Results for 'Symbolism in music'

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  1. On the Nature and Function of Symbolism in Western and Oriental Music.William P. Malm - 1969 - Philosophy East and West 19 (3):235-246.
  2.  15
    Religious Symbolism in the Music of Olivier Messiaen.Siglind Bruhn - 1996 - American Journal of Semiotics 13 (1/4):277-309.
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    On William P. Malm's "on the Nature and Function of Symbolism in Western and Oriental Music".Albert Hofstadter - 1969 - Philosophy East and West 19 (3):258-263.
  4.  5
    On William P. Malm's "on the Nature and Function of Symbolism in Western and Oriental Music".Barbara B. Smith - 1969 - Philosophy East and West 19 (3):247-250.
  5.  4
    On William P. Malm's "on the Nature and Function of Symbolism in Western and Oriental Music".Lee Winters - 1969 - Philosophy East and West 19 (3):251-252.
  6.  6
    On William P. Malm's "on the Nature and Function of Symbolism in Western and Oriental Music".Peter Crossley-Holland - 1969 - Philosophy East and West 19 (3):253-257.
  7. Meaning of Music in ‘Record of Music’ of Li Ki - Cultivation of Mind by Means of Symbolism -.Chun-Ho Shin - 2017 - The Journal of Moral Education 29 (1):19.
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  8. Music & Meaning.Jenefer Robinson (ed.) - 1997 - Cornell University Press.
    In order to promote new ways of thinking about musical meaning, this volume brings together scholars in music theory, musicology, and the philosophy of music,..
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  9.  40
    Creating the Film Music in The Rapture of Fe: The Poetics of the Tambuleleng's Resonances.Jema M. Pamintuan - 2012 - Thesis Eleven 112 (1):156-162.
    The process of conceptualization and creation of a film score heavily depends on the collaboration between the film director and composer. The harmony of the director’s and film composer’s ideas should provide an impetus for the synchronization of literature (the script and film narrative) and music (film score). This was mainly used as a guide in crafting the film score for the independent film Ang Panggagahasa kay Fe (The Rapture of Fe, 2009) directed by Alvin Yapan. This article explores (...)
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  10.  59
    Signs of Music: A Guide to Musical Semiotics.Eero Tarasti - 2002 - Mouton De Gruyter.
    Music is said to be the most autonomous and least representative of all the arts.
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  11. Emotion and Meaning in Music.Leonard B. Meyer - 1956 - University of Chicago Press.
    Analyzes the meaning expressed in music, the social and psychological sources of meaning, and the methods of musical communication This is a book meant for ...
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  12. Music and the Occult: French Musical Philosophies, 1750-1950.Joscelyn Godwin - 1995 - University of Rochester Press.
     
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  13. The Conditions of Music.John T. Dzieglewicz - 1980
     
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  14. Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer.Bruce W. Holsinger - 2001 - Stanford University Press.
    Ranging chronologically from the twelfth to the fifteenth century and thematically from Latin to vernacular literary modes, this book challenges standard assumptions about the musical cultures and philosophies of the European Middle Ages. Engaging a wide range of premodern texts and contexts, from the musicality of sodomy in twelfth-century polyphony to Chaucer's representation of pedagogical violence in the Prioress's Tale, from early Christian writings on the music of the body to the plainchant and poetry of Hildegard of Bingen, the (...)
     
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  15. Convergences in Music and Art: A Bibliographic Study.George C. Schuetze - 2005 - Harmonie Park Press.
    Artists inspired by music and musicians -- Composers inspired by art and artists -- Twin talents : artist-musicians and musician-artists -- Musicians pose for the artists : a history of portrait iconography.
     
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  16.  6
    Creating Time: Social Collaboration in Music Improvisation.Ashley E. Walton, Auriel Washburn, Peter Langland‐Hassan, Anthony Chemero, Heidi Kloos & Michael J. Richardson - 2018 - Topics in Cognitive Science 10 (1):95-119.
    Musical collaboration emerges from the complex interaction of environmental and informational constraints, including those of the instruments and the performance context. Music improvisation in particular is more like everyday interaction in that dynamics emerge spontaneously without a rehearsed score or script. We examined how the structure of the musical context affords and shapes interactions between improvising musicians. Six pairs of professional piano players improvised with two different backing tracks while we recorded both the music produced and the movements (...)
