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21M.380 Music and Technology: Live Electronics Performance Practices (MIT) 21M.380 Music and Technology: Live Electronics Performance Practices (MIT)

Description

Includes audio/video content: AV special element video, AV special element audio. This course is a creative, hands-on exploration of contemporary and historical approaches to live electronics performance and improvisation, including basic analog instrument design, computer synthesis programming, and hardware and software interface design. Includes audio/video content: AV special element video, AV special element audio. This course is a creative, hands-on exploration of contemporary and historical approaches to live electronics performance and improvisation, including basic analog instrument design, computer synthesis programming, and hardware and software interface design.

Subjects

Music composition | Music composition | music history | music history | computer music | computer music | music performance | music performance | electronic music | electronic music | contemporary music | contemporary music | music synthesis | music synthesis | improvisation | improvisation | analog electronics | analog electronics | live electronic music | live electronic music | electroacoustic improvisation | electroacoustic improvisation

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21M.775 Hip Hop (MIT) 21M.775 Hip Hop (MIT)

Description

This course explores the political and aesthetic foundations of hip hop. It traces the musical, corporeal, visual, spoken word, and literary manifestations of hip hop over its thirty-five year presence in the American cultural imaginary. It also investigates specific black cultural practices that have given rise to its various idioms. Hip hop has invigorated the academy, inspiring scholarship rooted in black musical and literary traditions. This course assesses these sharp breaks and flamboyant versionings of hip hop that have occurred within the academy.RealOne™ is a trademark or a registered trademark of RealNetworks, Inc. This course explores the political and aesthetic foundations of hip hop. It traces the musical, corporeal, visual, spoken word, and literary manifestations of hip hop over its thirty-five year presence in the American cultural imaginary. It also investigates specific black cultural practices that have given rise to its various idioms. Hip hop has invigorated the academy, inspiring scholarship rooted in black musical and literary traditions. This course assesses these sharp breaks and flamboyant versionings of hip hop that have occurred within the academy.RealOne™ is a trademark or a registered trademark of RealNetworks, Inc.

Subjects

Hip Hop | Hip Hop | Dance | Dance | Rap | Rap | Black | Black | visual culture | visual culture | Music | Music | African | African | American | American | history | history | literature | literature | sexuality | sexuality | mysogyny | mysogyny | feminism | feminism | performance | performance | electronic music | electronic music | activism | activism | politics | politics | consumerism | consumerism | race | race | artist | artist | political | political | aesthetic | aesthetic | musical | musical | corporeal | corporeal | visual | visual | spoken word | spoken word | literary | literary | American cultural imagery | American cultural imagery | African American | African American | cultural practices | cultural practices | material culture | material culture | performance studio | performance studio | hip hop style | hip hop style | rapping | rapping | break | break | breaking | breaking | beats | beats | dj | dj | dee jay | dee jay | turntables | turntables | mic | mic | mc | mc | graffiti | graffiti | fashion | fashion | sex | sex | feminist | feminist | electronica | electronica | mediated performance | mediated performance | anarchy | anarchy | commodity fetishism | commodity fetishism | globalization | globalization | whiteness | whiteness | realness | realness | journalism | journalism | criticism | criticism | autobiography | autobiography | black | black

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21M.380 Music and Technology: Algorithmic and Generative Music (MIT) 21M.380 Music and Technology: Algorithmic and Generative Music (MIT)

Description

Includes audio/video content: AV special element audio. This course examines the history, techniques, and aesthetics of mechanical and computer-aided approaches to algorithmic music composition and generative music systems. Through creative hands-on projects, readings, listening assignments, and lectures, students will explore a variety of historical and contemporary approaches. Diverse tools and systems will be employed, including applications in Python, MIDI, Csound, SuperCollider, and Pure Data. Includes audio/video content: AV special element audio. This course examines the history, techniques, and aesthetics of mechanical and computer-aided approaches to algorithmic music composition and generative music systems. Through creative hands-on projects, readings, listening assignments, and lectures, students will explore a variety of historical and contemporary approaches. Diverse tools and systems will be employed, including applications in Python, MIDI, Csound, SuperCollider, and Pure Data.

Subjects

Music composition | Music composition | music history | music history | music aesthetics | music aesthetics | algorithmic composition | algorithmic composition | generative music | generative music | computer music | computer music | electronic music | electronic music | contemporary music | contemporary music | music synthesis | music synthesis

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21M.380 Music and Technology (Contemporary History and Aesthetics) (MIT) 21M.380 Music and Technology (Contemporary History and Aesthetics) (MIT)

Description

Includes audio/video content: AV selected lectures, AV special element audio. This course is an investigation into the history and aesthetics of music and technology as deployed in experimental and popular musics from the 19th century to the present. Through original research, creative hands-on projects, readings, and lectures, the following topics will be explored. The history of radio, audio recording, and the recording studio, as well as the development of musique concrète and early electronic instruments. The creation and extension of musical interfaces by composers such as Harry Partch, John Cage, Conlon Nancarrow, and others. The exploration of electromagnetic technologies in pickups, and the development of dub, hip-hop, and turntablism. The history and application of the analog syn Includes audio/video content: AV selected lectures, AV special element audio. This course is an investigation into the history and aesthetics of music and technology as deployed in experimental and popular musics from the 19th century to the present. Through original research, creative hands-on projects, readings, and lectures, the following topics will be explored. The history of radio, audio recording, and the recording studio, as well as the development of musique concrète and early electronic instruments. The creation and extension of musical interfaces by composers such as Harry Partch, John Cage, Conlon Nancarrow, and others. The exploration of electromagnetic technologies in pickups, and the development of dub, hip-hop, and turntablism. The history and application of the analog syn

