Latin American Music Center
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Item Alcajazz: Afro-Peruvian Forms of Musical Knowledge and the Shaping of Afro-Peruvian Jazz [abstract only](Latin American Music Center, 2011-10) León, JavierThis paper is focused on the recent collaboration between local jazz and Afro-Peruvian musicians to develop a new, locally rooted style of jazz that uses Afro-Peruvian musical genres as a departure point. While there have been prior attempts at such musical synthesis can be traced back to the late 1970s, I argue that a shift in perspective among the latest generation of jazz both jazz and Afro-Peruvian musicians has led to more fruitful working relationship. Specifically, I suggest that jazz musicians have increasingly come to acknowledge and value their Afro-Peruvian counterparts for having access to distinct forms of musical and cultural knowledge that are deemed vital to the development of this new jazz idiom. To this end, I will look at the music of Gabriel Alegría and the Afro-Peruvian Sextet, playing particular attention to how stylistic features of Alegría’s music have grown out of an ongoing dialogue among band members with markedly different social, ethnic, and musical backgrounds. I will also explore the broader implications that this new type of collaboration has for rooting Afro-Peruvian jazz among the larger Afro-Peruvian musical community rather than remaining predominantly a middle class and upper middle class activity at the hands of musicians who are not of African descent.Item Alejandro Monestel and his Rhapsodies for Military Band: San José and New York [abstract only](Latin American Music Center, 2011-10) Camacho-Azofeifa, TaniaThe music for military band by composer Alejandro Monestel (1865-1950) was often performed in San José, capital of Costa Rica, according to various scholarly sources. The Rapsodia Costarricense (1935) and Rapsodias Guanacastecas Nº1 and Nº2 (1936, 37) were among the most popular works for military band by the composer. Although Monestel is known as one of the most published Central American composers, these works were never published before. The Rhapsodies were included in the programs offered by the Military Band of San José in the traditional recreos and retretas performed in the Parque Central. The United States Navy Band, in concerts organized by the Pan American Union performed the same works. Both scenarios helped to construct an idea of Costa Rica according to their own perspectives. In this paper, I explore both the motivations of Alejandro Monestel to compose the Rhapsodies for military band, and the reception of these works. Given the premiere of the Rhapsodies in San José, and in Washington D.C., I examine primary sources from different archives that preserve letters between Alejandro Monestel and, the National Broadcasting Company, the Unión Panamericana, and Fleisher Collection of Orchestral Music. Considering Monestel’s traveling life --Costa Rica (origin), Belgium (school), New York (professional life), Costa Rica (back home)—I propose that in this circular trip, he traveled carrying values, ideas, and music to his three homes.Item Audioscapes: Interpreting Nationalistic Perspectives Through Transnational Death Metal (Band: Brujeria) [abstract only](Latin American Music Center, 2011-10) Mena, MichaelThe California-based Mexican-American “activist” metal band Brujeria, uses a powerful, yet conflicting, blend of nihilism, anarchism, and racism with a dose of hyper-patriotism in its attempt to convey the voice of oppressed Mexicans on both sides of the border. My research on this band has revealed a peculiar concentration of live performances along the U.S.-Mexico border. While it is uncertain whether or not Brujeria is intentionally political, their live performances and song lyrics are highly critical of both the U.S. and Mexico regarding immigration policy, border-crossing, and other issues which have resonated among the binational youth of South Texas and Northeastern Mexico (locally referred to as “border kids”). In this paper I explore the conflicting notions of space, performativity, binationality and U.S. Mexico relations within the context of Brujeria performances in the South Texas Borderlands. As a participant/observer of the South Texas Death Metal scene, I have witnessed the emotional impact that Brujeria has on border kids. This audience is deeply confused about its social identity, and Brujeria appear to have developed a devoted following by tapping into the emotions of such a volatile binational youth audience. While on the surface, it might appear that Brujeria’s primary ambition is to prey on such a young and influential audience, I argue that Brujeria promotes and nurtures a new form of bicultural and biracial pride among the border kids that might be considered in response to a long history of exploitation and oppression of Mexicans in the region.Item Awkward and Uneven Musical Flows: The Politics of Increased U.S.