★PCS 《Interpretation》 解説映像集★（映像翻訳コメント募集中）
★PCS 《Interpretation》 解説映像集★（映像翻訳コメント募集中）
ISUのセミナー資料映像だと考えられます。
ただ、現在もこの映像が使われているのかは不明です。
PCSの勉強に役立つ映像だと思っています。
映像の翻訳を、皆様のご協力で完成させたいと思っています。
ご協力頂ける方はコメント欄へお願いします。
尚、紹介映像には、選手の成功例･失敗例などが映っていますが
コンポーネンツの説明に必要な一例を取り上げる必要があるため
チョイスされているものと思われますが、ISUに悪意がある訳ではありません。
過去にも、技術面（GoE評価）の紹介映像に、良い例、悪い例が選手の成績に影響する。
と、言うような、陰謀論に繋げられるケースを目にしましたが、その様な事はありません。
何十年も前から、審判セミナーで使われる映像には、選手の成功例や失敗例の映像は使われていました。
（日本人選手では渡部絵美選手の2A映像は有名です）
Program Components Explanations
http://www.isu.org/vsite/vfile/page/fileurl/0,11040,4844-152086-169302-64121-0-file,00.pdf Interpretation
Definition: The personal and creative translation of the music to movement on ice.
To reward the skater who through movement creates a personal and creative translation of the music.
As the tempo binds all notes in time, the ability to use the tempos and rhythms of the music in a variety
of ways, along with the subtle use of finesse to reflect the nuances of all the fundamentals of music:
melody, rhythm, harmony, color, texture, and form creates a mastery of interpretation.
Criteria:
Effortless Movements in Time to the Music (Timing) Note: Timing is a separate component
in Compulsory Dances.
The ability to translate music through sureness of rhythm, tempo, effective movement,
and effortless flow over the ice surface by: rhythmic continuity, awareness of all
tempo/rhythm changes in a variety of ways.
Expression of the music’s style, character, and rhythm
Maintaining the character and style of the music throughout the entire program by use of
body and skating techniques to depict a mood, style, shape, or thematic idea as
motivated by the structure of the music: melody, harmony, rhythm, color, texture, and
form. The total involvement of the body and being should express the intent of the
music.
Use of finesse to reflect the nuances of music.
Finesse is the skater’s refined, artful manipulation of nuances. Nuances are the
personal, artistic ways of bringing subtle variations to the intensity, tempo, and
dynamics of the music made by the composer and/or the musician.
Relationship between the partners reflecting the character of the music.
Interpretive unison is an equal partnership with the same degree of sensitivity between
partners not only to the music, but also to the equal understanding of the music’s
nuances. There is an intimacy between the partners that is characterized by a feeling of
“surrender” to the music and possibly to each other that creates an entity greater than the
two of them.
Appropriateness of music (original dance and free dance)
⑤ 曲の解釈 Interpretation
定義：氷上の動きを通じた、音楽の独創的、創造的表現。
テンポ・リズムを様々に使ったり、メロディ、リズム、調和、音色、歌詞、様式など
音楽のニュアンスを反映させる技巧や表現。音楽解釈の熟達度。
基準：
・音楽にしっかりと合った楽々とした動作
リズムやテンポの正確さ・効果的な動作・無理のない流れを氷上に表現しているか。
・音楽のスタイルや特色の表現
プログラム全体を通し、身体表現で、音楽の特徴、様式、キャラクターを表現しているか。
メロディ、調和、リズム、音色、歌詞、形式など音楽の構造に喚起される、ムード、様式、形態、主題を描写しているか。
・音楽フレーズの巧みさ、ニュアンスの表現（アイスダンスではさらにアクセントと速度変化）
作曲家や演奏者が音楽の強度、テンポ、原動力に細かな変化をつけるために用いた芸術的手法（ニュアンス）を、スケーターが、洗練された巧みな技で表現しているか。
・音楽の特徴を反映させる両者の関係
音楽の解釈やニュアンスの等しい理解（解釈のユニゾン）が築かれているか。
・タイミング（オリジナル・ダンスおよびフリー・ダンスのみ）
音楽を自分たちのものにできているか。
曲の解釈 Interpretation
振り付けや実行力/遂行力とも密接に関係のある要素…
音楽の雰囲気と特徴を表現する身体表現。
音楽の世界に引きこむような優秀な選手は曲の理解も素晴らしいものを持っていますね。
音楽の世界観を身体表現で伝える能力なのかと思っています。
2.1.1. ISU components. Interpretation. Interpretation overview
2.1.1. ISU components. Interpretation. Interpretation overview
What is interpretation? Interpretation is the personal and creative translation of music by using movements with intricacy, difficulty and quality.