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  17. To Think or Not To Think: The Apparent Paradox of Expert Skill in Music Performance.Andrew Geeves, Doris J. F. McIlwain, John Sutton & Wayne Christensen - 2013 - Educational Philosophy and Theory (6):1-18.
    Expert skill in music performance involves an apparent paradox. On stage, expert musicians are required accurately to retrieve information that has been encoded over hours of practice. Yet they must also remain open to the demands of the ever-changing situational contingencies with which they are faced during performance. To further explore this apparent paradox and the way in which it is negotiated by expert musicians, this article profiles theories presented by Roger Chaffin, Hubert Dreyfus and Tony and Helga Noice. (...)
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  18. Recognizing Emotion in Music (Network for Sensory Research Toronto Workshop on Perceptual Learning: Question Six).Kevin Connolly, John Donaldson, David M. Gray, Emily McWilliams, Sofia Ortiz-Hinojosa & David Suarez - manuscript
    This is an excerpt from a report that highlights and explores five questions which arose from the workshop on perceptual learning and perceptual recognition at the University of Toronto, Mississauga on May 10th and 11th, 2012. This excerpt explores the question: How do we recognize distinct types of emotion in music?
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  19. Deconstruction, Fetishism, and the Racial Contract: On the Politics of "Faking It" in Music.Robin M. James - 2007 - CR 7 (1):45-80.
    I read Sara Kofman's work on Nietzsche, Charles Mills' _The Racial Contract_, and Kodwo Eshun's Afrofuturist musicology to argue that most condemnations of "faking it" in music rest on a racially and sexually problematic fetishization of "the real.".
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  20.  66
    Thoughtwriting—in Poetry and Music.Kendall Walton - 2011/2015 - In Kendall L. Walton (ed.), In Other Shoes: Music, Metaphor, Empathy, Existence. Oxford University Press. pp. 54-74.
    Poetry is a literary art, and is often examined alongside the novel, stories, and theater. But poetry, much of it, has more in common with music, in important respects, than with other forms of literature. The emphasis on sound and rhythm in both poetry and music is obvious, but I will explore a very different similarity between them. All or almost all works of literary fiction have narrators—so it is said anyway—characters who, in the world of the fiction, (...)
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  21.  7
    Types of Statements on Emotion in Music.Benjamin Krämer - 2012 - Nordic Journal of Aesthetics 23 (43).
    The question of emotion in music is addressed from a linguistic perspective, providing a typology of statements that can be made about that topic. In particular, it is analyzed how an interlocutor could react to such statements uttered by another person, and whether or how the content of the statements could be refuted by the listener, and possibly corroborated by the speaker. Furthermore, it is briefly discussed which theories of emotion in music are compatible with the respective types (...)
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  22.  12
    Writing Trojan Horses and War Machines: The Creative Political in Music Education Research.Elizabeth Gould - 2011 - Educational Philosophy and Theory 43 (8):874-887.
    North American music education is a commodity sold to pre-service and in-service music teachers. Like all mass-produced consumables, it is valuable to the extent that it is not creative, that is, to the extent that it is reproducible. This is demonstrated in curricular materials, notably general music series textbook and music scores available from a rapidly shrinking cadre of publishers, as well as rigid and pre-determined pedagogical practices. Distributing resources and techniques that produce predicable, consistent, and (...)
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  23.  6
    Postmodernism in Music.Kenneth Gloag - 2012 - Cambridge University Press.
    Postmodernism is a term that has been used extensively to describe general trends and specific works in many different cultural contexts, including literature, cinema, architecture and the visual arts. This introduction clarifies the term and explores its relevance for music through discussion of specific musical examples from the 1950s to the present day, providing an engagement between theory and practice. Overall, this book equips students with a thorough understanding of this complex but important topic in music studies. It: (...)
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  24.  16
    In Search of Beauty in Music: A Scientific Approach to Musical Esthetics.E. Seashore Carl - 1947 - Greenwood Press.
    In Search of Beauty in Music A SCIENTIFIC APPROACH TO MUSICAL ESTHETICS by CARL E. SEASHORE PROFESSOR OF PSYCHOLOGY AND DEAN EMERITUS OF THE GRADUATE SCHOOL, ...