-Cuban Musical Interaction [full paper](Latin American Music Center, 2011-10) Storhoff, TimSince his inauguration, President Obama has relaxed the musical embargo of Cuba following a long period when musical exchanges between the U.S. and Cuba were few and far between. This has made high-profile Cuban performances possible for U.S. musicians like Kool and the Gang, Colombian-American rocker Juanes, the Jazz at Lincoln Center Orchestra with Wynton Marsalis. This period has also seen more Cuban musicians performing in the U.S. because the State Department has resumed issuing cultural exchange visas to Cubans, and the Cuban government is allowing more musicians to travel abroad. While these exchanges can be seen as a part of President Obama’s call for a “new beginning” in the U.S.-Cuban relationship, he also cautioned against overestimating the political impact these exchanges could have. In the same way that contemporary global economic processes create dense interconnections along with areas of exclusion and immobility, recent musical flows between the U.S. and Cuba are also awkward, uneven and discontinuous. While performers distance themselves from any overtly political stance, the disparities between who may participate in these transnational performances, when and where they take place, and the various controversies and reactions they inspire expose a range of attitudes and realities about the U.S.-Cuban relationship and its future. By analyzing the awkward and uneven nature of these performances in both the U.S. and Cuba, this paper explores the potential function of musical exchanges as bellwethers for future engagement between these two nations even when reforms in the U.S.-Cuban relationship appear to be stalling.Item Bordering Spaces and Encounters in Music of Gabriela Ortiz [abstract only](Latin American Music Center, 2011-10) Kielian-Gilbert, MarianneThe Mexican city of Cuidad Juárez, Chihauhaua, across the river from El Paso, Texas, has become a flashpoint for the complex of values of border relations between the United States and Mexico. Two works of Mexican composer Gabriela Ortiz confront ever-present problems of drug trafficking and violent death (the “disappeared women of Cuidad”) in, respectively, her video-opera ¡Únicamente la verdad! (Only the Truth!) (2008-10) and 2009 “requiem” setting Río Bravo for six female voices and crystal cups to text by Mónica Sánchez Escuer. ¡Únicamente la verdad! crosses boundaries of fact and fiction, myth and reality, documentary, opera, and corrido (Mexican ballad). Drawing on specific journalistic reports, it explores border imaginations of Camelia La Tejana, a woman fictionalized in the narcocorrido Contrabando y traición (Smuggling and Betrayal) made popular by the norteño music band Los Tigres del Norte in the 1970s. In multiple musical references (corrido, la música ranchera, cumbia del norte, art/popular music), scene five enacts the journalist César Güemes’s interview of Camelia María, one of the “Camelias” of the opera, and her resistance to his attempt to pin down the “real” Camelia. Ortiz’s 2009 work, Río Bravo takes a different turn in honoring the “lost “disappeared” women (Desaparecidos) of the Juárez maquiladoras (sweatshops). Their voices, “without echo”, multiply through work’s musical “echoing”, articulating the strangeness of their musical displacements of Escuer’s poem. I consider how private spaces—the interview, the requiem—can have public impact in musically enacting and ritualizing the stark realities of individual experience and loss.Item Brazilian Piano Sonatas: A Heated Debate during the Cold War(Latin American Music Center, 2014-02-18) Capparelli Gerling, CristinaThe “Piano Sonata” lecture demonstrates and discusses both the persistence of neoclassical formal paradigms as well as the diversity of compositional and instrumental approaches utilized in Latin American Piano Sonatas during the twentieth century, such as found in the works of Argentineans José María Castro, Alberto Ginastera, Carlos Guastavino and Roberto G. Morillo; Brazilians Lorenzo Fernândez, Francisco Mignone, Camargo Guarnieri, Claudio Santoro, Edino Krieger, Breno Blauth, Esther Scliar and Marlos Nobre; the Chilean Juan Orrego-Salas; the Mexicans Rodolfo Halffter and Carlos R. Chávez. This lecture introduces a crucial topic of discussion: influences, confluences, dialogues and appropriations of models as practiced by Latin American composers in relation to their American and European counterparts.Item Brazilian styles and jazz elements: Hybridization in the music of Hermeto Pascoal [full paper](Latin American Music Center, 2011-10) Côrtes, AlmirBy the late 1960s, the Brazilian composer Hermeto Pascoal (1936) started producing a musical oeuvre that would become a representative part of the repertory of modern Brazilian instrumental music (known internationally as Brazilian jazz). During his non-formal musical training, Pascoal was exposed to and practiced important Brazilian urban genres such as samba, choro, baião, frevo, and bossa nova. In 1970 he moved to the US, where he lived for around four years. During this time he became intimately involved with jazz music. Among other activities, he collaborated, played, and recorded with the jazz giant Miles Davis (1926-1991). This paper intends to show how Brazilian styles and