Movement is the keyword. Variety of movement is required in all parts of the skater’s composition, in order to have depth in the interpretation of the music.
All written criteria for interpretation are addressed in this DVD. But to simplify the process for the judge, we are focused on three main points of interests for interpretation.
Musical movement, expressive/nuance movement, and effortless movement.
2.1.2. ISU components. Interpretation. Musical movement
Musical movement is movement that reflects the phrasing, the character, and the style of the musical selection.
Music is played in phrases, much like different languages we speak, each piece of music,
like a different language may have different rhythms and tempos,
but all has a question and and an answer pattern,
a question and answer phrase of music completes a whole musical sentence.
Let’s listen to the musical selection from an ice dance team. This style of music is classical.
(1:50) Let’s now observe what movements were performed to the music. Look to see if the movement phrasing corresponds with the musical phrasing.
(3:07) The phrasing of the movement matched well with the phrasing of the music. In ice dance, the focus is on music and movement and the elements are such that they can be integrated into the interpretation smoothly. Now, a selection of music from a single skater. It is also classical.
(4:20) Let’s look at what movements were performed. Pay particular attention to the movement phrasing to see if it corresponds with the musical phrasing.
(5:24) Generally speaking, for singles and pairs, as the skaters prepare for their risky, technical elements, there is often a disconnect between the music and their movement.
(5:46) Here is an example where the skater ignores the music, and becomes disconnected for an extended amount of time prior to the technical element.
(6:13) While preparing for his second technical element, he again disconnects with the music.
(6:25) In preparation for the quad toe-triple toe combination, this skater ignored the music for 12 seconds in order to set up the element, which is worth 13.8 points. Prior to the triple axel attempt, which is worth 8.2 points, he ignored the music for 11 seconds. There are many points to be gained by successfully completing the technical elements. But in numerous cases, it is at the cost of losing connection with the music and interpretation. In regards to the skater being connected to the music, let’s look at some performances. To help guide and for discussion point, we will indicate on the screen where the skater loses connection with the music and where they are connected. While we do this, consider that the technical element is part of the program, and it should work with the music, regardless of its success.
(8:57) Even though there was a mistake, the disconnect with the music was very short. The movements were not always phrased perfectly, but he was both physically and emotionally connected with the music.
(10:47) In the ISU judging system, the balance between technical points and component points is up to the skater. If the skater chooses to execute difficult jumps with high point values, but does not interpret the music for an extended length of time prior to the technical element, the price they pay should be reflected in the interpretation score. Looking at the time of the connection with the music between these two skaters, the skater on the left was connected for 33 seconds, and the skater on the right for a minute and 25 seconds. The disconnect time was 1:04 for the skater on the left, and just 9 seconds for the skater on the right.
This is a pair skating example, where almost all the short program movements are connected to the music.
(14:34) With the exception of two very short disconnects, all the entrances and exits of technical elements are performed with a full attention paid to the musical phrasing, character and style.
This pair is not at the level of the previous and are disconnected for a significantly more time than the first team.
(17:52) Just for interest, looking at the amount of time connected to the music, the team on the left was connected for only 56 seconds, and the team on the right was for 2 minutes and 39 seconds. The disconnect time of the team on the left was 1 minute and 56 seconds, and the team on the right just 12 seconds. There is a significant difference in the overall quality of the teams. And the difference in the amount of the time connected to the music is also reflected.
