジャンル別? Substores-UnknownASINs-2? Subjects-Engineering-Electrical&Electronics-Optics-General? Subjects-Engineering-Electrical&Electronics-Semiconductors? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Optics-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Semiconductors? Subjects-Science-General Subjects-Science-Physics-Applied? Subjects-Science-Technology-General&Reference ByPublisher-McGraw-Hill-McGraw-HillEngineeringStore-ElectricalEngineering-Circuits? ByPublisher-McGraw-Hill-McGraw-HillEngineeringStore-ElectricalEngineering-Semiconductors? Mixed Cultures in Biotechnology (Environmental Biotechnology) Mcgraw-Hill (Tx)? Eric A. Johnson? J. Gregory Zeikus? Gregory Zeikus? Mcgraw-Hill(Tx)? EricA.Johnson? J.GregoryZeikus? GregoryZeikus? ジャンル別? Subjects-Engineering-Bioengineering-Biotechnology? Subjects-Engineering-Chemical-General? Subjects-Medicine-BasicScience-Microbiology? Subjects-Professional&Technical-Engineering-Chemical-General? Subjects-Professional&Technical-Engineering-Bioengineering-Biotechnology? Subjects-Professional&Technical-Medical-BasicSciences-Microbiology? Subjects-Professional&Technical-ProfessionalScience-BiologicalSciences-Biology-Microbiology? Subjects-Science-Chemistry-ChemicalEngineering? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-BiologicalSciences-Biotechnology? Subjects-Science-Medicine-BasicScience-Microbiology? Mechanical Field Inspection Manual Mcgraw-Hill (Tx)? John Habjan? Mcgraw-Hill(Tx)? JohnHabjan? ジャンル別? Subjects-Engineering-Civil-Construction-BuildingConstruction? Subjects-Engineering-Civil-Construction-General? Subjects-Engineering-Civil-Construction-BuildingInspection? Subjects-Engineering-Civil-Structural? Subjects-Engineering-Mechanical-General? Subjects-Home&Garden-How-to&HomeImprovements-Plumbing&HouseholdAutomation? Subjects-Professional&Technical-Engineering-Civil-Construction-BuildingConstruction? Subjects-Professional&Technical-Engineering-Civil-Construction-General? Subjects-Professional&Technical-Engineering-Civil-Construction-BuildingInspection? Subjects-Professional&Technical-Engineering-Civil-Structural? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Reference-General? Subjects-Science-Technology-General&Reference ByPublisher-McGraw-Hill-McGraw-HillEngineeringStore-CivilEngineering-StructuralEngineering? Diccionario Enciclopedico De Terminos Tecnicos Ingles-Espanol Espanol- Ingles English-Spanish Spanish-English Encyclopedic Dictionary of Technical Terms （3 Voulme Set) Mcgraw-Hill (Tx)? J.L. Collazo? Mcgraw-Hill(Tx)? J.L.Collazo? ジャンル別? Substores-UnknownASINs-61? Subjects-Nonfiction-Education-Reference-Dictionaries&Thesauri-General? 