jazz musical elements are articulated in the music of Pascoal. The discussion is based on a definition of hybridization as a social and cultural process in which structures or discrete practices that developed separately are combined in order to generate new structures, objects, and practices (CANCLINI, 2003). The depth of this cross-cultural process will also be examined, showing the boundaries of Pascoal's blending. Recordings and transcriptions of important pieces by Pascoal will be analyzed in order to illustrate which elements are hybridized and which are not.Item Brief overview of the musical dialogue between Bolivia and United States [full paper](Latin American Music Center, 2011-10) Terceros, IsaacThis paper presents a results overview of the musical relationship between Bolivia and United States in the few last years. In this context, composers like José Velasco Maidana (c. 1899-1989) and Jaime Mendoza Nava (1925-2005) lived in the United States, opening in this way the doors for certain American influence in Bolivia, a country characterized by an appreciation and defense of its original culture. Thus, we show that a meaningful compositional dialogue has been established. One outcome of this dialogue took shape with the Orquesta Experimental de Instrumentos Nativos (OEIN), whose innovative aesthetic positioning, has stimulated an intercultural reflection integrating musical traditions of the Aymara and Western musical language. In the performance field, intercultural projects have been developed from the exchange of musicians and conductors – as the renowned violinist Jaime Laredo (b. 1941), the guitarist Piraí Vaca, or conductor Kenneth Sarch – resulting, for example, the foundation of the Orquesta Sinfónica Juvenil de Santa Cruz de la Sierra (OSJ). In the academic area, Bolivian composers have benefited from initiatives such as the Centro Latinoamericado de Altos Estudios Musicales del Instituto Torcuado Di Tella in Buenos Aires, where received instruction Alberto Villalpando (b. 1940), responsible for the formation of two generations of composers in Bolivia. Thus, technical and aesthetic aspects of musical composition in works resulting from the interdisciplinary dialogue above, were identified and will be presented in this paper.Item Camelia’s Truths in "Unicamente la verdad": Narrative, History, and Musical Gesture [abstract only](Latin American Music Center, 2011-10) Carballo, ErickGabriela Ortiz’s opera Únicamente la verdad (2008) was inspired by historical figures and events surrounding the narcocorrido “Contrabando y Traición” by Los Tigres del Norte. In reality as in the opera, the causal relationship between history and art is reversed; traditionally, the narcocorrido narrates and also possibly editorializes about events that have already occurred in the drug trade between the United States and Mexico. Ortiz’s opera instead presents a series of multiple and contradictory real-life events and characters that were generated by the fictional narrative in the narcocorrido. These widely varying “truths”—in the midst of an opera whose title implies that we expect only one truth—underscore the social complexity of the drug trafficking problem, and open the conversation to include many truths in a broader narrative. My presentation explores how Únicamente la verdad projects such a plurality of truths from a musical perspective by exploring how particular musical gestures are presented in varying ways according to the “truth” that is being presented in each moment.Item Conference Program(2012-03-22) LAMC, Jacobs School of MusicAs a celebration of its 50th Anniversary, Indiana University's Latin American Music Center presented a conference addressing historical and current musical exchanges between the U.S. and Latin America. The conference took place on Oct. 19-23, 2011.Item Cuban Art Music in the U.S. before and after the Cuban Revolution [abstract only](Latin American Music Center, 2011-10) Quevedo, MarysolThe wellspring of U.S. Pan-American sentiment toward Cuba dried up quickly after the 1959 Revolution. Prior to the Revolution exchanges between Cuban and U.S. composers was vigorous, however, the events following the Revolution not only changed economic and political relations between Cuba and the U.S., but also composers’ and musicians’ ability to maintain ties between the two countries. This paper traces the pre-Revolutionary exchanges between Cuba and the U.S. through Henry Cowell’s New Music Society and its related publications (which included Amadeo Roldán’s Rítmicas), the Pan-American Association of Composers, as well as Cuban composers who studied in the U.S. (including Gisela Hernández, and Julian Orbón). The decrease in exchanges between the two countries is most noticeable in festivals and concert series in the U.S., such as the Inter-American Music Festival (IMFA), revealing the embargo’s effect on cultural matters. A quick survey of the programs of the IAMF reveals that after their first festival in 1958 the only Cuban composers included in performances were those who were exiled in the U.S. The lack, and some years complete absence, of Cuban works in the IMFA and the