2.1.3. ISU components. Interpretation. Expressive & nuance movement
2.1.3. ISU components. Interpretation. Expressive & nuance movement
Expressive/Nuance movement.
Expressve/nuance movement relates to the detailed finesse of the skater or the team.
It is their ability to respond with personal nuances and express variations and intensity, tempo, and the dynamics of the music made by the composer and/or the musician.
So, what exactly is a musical nuance? A musical nuance is anything that gives life to the music, like an increase in tempo, or elongation of a note, or the addition of instruments to strengthen a phrase, and intensity and etc.
Listen to this piece of music. And although it is simply a repetition of the same musical phrase, it changes from phrase to phrase by tempo, intensity and the use of different instruments.
We have revealed an audio wave graph so you can see the musical highlights at the same time you hear them.
(1:27) Let’s now look at what was performed during this music, and see if you can pick one movement nuance that had nothing to do with the element, and was only there to recognize the music.
(2:18) In this next example, we look more closely at the highlights of the music connected with the nuance movement using slow motion.
(2:46) Notice the audio wave bar at its highest point at the same time as the skater raises her head, then quickly turns it to the left, then right to catch the downbeats following the highlight.
(3:32) Nuance movements recognizing highlights or at times such small details that can be hard to see in the overall picture, but in the end, it is the small details that make a good performance into a great performance.
Watching one last time without any graphics or use of slow motion, it is easier to see the detail of the movement and hear the detail of the music.
(4:37) It is important to understand that the interpretation of the same music with the same choreography can greatly differ from an event to an event. If the skater is not feeling well or the technical elements are not successful, or if they are struggled, this can change the phrasing of the movement with the music.
It can change the intensity of the overall interpretation of the program. Let’s look at the same skater who has good skills and a good program.
On the right side of the screen you will see her best performance of the year, and on the left side the same program and music, but not skated as well. How does this affect the expression and nuance movements?
(7:29) With the smallest mistakes on the left, the skater is now behind her music, and is faced with a decision whether to rush, take a shortcut or leave something out in order to catch up.
The energy and thought process to make such a decision in such an important moment, takes her away from the magical connection with the music, she seems to have on the right side of the screen.
(9:32) At the end of the program, it becomes clear she was unable to catch up with the music, which left her struggling both technically and with her interpretation. It should be noted that this skater was a wonderful and capable skater of the highest level, but on that day, the interpretation was affected.
(9:51) Here is another example of a very good skater. Performing the same program, at two very different standards. On the left of the screen, is a very good performance from January 2008, and on the right, a more difficult and challenging performance from March of the same year. Notice that once the program begins to have difficulty, the attention to expression and nuances and interpretation begins to rapidly decline.
(15:02) This example, again, demonstrates that when a skater has technical difficulty, much of the expression and nuance movement is left out, while trying to catch up to the music and returned to successfully completed the elements.
2.1.4. ISU components. Interpretation. Effortless movement.
Effortless movement. Effortless movement is when the skater effortlessly changes the tempo, rhythm, or intensity of their skating in direct relationship with the same changes in the music.
During this program, the skater keeps her speed and flow moving effortlessly from element to element, while at the same time responding to changes in tempo, and intensity of the music.
(3:16) Our next example of effortless movement is from a skater who demonstrates a wonderful sense of rhythm with the music, responses to the nuances of the music with small movements. He is totally committed to the character and style of the music, and because of all this, makes the program to seem entirely effortless. It is a good example that all the aspects of the program come together, the athlete and audience are bonded through a seemingly effortless performance.
2.1.5. ISU components. Interpretation. Conclusion
2.1.5. ISU components. Interpretation. Conclusion
The judges have many things to consider during the skater’s performance.
Breaking down by item by item it seems almost impossible to assess each detail with such accuracy.
So it is important that one must have an automatic understanding of the priorities in each component.