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  25. La Rappresentazione Fra Paesaggio Sonoro E Spazio Musicale.Carlo Serra - 2005 - Cuem.
    Il carattere passivo dell'ascolto -- Il paesaggio sonoro come matrice simbolica -- Il tema dell'immaginazione -- Poetica del paesaggio sonoro : Zefiro torna -- Evocazione della primavera : il fluire metamorfico -- Ritardo e decorso percettivo -- Il canto degli uccelli come modello naturale -- Lo schema e l'immagine.
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  26.  65
    Feminist Imperative(s) in Music and Education: Philosophy, Theory, or What Matters Most.Elizabeth Gould - 2011 - Educational Philosophy and Theory 43 (2):130-147.
    A historically feminized profession, education in North America remains remarkably unaffected by feminism, with the notable exception of pedagogy and its impact on curriculum. The purpose of this paper is to describe characteristics of feminism that render it particularly useful and appropriate for developing potentialities in education and music education. As a set of flexible methodological tools informed by Gilles Deleuze's notions of philosophy and art, I argue feminism may contribute to education's becoming more efficacious, reflexive, and reflective of (...)
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  27.  1
    Void and Excess in Music.Žižek Slavoj - 2017 - International Journal of Žižek Studies 11 (3).
    “Today, the first notes of a popular baroque piece like Pachelbel's Canon are automatically perceived as the accompaniment, so that we wait for the moment when the melody proper will emerge; since we get no melody but only a more and more intricate polyphonic variation of the melodic accompaniment, we somehow feel "deceived". Where does this horizon of expectation, which sustains our feeling that the melody proper is missing, come from?” An extract on music from Slavoj Žižek’s new book (...)
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  28.  15
    Parallels and Paradoxes: Explorations in Music and Society.Daniel Barenboim - 2004 - Vintage Books.
    These free-wheeling, often exhilarating dialogues—which grew out of the acclaimed Carnegie Hall Talks—are an exchange between two of the most prominent figures in contemporary culture: Daniel Barenboim, internationally renowned conductor and pianist, and Edward W. Said, eminent literary critic and impassioned commentator on the Middle East. Barenboim is an Argentinian-Israeli and Said a Palestinian-American; they are also close friends. As they range across music, literature, and society, they open up many fields of inquiry: the importance of a sense of (...)
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  29. The Classic Deities in Bacon: A Study in Mythological Symbolism.Charles William Lemmi - 1978 - Folcroft Library Editions.
     
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  30. Music of the Spheres and the Dance of Death: Studies in Musical Iconology.Kathi Meyer-Baer - 1970 - Da Capo Press.
     
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  31.  38
    Theory, Analysis and Meaning in Music.Anthony Pople (ed.) - 1994 - Cambridge University Press.
    Recent encounters with structuralist and poststructuralist critical theory, linguistics, and cognitive sciences have brought the theory and analysis of music into the orbit of important developments in present-day intellectual history. Without seeking to impose an explicit redefinition of either theory or analysis, this book explores the limits of both. Essays on decidability, ambiguity, metaphor, music as text, and music analysis as cognitive theory are complemented by studies of works by Debussy, Schoenberg, Birtwistle and Boulez.
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  32. Chislovai͡a Simvolika I.S. Bakha: Tropami Loseva.M. M. Gamai͡unov - 2007 - Inri.
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  33. Chislovai͡a Simvolika I.M. M. Gamai͡unov - 2007 - Inri.
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  34. Chislo V Nauke I Iskusstve: Sbornik Materialov 9-Ĭ Konferent͡sii Iz T͡sikla "Grigorʹevskikh Chteniĭ".M. S. Skrebkova-Filatova & V. E. Eremeev (eds.) - 2007 - Asm.
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  35.  7
    Queen Christina of Sweden as a Patron of Music in Rome in the Mid-Seventeenth Century.Tessa Murdoch - 2012 - In The Music Room in Early Modern France and Italy: Sound, Space and Object. pp. 259.