dearth of scholarship about Cuban art music form this period suggests a lack of compositional activity in Cuba. In reality, however, music composition in Cuba flourished, and cultural exchanges with other Latin American countries continued, in fact even increased, with the establishment of institutions to cultivate Pan-American exchanges, most notably the Casa de las Américas. Thus, in spite of the U.S. embargo Cuba actively fostered Pan-Americanism, albeit a different kind of Pan-Americanism from that fostered by the U.S.Item The Danzón and Caribbean Musical Influences on Early Jazz [abstract only](Latin American Music Center, 2011-10) Moore, RobinMusic scholars have long lamented the lack of historical data describing the emergence of early jazz repertoire in New Orleans. Not only do no recordings of the music exist prior to 1917, but few written sources from the turn of the twentieth century make any mention of the emergent musical style. As a result, many studies describe jazz as the invention of a few almost mythical figures in isolation, with little reference to earlier performance practice. This paper uses an analysis of the earliest recordings of the Cuban danzón, dating from 1905, as a window into the formative years of jazz. The danzón is especially significant as the first African-American music ever recorded, and a style known to have been performed in New Orleans beginning in the late 1880s. Analysis suggests (1) that many parallels in form, rhythm, and style exist between the danzón and dixieland repertoire, and (2) that instrumentation associated with the final “hot” (partially improvised) sections of the danzón bear striking similarities to the clarinet-trumpet-trombone frontline of dixieland. The danzón may well have contributed directly to the development of jazz; danzón style ties jazz to broader regional developments, and underscores the fact that the histories of Latin American music and music in the United States are fundamentally intertwined.Item Double Meanings in Carlos Chavez’s Horsepower [abstract only[(Latin American Music Center, 2011-10) Gibson, Christina TaylorGala crowds braved torrential rain and thunder to see the premiere of Carlos Chávez’s ballet H.P. (Horsepower or Caballos de Vapor) on March 31, 1932. The performance was directed by Leopold Stokowski, choreographed by Catherine Littlefield, and featured sets and costumes by Diego Rivera. It marked the first major performance of Chávez’s music in the U.S. Advance publicity emphasized a utopian Pan-American reading of the scenario; it advertised the composer’s use of son, tango, and zandunga, Rivera’s tropical fruit costumes, and Stokowski’s research trips to Mexico. A close study of Chávez’s manuscript score indicates, however, that the composer’s public support of a Pan-American reading was contradicted by the quasi-hidden dystopic program evident in the score. There the son and zandunga are overwhelmed by aggressive, dissonant, mechanical “Northern” sounds, closely identified with the U.S. Although Chávez managed to conceal his true program from Stokowski, Littlefield, and U.S. critics—the overt message of American cooperation was far more appealing than the co-optation represented in the score—the existence of the alternate program wrecked havoc on the necessarily collaborative art of ballet production, rendering the H.P. premiere confused and confusing. As a result, reviewers concurred that, “It was more of a sensation before it began than after it was over.” In this paper I will examine evidence for a hidden program in Chávez’s music for H.P., and analyze its affect on the performance and reception of the work.Item El Dorado in Philly: Latin American Symphonic Music in the Fleisher Collection [abstract only](Latin American Music Center, 2011-10) Galván, GaryWhile la Musica may have fostered the legend, it is la musica that makes the Edwin A. Fleisher Collection of Orchestral Music at the Free Library of Philadelphia the El Dorado of Latin American symphonic music. Believing that no collection of orchestral music could be considered complete without the inclusion of the works of South and Central American composers, Philadelphia music philanthropist Edwin Fleisher began working directly with the United States Government in the 1940s to establish and cement cultural relations and personally commissioned Nicolas Slonimsky to visit Latin America in 1941-1942 in order to secure Pan American orchestral works so that they might be copied for the Fleisher Collection. Fleisher also attracted enthusiastic support from valuable resources such as Walter Burle Marx, Francisco Curt Lange, the Pan American Union, and the Library of Congress to mark the Federal Music Copying Project’s enlarged entrance into the field of producing full performance sets of unpublished contemporary South and Central American orchestral music. Ultimately, Fleisher amassed the largest collection of orchestral performance sets of Latin American orchestral music in the world. Through my research into this collection, I have recently uncovered over 70 uncatalogued Latin American works on microfilm which lack complete materials for performance. This