In interpretation we have tried to make it simpler by concentrating on three main points, which would become your reference points prior to giving a score.
Musical movement: ask yourself, did the skater or the team’s movement reflect the style, character, and phrasing of the music?
Did you, as the audience, or the judge, feel involved by the music and movement, or were you just watching the athletes skate, while the music happened to be played?
Expressive nuance movement: there is detail in every musical piece. Did the skater or the team’s movement express all details of the music, or was there no recognition of the music detail?
Effortless movement: Did the program appear effortless? Effortless programs often seem to go quickly, or without visible struggling and fatigue by the end.
The judge will be based with certain aspects or percentages of these questions being answered “yes.” It is then up to the judge to *accurately* as possible apply the corresponding percentage overall to the scoring each component. Interpretation, it is the relationship of the skater’s movements connected with the style and character of the music. The recognition from the skater in responding with the movements and the nuances of the music. And perhaps the most difficult aspect, the ability to make all of the scenes effortless.
最後まで読んで頂き、ありがとうございました。
ぽちっとな♪(*・・)σ 参考になったと思ったら押してね♪
ぽちっとな♪(*・・)σ Blog応援してね♪
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http://openaxel.blog14.fc2.com/blog-entry-109.html
Skater_Sakura Twitter
https://twitter.com/#!/Skater_Sakura
2010年よりTwitter上でつぶやいたフィギュアスケート関連のツイート集をまとめています。
FSルールの説明や技術考察など、FS観戦に役立てば幸いです。
Skater_Sakura フィギュアスケート関連ツイートまとめ
http://togetter.com/mt/Skater_Sakura
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2.1.2. ISU components. Interpretation. Musical movement
Musical movement is movement that reflects the phrasing, the character, and the style of the musical selection. Music is played in phrases, much like different languages we speak, each piece of music, like a different language may have different rhythms and tempos, but all has a question and and an answer pattern, a question and answer phrase of music completes a whole musical sentence. Let’s listen to the musical selection from an ice dance team. This style of music is classical.
(1:50) Let’s now observe what movements were performed to the music. Look to see if the movement phrasing corresponds with the musical phrasing.
(3:07) The phrasing of the movement matched well with the phrasing of the music. In ice dance, the focus is on music and movement and the elements are such that they can be integrated into the interpretation smoothly. Now, a selection of music from a single skater. It is also classical.
(4:20) Let’s look at what movements were performed. Pay particular attention to the movement phrasing to see if it corresponds with the musical phrasing.
(5:24) Generally speaking, for singles and pairs, as the skaters prepare for their risky, technical elements, there is often a disconnect between the music and their movement.
(5:46) Here is an example where the skater ignores the music, and becomes disconnected for an extended amount of time prior to the technical element.
(6:13) While preparing for his second technical element, he again disconnects with the music.
(6:25) In preparation for the quad toe-triple toe combination, this skater ignored the music for 12 seconds in order to set up the element, which is worth 13.8 points. Prior to the triple axel attempt, which is worth 8.2 points, he ignored the music for 11 seconds. There are many points to be gained by successfully completing the technical elements. But in numerous cases, it is at the cost of losing connection with the music and interpretation. In regards to the skater being connected to the music, let’s look at some performances. To help guide and for discussion point, we will indicate on the screen where the skater loses connection with the music and where they are connected. While we do this, consider that the technical element is part of the program, and it should work with the music, regardless of its success.
(8:57) Even though there was a mistake, the disconnect with the music was very short. The movements were not always phrased perfectly, but he was both physically and emotionally connected with the music.
(10:47) In the ISU judging system, the balance between technical points and component points is up to the skater. If the skater chooses to execute difficult jumps with high point values, but does not interpret the music for an extended length of time prior to the technical element, the price they pay should be reflected in the interpretation score. Looking at the time of the connection with the music between these two skaters, the skater on the left was connected for 33 seconds, and the skater on the right for a minute and 25 seconds. The disconnect time was 1:04 for the skater on the left, and just 9 seconds for the skater on the right.
