«FINALIS»に関連するマレー語の本
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finalisの使いかたを見つけましょう。
finalisに関する本とマレー語文献で使われた文脈を提供するための簡単な抜粋文。
1
French Books III & IV: Books published in France before ...
Speculum finalis retributionis. Lyon, Johannes Trechsel, 1492. 4o. L02, B13, B78, L16, M03, M207, M62, P53, S60, T03 (+). 84564 Reginaldeti, Petrus. Totani, Guilhermus (ed.). Speculum finalis retributionis. Lyon, Johannes Trechsel, 1494.
Andrew Pettegree, Malcolm Walsby, 2011
2
Kant on Proper Science: Biology in the Critical Philosophy ...
In the Metaphysik von Schön (1785–1790) it is claimed that the nexus finalis is not properly a subject of ontology. The reason given is that the nexus finalis involves a relation obtaining between a representation of a thing and the thing itself, ...
3
Traditional Inuit Songs from the Thule Area - Halaman 314
All three music examples shown above show the use of the tone c as finalis. The use of the tone c as finalis is characteristic of songs of Form and Melody Type A in the same way as it is for songs of Form and Melody Type F. In this way Form ...
4
Theory and Method in Historical Ethnomusicology - Halaman 211
Jonathan McCollum, David G. Hebert. Mode 2 ԱԿ (ayp gen): barz – E, F#, G, A, B, C, and D. The tones G, A, B, C, D, and E are most commonly employed, E being the finalis. B is the second most important note, as all verses cadence on B, ...
Jonathan McCollum, David G. Hebert, 2014
5
Speculum finalis retributionis
Petrus Reginaldetus Guillelmus Totani. ,pbftokes 4110105 M9111 [nfscfio 201111111119 "nfcripkas »que egkecmmt 917W - 'es cömenaabileoujg) 111l falko deuiuo m02 obäuxeric plurimooxürcutis 117 110m5 da bencembouo: z come ...
Petrus Reginaldetus, Guillelmus Totani, 1494
6
The Philosophical Origins of Modern Contract Doctrine - Halaman 53
The Glossators themselves had used the term causa finalis in their discussions of the Roman condictio causa data causa non secuta. In Roman law, a party used this condictio when he had given something to another party in expectation of an ...
7
The Dastgah Concept in Persian Music - Halaman 116
Six measures (1-6): 1 and 2 are introductory measures, simply stating the finalis. The phrase actually begins with measure 3. Five and 6 are repetitions of 3 and 4, an octave lower. The phrase (m. 3) begins on the 5th above and ends with the ...
8
Songs of the North Woods - Halaman xviii
major scale: do, re, mi, fa, so, la, ti: M2, M3, P4, PS, M6, M7 ~ minor hexachord: la, ti, do, re, mi, fa; M2, m3, P4, P5, m6: 6 notes with la finalis Q aeolian/minor is a natural minor scale, la, ti, do, re, mi, fa, so; M2, m3, P4, P5, m6, m7 with la as the ...
O. J. Abbott, Edith Fowke, László Vikár, 2004
9
The Traditional Music of Thailand - Halaman 179
Because all pulses drive toward the final pulse of the group, the finalis of the composition represents the culmination of all the subgroups of pulses and therefore may be of no little importance as one of the prime indicators of mode in Thai ...
10
Understanding and Measuring Morphological Complexity
noted earlier, the only other two forms which we need to consider are the finalis and imperative, given that the rest of the very large paradigm can be predicted from them. For the placement of the agreement marker, we need to discuss the ...
Matthew Baerman, Dunstan Brown, Greville G. Corbett, 2015