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BECQUET, Michel (b. 1954.02.04) ・Morceau Symphonique("Concertpiece") pour Trombone Ténor et Piano, Op.88 (1902) / F.A.Guilmant ・Romance, Op.21 / A.Jorgensen ・Prelude and Dance / J.G.Mortimer ・Deux Danses pour Trombone et Piano (1954) / J.M.Defaye ・Romance / C.M. von F.E.Weber ・The Swan from "Carnaval des animaux" / C.C.Saint-Saëns ・Cool Lys / M.Lys ・幻想 "五木の子守うた" (Fantasy "Lullaby of Itsuki") / 高嶋 圭子 (K.Takashima) ・Blue Bells of Scotland / A.W.Pryor (Trad.) ・Thoughts of Love (1887) / A.W.Pryor ・Michel Becquet (Trombone) ・長尾 洋史 (Hiroshi Nagao) (piano) ・ハラヤミュージックエンタープライズ (Bellwood) BW-1003D ・1988.11.14-16 録音，1989. 発売 ・aus "Serenade D-Dur" / J.G.L.Mozart ・Concertino für Posaune und Streicher / M.Landowski ・Michel Becquet (Trombone) ・RIAS-Sinfonietta (- Mozart) ・Ernö Sebestyen (Cond. - Mozart) ・Philharmonie de Lorraine (- Landowski) ・Jacques Houtmann (Cond. - Landowski) ・KOCH International Schwann 3-1334-2 ・1982.03.01-02(- Mozart)，1990.07(- Landowski) 録音，1992(?) 発売 ・CAVATINE pour Trombone et Piano, 0p.144 (1915) / C.C.Saint-Saëns ・CHORAL, CADENCE ET FUGATO pour Trombone et Piano (1950) / H.Dutilleux ・Michel Becquet (Trombone) ・Yves Henry (Piano) ・Pierre Verany (ビクターエンタテインメント) PV.793041 (VICC-23005) ・1992.11.11 13 録音，1993.03.01 (国内盤1995.05.24) 発売 ・Liebesleid (1910) / F.Kreisler ・Aria "Cujus Animam" from "Stabat Mater" / G.A.Rossini ・Michel Becquet (Trombone) ・Bruno Fontaine (Piano) ・Pierre Verany PV.798041 ・1995.05.16 18 録音， 1998. (?) 発売 ・Concerto pour Trombone (1987) / S.Lancen ・Michel Becquet (Trombone) ・Harmonie Orkest Brabants Conservatorium ・Jan Cober (Cond.) ・MOLENAAR S MUZIEKCENTRALE MBCD 31.1016.72 ・1990.06.25-27 録音，1996.06. 発売 ・Ballade pour Trombone et Orchestre (1940) / F.Martin ・Michel Becquet (Trombone) ・Symphonieorchester des Bayerichen Rundfunks ・Martin Tunovsky (Cond.) ・ARD (Bayerischen Rundfunk) ・1981. 録音， 2001.(?) 発売 ・Sonatine / T.Kassatti ・Michel Becquet (Trombone) ・Spanish Brass Luur Metalls - Carlos Benetó Grau (Trumpet) - Juanjo Derna Salvador (Trumpet) - Indalecio Bonet Manrique (Trombone) - Manuel Pérez Ortega (Horn) - Vicent López Velasco (Tuba) ・CASCAVELLE VEL 3039 ・2000.02.-05. 録音， 2002(?) 発売 ・Concerto "Gli Elementi" pour Trombone, Orchestre àCordes et 2 Cors / M.Constant ・Michel Becquet (Trombone) ・Orchestre Symphonique de Nancy ・Jérôme Kaltenbach (Cond.) ・ERATO 4509-94815-2， 2292-45527-2 ・1990.04. 録音， 1994.(?) 発売 ・Pièce en mi bémol mineur (1907) / J.G.Ropartz ・Sonate / G.F.Händel ・Concertino Es-Dur, Op.4 (1837) / F.David ・Morceau Symphonique Es-Dur, Op.88 (1902) / F.A.Guilmant ・Concerto for Trombone and Military Band (1877) / N.A.Rimsky-Korsakov ・Michel Becquet (Trombone) ・Bruno Flahou (Trombone - Händel) ・Orchestre de la Musique de l air ・Claude Kesmaecker (Cond.) ・Musica Numeris MA002 ・2006.(?) 録音， 2007.(?) 