This is a pair skating example, where almost all the short program movements are connected to the music.
(14:34) With the exception of two very short disconnects, all the entrances and exits of technical elements are performed with a full attention paid to the musical phrasing, character and style.
This pair is not at the level of the previous and are disconnected for a significantly more time than the first team.
(17:52) Just for interest, looking at the amount of time connected to the music, the team on the left was connected for only 56 seconds, and the team on the right was for 2 minutes and 39 seconds. The disconnect time of the team on the left was 1 minute and 56 seconds, and the team on the right just 12 seconds. There is a significant difference in the overall quality of the teams. And the difference in the amount of the time connected to the music is also reflected.
Musical movement is movement that reflects the phrasing, the character, and the style of the musical selection. Music is played in phrases, much like different languages we speak, each piece of music, like a different language may have different rhythms and tempos, but all has a question and and an answer pattern, a question and answer phrase of music completes a whole musical sentence. Let’s listen to the musical selection from an ice dance team. This style of music is classical.
(1:50) Let’s now observe what movements were performed to the music. Look to see if the movement phrasing corresponds with the musical phrasing.
(3:07) The phrasing of the movement matched well with the phrasing of the music. In ice dance, the focus is on music and movement and the elements are such that they can be integrated into the interpretation smoothly. Now, a selection of music from a single skater. It is also classical.
(4:20) Let’s look at what movements were performed. Pay particular attention to the movement phrasing to see if it corresponds with the musical phrasing.
(5:24) Generally speaking, for singles and pairs, as the skaters prepare for their risky, technical elements, there is often a disconnect between the music and their movement.
(5:46) Here is an example where the skater ignores the music, and becomes disconnected for an extended amount of time prior to the technical element.
(6:13) While preparing for his second technical element, he again disconnects with the music.
(6:25) In preparation for the quad toe-triple toe combination, this skater ignored the music for 12 seconds in order to set up the element, which is worth 13.8 points. Prior to the triple axel attempt, which is worth 8.2 points, he ignored the music for 11 seconds. There are many points to be gained by successfully completing the technical elements. But in numerous cases, it is at the cost of losing connection with the music and interpretation. In regards to the skater being connected to the music, let’s look at some performances. To help guide and for discussion point, we will indicate on the screen where the skater loses connection with the music and where they are connected. While we do this, consider that the technical element is part of the program, and it should work with the music, regardless of its success.
(8:57) Even though there was a mistake, the disconnect with the music was very short. The movements were not always phrased perfectly, but he was both physically and emotionally connected with the music.
(10:47) In the ISU judging system, the balance between technical points and component points is up to the skater. If the skater chooses to execute difficult jumps with high point values, but does not interpret the music for an extended length of time prior to the technical element, the price they pay should be reflected in the interpretation score. Looking at the time of the connection with the music between these two skaters, the skater on the left was connected for 33 seconds, and the skater on the right for a minute and 25 seconds. The disconnect time was 1:04 for the skater on the left, and just 9 seconds for the skater on the right.
This is a pair skating example, where almost all the short program movements are connected to the music.
(14:34) With the exception of two very short disconnects, all the entrances and exits of technical elements are performed with a full attention paid to the musical phrasing, character and style.
This pair is not at the level of the previous and are disconnected for a significantly more time than the first team.
(17:52) Just for interest, looking at the amount of time connected to the music, the team on the left was connected for only 56 seconds, and the team on the right was for 2 minutes and 39 seconds. The disconnect time of the team on the left was 1 minute and 56 seconds, and the team on the right just 12 seconds. There is a significant difference in the overall quality of the teams. And the difference in the amount of the time connected to the music is also reflected.
2.1.3. ISU components. Interpretation. Expressive & nuance movement
Expressive/Nuance movement.
Expressve/nuance movement relates to the detailed finesse of the skater or the team.