presentation examines the history of the copying project through primary source documents, addresses the collection’s inestimable value to researchers and performers worldwide, and postulates a plan for moving this hidden treasure from the page to the stage.Item Exotic Birds, Awkwardly Scattered and Generally Spluttering: Silvestre Revueltas Vis-a-vis US Pan-Americanism [abstract only](Latin American Music Center, 2011-10) Kolb Neuhaus, RobertoAccording to reception theory, change of context adds as much meaning to a work of art as it may take away. This is all the more so in the case of music, since, as opposed to that of figurative expression, its meaning is naturally elusive and multiple, and hence marvelously pliable when captured by the pen of historians and critics or verbalized by audiences after a concert. A composer may consequently disregard the issue of meaning reception entirely, assuming and accepting that his authorial purport cannot and will not be grasped. Then again, he/she may go out of his way to prepare his listeners by verbally or otherwise establishing a context, leading them in a specific semantic direction. Or, recognizing that reception follows needs of its own in a specific cultural realm, he/she may choose to capitalize on such needs by means of a strategy that can, but need not be related to compositional intent. US Pan Americanism during the thirties looked south of the border aiming to find not only the usual exotic difference, but also a modern likeness that would justify its brotherly goal. Mexican writers such as Tablada, painters such as Rivera, and composers such as Chávez en Revueltas, where aware of such political and cultural strivings and made strategic use of such expectations. The present paper examines in this light the reception of Revueltas’s early avant-gardist musical constructs among US audiences, critics and composers.Item George List and Colombian Musicology [abstract only](Latin American Music Center, 2011-10) Bermúdez, Egberto;George List started his research interest in Colombia in the mid 1960s concentrating basically in the Afro-Colombian tradition of the northern coast. The materials gathered in his field trips led to several important publications and a sizable amount of field recordings now at the Archives of Traditional Music. His work -although not centered at the School of Music- developed simultaneously with the Latin American Music Center and very close to the music programs and initiatives oriented from the Music Division of the Organization of American States. In Colombia this was a very convulsive period, characterized by workers and student mobilizations and heated discussions on cultural imperialism, foreign military intervention, debates over armed struggle and the role of religion and academia in a polarized political agenda. Colombian musicology was trying to consolidate at the Conservatory of Music within the National University led by Andres Pardo Tovar and by 1964 was already entangled in the political discussion and the polarized intellectual and social climate that led to the emergence of the armed struggle and covered intelligence and indirect military US intervention. In this climate, after Pardo Tovar left the Conservatory, in the late 1960s major changes in the direction he tried to implement become apparent. This paper aims at assessing the impact that List and his work had in Colombian music research within the context described above.Item Gerard Béhague: from Panamericanism to Multiculturalism [abstract only](Latin American Music Center, 2011-10) Volpe, Maria AliceThis paper discusses Gerard Béhague’s scholarly work in the light of the changing ideological and political context, concerning (ethno)musicology’s agenda vis a vis U.S. international relations. Panamericanism was crucial to the shaping of Béhague’s comprehensive knowledge of Latin American music and culture at the early stage of his academic career in the U.S. in the 1960s and 1970s. The legacy of former Latin American, Latin Americanist, and Americanist scholars who endeavoured the pioneering musicological studies on different countries provided the basis for Béhague’s formative years and further development of his career. In the context of UNESCO’s policy to respond to cultural diversity, the 1980s and 1990s saw a change in U.S. domestic policies and international politics upholding multiculturalism as the new basis on which world democracy must take place. Accordingly, American (ethno)musicology’s ideological and political agenda have changed, and Béhague was continuously engaged in updating his scholarly proposals. Multiculturalism has brought new ways of placing cultural relativism in (ethno)musicology’s agenda, and Béhague’s keen sense of current critical issues gave a remarkable contribution to the discipline. This paper will examine selected works by Béhague aiming to show that his all comprehensive scholarly work, concerning both historical musicology and ethnomusicology, epitomizes music-research endeavour coined by panamericanism as well as makes the transition to the new ideological and political framework of multiculturalism.Item Ginastera in