    Following her abdication, Queen Christina of Sweden took up residence in the Palazzo Farnese, Rome from 1655. She had already developed a keen interest in music, gained from tuition from a French dancing master, and playing the star role in the ballet The Captured Cupid in honour of her mother's birthday in 1649. Christina's arrival in Rome was marked by performances in her honour in the Palazzo Barberini and Palazzo Pamphili of specially commissioned works by contemporary composers Marco Marazzoli (...)
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  36.  47
    Expression in Music.Derek Matravers - 2007 - In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press.
    This is a critical review of the current state of the debate in the philosophy of music, and defends the author's view as the phenomenology of the experience.
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  37.  12
    Iconicity in the Lab: A Review of Behavioral, Developmental, and Neuroimaging Research Into Sound-Symbolism.Gwilym Lockwood & Mark Dingemanse - 2015 - Frontiers in Psychology 6:1-14.
    This review covers experimental approaches to sound-symbolism—from infants to adults, and from Sapir’s foundational studies to twenty-first century product naming. It synthesizes recent behavioral, developmental, and neuroimaging work into a systematic overview of the cross-modal correspondences that underpin iconic links between form and meaning. It also identifies open questions and opportunities, showing how the future course of experimental iconicity research can benefit from an integrated interdisciplinary perspective. Combining insights from psychology and neuroscience with evidence from natural languages provides us (...)
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  38.  8
    Krausz on Interpretation in Music.Manjula Saxena - 2005 - Philosophy in the Contemporary World 12 (1):71-73.
    This paper suggests certain differences between the interpretation of Indian classical music and the interpretation of Western classical music. In Indian music the work is constituted in the moment of a recital. The performer is the maker of the music. Accordingly, the performer simultaneously produces a work and interprets it. Further, in the Indian tradition. music is a path of “bhakti yoga,” or a path of devotion.
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  39. Reviews : Maurice Agulhon, Marianne Into Battle. Republican Imagery and Symbolism in France, 1789-1880 (Cambridge U.P., 1981), and The Republic in the Village, The People of the Var From the French Revolution to the Second Republic (Cambridge U.P., 1982). Both Published Jointly with the Maison des Sciences de l'Homme, Paris. [REVIEW]Peter McPhee - 1984 - Thesis Eleven 8 (1):159-162.
    Reviews : Maurice Agulhon, Marianne into Battle. Republican Imagery and Symbolism in France, 1789-1880 , and The Republic in the Village, The People of the Var from the French Revolution to the Second Republic . Both published jointly with the Maison des Sciences de l'Homme, Paris.
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  40.  35
    Expressive Meaning in Music: Generality Versus Particularity.Krzysztof Guczalski - 2005 - British Journal of Aesthetics 45 (4):342-367.
    The dilemma referred to in the title occurs in many contexts concerned with expressive meaning in art, and especially music, which suggests that the issue it raises will be central to any complete theory of musical expressiveness. One notable attempt to resolve the paradox of simultaneous generality and particularity in music is in Aaron Ridley's book Music, Value and the Passions. I show why I consider his account unsatisfactory and then propose my own resolution of the paradox. (...)
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  41.  18
    Augustine on the Transcendent in Music.Donald Walhout - 1989 - Philosophy and Theology 3 (3):283-292.
    I offer an argument for the claim that there is a transcendent dimension in music. The argument begins with one offered by Augustine in the De Musica, and adds additional support from contemporary discussions in musicology.
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  42.  19
    'Women in Music': A Reply to Gordon Graham.D. Shaw - 2001 - British Journal of Aesthetics 41 (1):84-87.
    In his article 'Women in Music' Gordon Graham argues that 'women do not make composers' and 'there is good reason to believe that the composition of music will continue to be an activity largely of men'. In reply Shaw argues there is a deep inconsistency in Graham's argument or a gap which, given Graham's views, he would be hard pressed to fill. Shaw also raises objections to Graham's claim that his view that women cannot compose significant music, (...)
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  43.  4
    New Temporalities in Music.Jonathan D. Kramer - 1981 - Critical Inquiry 7 (3):539-556.
    As this century has found new temporalities to replace linearity, discontinuities have become commonplace. Discontinuity, if carried to a pervasive extreme, destroys linearity…There were two enormous factors, beyond the general cultural climate, that promoted composers' active pursuit of discontinuities. These influences did not cause so much as feed the dissatisfaction with linearity that many artists felt. But the impact has been profound. One factor contributing to the increase of discontinuity was the gradual absorption of music from totally different cultures, (...)