It is their ability to respond with personal nuances and express variations and intensity, tempo, and the dynamics of the music made by the composer and/or the musician. So, what exactly is a musical nuance? A musical nuance is anything that gives life to the music, like an increase in tempo, or elongation of a note, or the addition of instruments to strengthen a phrase, and intensity and etc. Listen to this piece of music. And although it is simply a repetition of the same musical phrase, it changes from phrase to phrase by tempo, intensity and the use of different instruments. We have revealed an audio wave graph so you can see the musical highlights at the same time you hear them.
(1:27) Let’s now look at what was performed during this music, and see if you can pick one movement nuance that had nothing to do with the element, and was only there to recognize the music.
(2:18) In this next example, we look more closely at the highlights of the music connected with the nuance movement using slow motion.
(2:46) Notice the audio wave bar at its highest point at the same time as the skater raises her head, then quickly turns it to the left, then right to catch the downbeats following the highlight.
(3:32) Nuance movements recognizing highlights or at times such small details that can be hard to see in the overall picture, but in the end, it is the small details that make a good performance into a great performance.
Watching one last time without any graphics or use of slow motion, it is easier to see the detail of the movement and hear the detail of the music.
(4:37) It is important to understand that the interpretation of the same music with the same choreography can greatly differ from an event to an event. If the skater is not feeling well or the technical elements are not successful, or if they are struggled, this can change the phrasing of the movement with the music. It can change the intensity of the overall interpretation of the program. Let’s look at the same skater who has good skills and a good program. On the right side of the screen you will see her best performance of the year, and on the left side the same program and music, but not skated as well. How does this affect the expression and nuance movements?
(7:29) With the smallest mistakes on the left, the skater is now behind her music, and is faced with a decision whether to rush, take a shortcut or leave something out in order to catch up. The energy and thought process to make such a decision in such an important moment, takes her away from the magical connection with the music, she seems to have on the right side of the screen.
(9:32) At the end of the program, it becomes clear she was unable to catch up with the music, which left her struggling both technically and with her interpretation. It should be noted that this skater was a wonderful and capable skater of the highest level, but on that day, the interpretation was affected.
(9:51) Here is another example of a very good skater. Performing the same program, at two very different standards. On the left of the screen, is a very good performance from January 2008, and on the right, a more difficult and challenging performance from March of the same year. Notice that once the program begins to have difficulty, the attention to expression and nuances and interpretation begins to rapidly decline.
(15:02) This example, again, demonstrates that when a skater has technical difficulty, much of the expression and nuance movement is left out, while trying to catch up to the music and returned to successfully completed the elements.
Expressive/Nuance movement.
Expressve/nuance movement relates to the detailed finesse of the skater or the team.
It is their ability to respond with personal nuances and express variations and intensity, tempo, and the dynamics of the music made by the composer and/or the musician. So, what exactly is a musical nuance? A musical nuance is anything that gives life to the music, like an increase in tempo, or elongation of a note, or the addition of instruments to strengthen a phrase, and intensity and etc. Listen to this piece of music. And although it is simply a repetition of the same musical phrase, it changes from phrase to phrase by tempo, intensity and the use of different instruments. We have revealed an audio wave graph so you can see the musical highlights at the same time you hear them.
(1:27) Let’s now look at what was performed during this music, and see if you can pick one movement nuance that had nothing to do with the element, and was only there to recognize the music.
(2:18) In this next example, we look more closely at the highlights of the music connected with the nuance movement using slow motion.
(2:46) Notice the audio wave bar at its highest point at the same time as the skater raises her head, then quickly turns it to the left, then right to catch the downbeats following the highlight.
(3:32) Nuance movements recognizing highlights or at times such small details that can be hard to see in the overall picture, but in the end, it is the small details that make a good performance into a great performance.
Watching one last time without any graphics or use of slow motion, it is easier to see the detail of the movement and hear the detail of the music.