Washington: Correspondence with Copland and Spivacke at the Library of Congress [full paper](Latin American Music Center, 2011-10) Schwartz-Kates, DeborahThe city of Washington held a special place in the creative life of Alberto Ginastera (1916-1983). It was there that the Argentine composer achieved some of his distinguished successes, beginning with the premiere of his Second Sring Quartet (1958), which was commissioned by the Elizabeth Sprague Coolidge Foundation and performed in the Library of Congress. Given these achievements, it is no surprise that Ginastera considered Washington his lucky city. Yet, the U.S. capital also proves providential for researchers, since many of the sources that document the composer’s U.S. activities reside in the Library of Congress. This paper explores the highlights of the Ginastera correspondence that is housed at the LC—a resource that yields fresh perspectives into the composer’s transnational connections with music and musicians in the United States. Ginastera’s letters to Aaron Copland offer a fascinating window into the relationship that the composer shared with a valued teacher, mentor, and friend. His two-way correspondence with Harold Spivacke, the former Chief of the Music Division at the LC, played a formative role in shaping his career. As a whole, the correspondence reveals the way that the Argentine musician upheld the Library of Congress as a model for Latin American nations. He drew deeply on the resources of the LC for a variety of purposes that exemplify his association with the iconic Washington institution.Item How does a Latin American Music Initiative impact an American Charter School Community? Observations from El Sistema Boston [full paper](Latin American Music Center, 2011-10) Campe, Katherine L.; Kaufman, Brian L.Rooted in Venezuela, El Sistema is a visionary global movement that has transformed the lives of youth through music since 1975. A Boston public charter school restructured and invigorated its’ curriculum with the El Sistema music program in September 2010. The pedagogical focus of El Sistema is the orchestra, a model for an ideal community that advances the social and performance skills of students empowering their personal and musical development. Our project aimed to assess the impact of El Sistema, a Latin American education initiative, on an American urban charter school. Self-regulation, motivation, peer-respect and responsibility are the skills and behaviors that were of interest and markers for cognitive, emotional and social development beyond academic achievement. We observed and collected perceptions of social and behavioral changes in students and assessed the potential positive musical influence of El Sistema through a qualitative and quantitative music literacy test. In our observations, the El Sistema curriculum has been perceived as a positive influence on the students’ social and behavioral development. Participating in the program provides students with valuable social interactions, enabling them to engage in collaborative learning, as well as propelling their musical knowledge. Further assessment will determine the El Sistema curriculum’s impact outside of the music classroom. Through further observation of El Sistema programs throughout the U.S., we can observe and acknowledge the large scale impact of this Latin American music initiative in our country.Item Increasing Cultural Awareness through Choral Music [full paper](Latin American Music Center, 2011-10) Meisten, Kimberly D.This paper examines the impact of a unique community engagement program called ¡Cantaré!, which places Mexican composers in Minnesota classrooms to serve as composers-in-residence. Since 2008, the Minnesota-based chorus VocalEssence has connected eight different Mexican composers with more than 20 school, college and community choruses. Urban, suburban and rural communities have participated. The composers work directly with the singers and write new choral works specifically for each group. Through the VocalEssence !Cantaré! program, more than 5000 people have heard 35 new choral works, commissioned and premiered in community concerts throughout the state. The paper will clarify the effects of the program on audiences, composers and performers by reviewing evaluation results and exploring the cross-cultural influences of the compositions. Data has been collected from student, teacher and composer surveys; teacher and student focus groups; classroom observations; Cultural Advisory Committee meeting notes; audience and budget statistics; and related ¡Cantaré! educational resources developed for music teachers and conductors. Key findings reinforce the profound impact of the arts (in this case, contemporary choral music) in the assimilation process of immigrant populations. As the public face of the immigrant group, the arts can enhance understanding and tolerance, easing the incorporation of present and future immigrants. It is our hope that this paper will demonstrate the program’s positive social and musical impact, thus motivating others to replicate the program nationally.
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