発売 ・Musique pour trombone et orchestre (1986) / J.Meier ・Michel Becquet (Trombone) ・Orchestergesellschaft Biel ・Jost Meier (Ltg.) ・Communauté de travail (musique suisse) CTS-P 42-2 ・1991.11.06 録音， 1992.(?) 発売 ・Curitiba / J.M.Defaye ・Embraceable You / G.Gershwin ・Blue Rondo a la Turk / D.Brubeck ・Cinema Magic - Laura / D.Raksin - The Shadow of Your Smile / J.Mandel - Baby Elefant Walk / H.Mancini - Serenta and Conquest / A.Newman ・Michel Becquet (Trombone) ・Lloyd Ulyate (Trombone -Brubeck, Cinema Magic) ・100 Trombones ・自主制作盤(?) KRS-011119T ・2001.11.19 録音， 2002.08.01(?) 発売 ・Curitiba / J.M.Defaye ・Embraceable You / G.Gershwin ・Blue Rondo a la Turk / D.Brubeck ・Cinema Magic - Laura / D.Raksin - The Shadow of Your Smile / J.Mandel - Baby Elefant Walk / H.Mancini - Serenta and Conquest / A.Newman ・Michel Becquet (Trombone) ・Lloyd Ulyate (Trombone -Brubeck, Cinema Magic) ・100 Trombones ・自主制作盤(VHS) ・2001.11.19 録音， 2002.(?) 発売 ・Blue Rondo a la Turk / D.Brubeck ・Cinema Magic - Laura / D.Raksin - The Shadow of Your Smile / J.Mandel - Baby Elefant Walk / H.Mancini - Serenta and Conquest / A.Newman ・Michel Becquet (Trombone) ・Lloyd Ulyate (Trombone -Brubeck, Cinema Magic) ・100 Trombones ・Group 7 Music G7MCD-1775 ・2001.11.19 録音 ・Suite Balkanique / J.Nilovic ・Pavane pour une infante defunté / M.Ravel ・La fille aux cheveux de lin / C.Debussy ・Madrigal / G.Delerue ・West Side Story / L.Bernstein ・Emmanuel / M.Colombier ・Michel Becquet (Trombone) ・Octobone - Alexandre Faure (Trombone) - Cédric Vinatier (Trombone) - Christophe Sanchez (Trombone) - Frédéric Boulan (Trombone) - Arnaud Mandoche (Trombone) - Marc Merlin (Trombone) - Laurent Fouqueray (Bass Trombone) - Stéphane Labeyrie (Tuba) ・François Combémorel (Percussion) ・Philippe Limoge (Percussion) ・Octavia Records (Cryston) OVCC-00020 ・2005.08.08-10 録音， 2005.11.16 発売 ・Serenade D-Dur / J.G.L.Mozart ・Michel Becquet (Posaune) ・Guy Touvron (Trompete) ・RIAS-Sinfonietta ・Ernö Sebestyen (Ltg.) ・Schwann Musica Mundi CD 11005 ・1982.03.01-02 録音，1987.(?) 発売 ・Serenade D-Dur / J.G.L.Mozart ・Michel Becquet (Posaune) ・Guy Touvron (Trompete) ・RIAS-Sinfonietta ・Ernö Sebestyen (Ltg.) ・Schwann Musica Mundi VMS 2005 F ・1982.03.01-02 録音，1982.(?) 発売 ・これがオリジナルのレコードでしょうか？ ・III. Concerto pour Trombone et Orchestre (1956) / H.Tomasi ・Michel Becquet (Trombone) ・東京シティ・フィルハーモニック管弦楽団 (Tokyo City Philharmonic Orchestra) ・荒谷 俊治 (Shunji Aratani) (Cond.) ・題名のない音楽会 ～トロンボーンはお好き？～(1997.01.12放送)より ・放送されたベッケのソロはトマジの終楽章のみで、他はパリトロの演奏です。 ・I. Concerto pour Trombone et Orchestre (1956) / H.Tomasi ・Ballade pour Trombone et Orchestre (1940) / F.Martin ・Michel Becquet (Trombone) ・新日本フィルハーモニー交響楽団 (New Japan Philharmonic) ・今村 能 (Chikara Imamura) (Cond.) ・トロンボーン・サミット(1995.12.04 録音)より ・トロンボーン・サミットのテレビ放送はクラシック・アワー版と日曜芸術劇場版があり、放送内容が異なります。 ・ベッケのソロはトマジの１楽章とマルタンの２曲のようです。
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