(4:37) It is important to understand that the interpretation of the same music with the same choreography can greatly differ from an event to an event. If the skater is not feeling well or the technical elements are not successful, or if they are struggled, this can change the phrasing of the movement with the music. It can change the intensity of the overall interpretation of the program. Let’s look at the same skater who has good skills and a good program. On the right side of the screen you will see her best performance of the year, and on the left side the same program and music, but not skated as well. How does this affect the expression and nuance movements?
(7:29) With the smallest mistakes on the left, the skater is now behind her music, and is faced with a decision whether to rush, take a shortcut or leave something out in order to catch up. The energy and thought process to make such a decision in such an important moment, takes her away from the magical connection with the music, she seems to have on the right side of the screen.
(9:32) At the end of the program, it becomes clear she was unable to catch up with the music, which left her struggling both technically and with her interpretation. It should be noted that this skater was a wonderful and capable skater of the highest level, but on that day, the interpretation was affected.
(9:51) Here is another example of a very good skater. Performing the same program, at two very different standards. On the left of the screen, is a very good performance from January 2008, and on the right, a more difficult and challenging performance from March of the same year. Notice that once the program begins to have difficulty, the attention to expression and nuances and interpretation begins to rapidly decline.
(15:02) This example, again, demonstrates that when a skater has technical difficulty, much of the expression and nuance movement is left out, while trying to catch up to the music and returned to successfully completed the elements.
2.1.4. ISU components. Interpretation. Effortless movement.
Effortless movement. Effortless movement is when the skater effortlessly changes the tempo, rhythm, or intensity of their skating in direct relationship with the same changes in the music.
During this program, the skater keeps her speed and flow moving effortlessly from element to element, while at the same time responding to changes in tempo, and intensity of the music.
(3:16) Our next example of effortless movement is from a skater who demonstrates a wonderful sense of rhythm with the music, responses to the nuances of the music with small movements. He is totally committed to the character and style of the music, and because of all this, makes the program to seem entirely effortless. It is a good example that all the aspects of the program come together, the athlete and audience are bonded through a seemingly effortless performance.
ああ…やらなきゃいけないことが山積みの時に限ってこういうのってはまっちゃうんですよね。
テスト前…とか…ね。あと一個と思うとやってしまいたい…どうしよう…
Effortless movement. Effortless movement is when the skater effortlessly changes the tempo, rhythm, or intensity of their skating in direct relationship with the same changes in the music.
During this program, the skater keeps her speed and flow moving effortlessly from element to element, while at the same time responding to changes in tempo, and intensity of the music.
(3:16) Our next example of effortless movement is from a skater who demonstrates a wonderful sense of rhythm with the music, responses to the nuances of the music with small movements. He is totally committed to the character and style of the music, and because of all this, makes the program to seem entirely effortless. It is a good example that all the aspects of the program come together, the athlete and audience are bonded through a seemingly effortless performance.
ああ…やらなきゃいけないことが山積みの時に限ってこういうのってはまっちゃうんですよね。
テスト前…とか…ね。あと一個と思うとやってしまいたい…どうしよう…
裕子さん おはようございます。
たまたま、別記事にコメントしていたら、裕子さんのnewコメントが目に飛び込んできてビックリ（笑）。
>やらなきゃいけないことが山積みの時に限ってこういうのってはまっちゃうんですよね。
なんとなくわかるような・・・、集中力というか、気合が入っているというか、脳細胞が活発になっているのでしょうね（笑）。
たまたま、別記事にコメントしていたら、裕子さんのnewコメントが目に飛び込んできてビックリ（笑）。
>やらなきゃいけないことが山積みの時に限ってこういうのってはまっちゃうんですよね。
なんとなくわかるような・・・、集中力というか、気合が入っているというか、脳細胞が活発になっているのでしょうね（笑）。
2.1.5. ISU components. Interpretation. Conclusion
The judges have many things to consider during the skater’s performance. Breaking down by item by item it seems almost impossible to assess each detail with such accuracy. So it is important that one must have an automatic understanding of the priorities in each component. In interpretation we have tried to make it simpler by concentrating on three main points, which would become your reference points prior to giving a score. Musical movement: ask yourself, did the skater or the team’s movement reflect the style, character, and phrasing of the music? Did you, as the audience, or the judge, feel involved by the music and movement, or were you just watching the athletes skate, while the music happened to be played? Expressive nuance movement: there is detail in every musical piece. Did the skater or the team’s movement express all details of the music, or was there no recognition of the music detail? Effortless movement: Did the program appear effortless? Effortless programs often seem to go quickly, or without visible struggling and fatigue by the end. The judge will be based with certain aspects or percentages of these questions being answered “yes.” It is then up to the judge to *accurately* as possible apply the corresponding percentage overall to the scoring each component. Interpretation, it is the relationship of the skater’s movements connected with the style and character of the music. The recognition from the skater in responding with the movements and the nuances of the music. And perhaps the most difficult aspect, the ability to make all of the scenes effortless.