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  44.  11
    The Advent of Chemical Symbolism in the Art of Sonya Rapoport.Meredith Tromble - 2009 - Foundations of Chemistry 11 (1):51-60.
    This paper explores the use of chemical symbolism in works by the new media artist Sonya Rapoport, with a focus on the pivotal Cobalt series from the late 1970s. These works, drawings on computer printouts generated by research at the Lawrence Berkeley Laboratory, respond to experiments in nuclear chemistry. They mark the beginning of three productive decades in which Rapoport produced a variety of images related to chemistry in her work. She states, “I looked for authentic research projects that (...)
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  45.  4
    The Postmodern in Music.James Wierzbicki - 2011 - Semiotica 2011 (183):283-308.
    “Postmodern” is an elusive concept that embraces a wide range of critical theories and attitudes. To borrow the assessment that the American poet Walt Whitman offered of himself, the concept is large and contains multitudes, various aspects of which often seem to be at odds with one another. Postmodern art likewise contains multitudes; indeed, it would seem that one of postmodern art's chief characteristics is the comfortable integration of apparently contradictory stimuli that, importantly, are sited less in the “work” itself (...)
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  46.  3
    “More than half a hundredweight” of spices (John 19,39 neb) abundance and symbolism in the gospel of John.Prof Th C. De Kruijf - 2013 - Bijdragen 43 (3):234-239.
    (1982). “MORE THAN HALF A HUNDREDWEIGHT” OF SPICES (JOHN 19,39 NEB) ABUNDANCE AND SYMBOLISM IN THE GOSPEL OF JOHN. Bijdragen: Vol. 43, No. 3, pp. 234-239.
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  47.  1
    The Place of Music in the Artist's Home.Tracy E. Cooper - 2012 - In The Music Room in Early Modern France and Italy: Sound, Space and Object. pp. 51.
    Visual representation of instruments and musical practice has long been integral to the study of the iconology and archaeology of early music. Critical to any assessment of such evidence is an understanding of the authority of the artist, and his/her knowledge and degree of participation in musical culture. Contemporary sources reveal that music played a variety of roles in the lives and public perception of the Renaissance artists. Its most tangible manifestation was that of the artist-musician, of whom (...)
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  48.  1
    When is a Room a Music Room? Sounds, Spaces, and Objects in Non-Courtly Italian Interiors.Flora Dennis - 2012 - In The Music Room in Early Modern France and Italy: Sound, Space and Object. pp. 37.
    Although never an easy feat, tracing the connections between sounds, spaces and objects becomes easier the higher up the social scale one goes in the Early Modern period. The survival of documentary and material evidence helps to identify musical repertories that were known to have been performed in specific spaces on particular instruments. Given the lack of comparative sources at lower social levels, is it possible to establish relationships between these three elements in non-courtly contexts? This chapter considers non-courtly ‘ (...)-rooms’, addressing how practical material and conceptual motivations forged links between music and domestic space in this period. It goes on to examine broader, perhaps unexpected, connections between musical sound and the material culture of the Early Modern domestic interior. (shrink)
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  49.  1
    Introduction: Music-Making in Domestic Space.Deborah Howard - 2012 - In The Music Room in Early Modern France and Italy: Sound, Space and Object. pp. 1.
    The introduction sets the forthcoming chapters in the broader context of musical life in Early Modern France and Italy, with reference to existing scholarship on the subject. The occasions and locations in which musical performance took place are outlined, and the scope of the book is defined, stressing the close connections between France and Italy. A growing number of studies of secular music-making consider the social and ideological framework for performance, but usually without serious consideration of architectural settings. Yet (...)
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  50.  1
    The Role of Music in the Venetian Home in the Cinquecento.Deborah Howard - 2012 - In The Music Room in Early Modern France and Italy: Sound, Space and Object. pp. 95.
    This chapter considers the role of music and dance in the definition of identity by families and individuals in Renaissance Venice, with particular reference to the use of domestic space for music-making. The integration of music into its social and architectural context is discussed in terms of the class identity of different groups. The contexts range from domestic entertainment to family festivities such as marriages. The chapter goes on to explore the kinds of music-making in different (...)
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