終わりました～☆とは言え、*accurately*の部分が自信ありません。違う単語かも…もしわかる方いらっしゃいましたら訂正お願い致します。
この後はどうしましょう？担当決まってない章ありますか？
それとも、interpretationの和訳を先にやった方がいいですか？
実を言うと、英文和訳・和文英訳的なものに慣れていないため、できれば聞き取りの方が楽なんですけど～(^^;
指示お願いします～
The judges have many things to consider during the skater’s performance. Breaking down by item by item it seems almost impossible to assess each detail with such accuracy. So it is important that one must have an automatic understanding of the priorities in each component. In interpretation we have tried to make it simpler by concentrating on three main points, which would become your reference points prior to giving a score. Musical movement: ask yourself, did the skater or the team’s movement reflect the style, character, and phrasing of the music? Did you, as the audience, or the judge, feel involved by the music and movement, or were you just watching the athletes skate, while the music happened to be played? Expressive nuance movement: there is detail in every musical piece. Did the skater or the team’s movement express all details of the music, or was there no recognition of the music detail? Effortless movement: Did the program appear effortless? Effortless programs often seem to go quickly, or without visible struggling and fatigue by the end. The judge will be based with certain aspects or percentages of these questions being answered “yes.” It is then up to the judge to *accurately* as possible apply the corresponding percentage overall to the scoring each component. Interpretation, it is the relationship of the skater’s movements connected with the style and character of the music. The recognition from the skater in responding with the movements and the nuances of the music. And perhaps the most difficult aspect, the ability to make all of the scenes effortless.
終わりました～☆とは言え、*accurately*の部分が自信ありません。違う単語かも…もしわかる方いらっしゃいましたら訂正お願い致します。
この後はどうしましょう？担当決まってない章ありますか？
それとも、interpretationの和訳を先にやった方がいいですか？
実を言うと、英文和訳・和文英訳的なものに慣れていないため、できれば聞き取りの方が楽なんですけど～(^^;
指示お願いします～
あら～お久しぶりです～。
いやー全く我ながらアホですね（笑）
宿題もあるし、論文書き始めなきゃいけないし、今週後半からラボの先輩が実験のため遠征してくれるのでそのサンプルの準備もあるのに。。。何のために土曜に学校来てるんだか？？？（←ISUルールの聞き取りをするため（笑））
いやー全く我ながらアホですね（笑）
宿題もあるし、論文書き始めなきゃいけないし、今週後半からラボの先輩が実験のため遠征してくれるのでそのサンプルの準備もあるのに。。。何のために土曜に学校来てるんだか？？？（←ISUルールの聞き取りをするため（笑））
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第一弾いきまーす(^o^)/ - 裕子 - 2012年02月18日 07:05:43[ 再編集・削除 ]
What is interpretation? Interpretation is the personal and creative translation of music by using movements with intricacy, difficulty and quality. Movement is the keyword. Variety of movement is required in all parts of the skater’s composition, in order to have depth in the interpretation of the music. All written criteria for interpretation are addressed in this DVD. But to simplify the process for the judge, we are focused on three main points of interests for interpretation. Musical movement, expressive/nuance movement, and effortless movement.