Subjects

audio | audio | music technology | music technology | sound recording | sound recording | sound reproduction | sound reproduction | contemporary music | contemporary music | experimental music | experimental music | electronic music | electronic music | synthesis | synthesis | synthesizers | synthesizers | music history | music history | music software | music software | analog recording | analog recording | digital recording | digital recording | digital audio | digital audio | music composition | music composition | computer music | computer music | Musique concr?te | Musique concr?te | rock music | rock music | rock and roll | rock and roll | hip hop | hip hop | circuit bending | circuit bending | phonograph | phonograph | radio | radio | noise music | noise music | recording studio | recording studio | sequencer | sequencer | sampling | sampling | sampler | sampler | sound art | sound art | electric guitar | electric guitar | turntablism | turntablism | scratching | scratching | electro-acoustic music | electro-acoustic music | music copyright | music copyright

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21M.361 Composing with Computers I (Electronic Music Composition) (MIT) 21M.361 Composing with Computers I (Electronic Music Composition) (MIT)

Description

Includes audio/video content: AV special element audio. This class explores sound and what can be done with it. Sources are recorded from students' surroundings - sampled and electronically generated (both analog and digital). Assignments include composing with the sampled sounds, feedback, and noise, using digital signal processing (DSP), convolution, algorithms, and simple mixing. The class focuses on sonic and compositional aspects rather than technology, math, or acoustics, though these are examined in varying detail. Students complete weekly composition and listening assignments; material for the latter is drawn from sound art, experimental electronica, conventional and non-conventional classical electronic works, popular music, and previous students' compositions. Includes audio/video content: AV special element audio. This class explores sound and what can be done with it. Sources are recorded from students' surroundings - sampled and electronically generated (both analog and digital). Assignments include composing with the sampled sounds, feedback, and noise, using digital signal processing (DSP), convolution, algorithms, and simple mixing. The class focuses on sonic and compositional aspects rather than technology, math, or acoustics, though these are examined in varying detail. Students complete weekly composition and listening assignments; material for the latter is drawn from sound art, experimental electronica, conventional and non-conventional classical electronic works, popular music, and previous students' compositions.

Subjects

computer music | computer music | sound | sound | music | music | audio | audio | listening | listening | electronic music | electronic music | new music | new music | electronica | electronica | sound art | sound art | noise | noise | noise music | noise music | avant-garde | avant-garde | contemporary music | contemporary music | modern music | modern music | composition | composition | recording | recording | music production | music production | recording studio | recording studio | audio software | audio software | recording software | recording software | sampling | sampling | synthesis | synthesis | audio engineering | audio engineering | mixing | mixing | Radiohead | Radiohead

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21M.775 Hip Hop (MIT) 21M.775 Hip Hop (MIT)

Description

This class explores the political and aesthetic foundations of hip hop. Students trace the musical, corporeal, visual, spoken word, and literary manifestations of hip hop over its 30 year presence in the American cultural imagery. Students also investigate specific black cultural practices that have given rise to its various idioms. Students create material culture related to each thematic section of the course. Scheduled work in performance studio helps students understand how hip hop is created and assessed. This class explores the political and aesthetic foundations of hip hop. Students trace the musical, corporeal, visual, spoken word, and literary manifestations of hip hop over its 30 year presence in the American cultural imagery. Students also investigate specific black cultural practices that have given rise to its various idioms. Students create material culture related to each thematic section of the course. Scheduled work in performance studio helps students understand how hip hop is created and assessed.

Subjects

Hip Hop | Hip Hop | Dance | Dance | Rap | Rap | Black | Black | breaking | breaking | visual culture | visual culture | Music | Music | African | African | American | American | African-American | African-American | world music | world music | DJ | DJ | history | history | literature | literature | sexuality | sexuality | misogyny | misogyny | feminism | feminism | performance | performance | electronic music | electronic music | activism | activism | politics | politics | consumerism | consumerism | race | race | artist | artist | racism | racism | turntablism | turntablism | gangsta | gangsta | gangster | gangster | beats | beats | graffiti | graffiti | fashion | fashion | popular culture | popular culture | urban | urban | authenticity | authenticity

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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CMS.876 History of Media and Technology: Sound, the Minority Report -- Radical Music of the Past 100 Years (MIT) CMS.876 History of Media and Technology: Sound, the Minority Report -- Radical Music of the Past 100 Years (MIT)

Description

This course looks at the history of avant-garde and electronic music from the early twentieth century to the present. The class is organized as a theory and production seminar for which students may either produce audio/multimedia projects or a research paper. It engages music scholarship, cultural criticism, studio production, and multi-media development, such as recent software, sound design for film and games, and sound installation. Sound as a media tool for communication and sound as a form of artistic expression are subjects under discussion. The artists' work reviewed in the course includes selections from audio innovators such as the Italian Futurists, Edgard Varèse, John Cage, King Tubby, Brian Eno, Steve Reich, Afrika Bambaataa, Kraftwerk, Merzbow, Aphex Twin, Rza, Björk, and This course looks at the history of avant-garde and electronic music from the early twentieth century to the present. The class is organized as a theory and production seminar for which students may either produce audio/multimedia projects or a research paper. It engages music scholarship, cultural criticism, studio production, and multi-media development, such as recent software, sound design for film and games, and sound installation. Sound as a media tool for communication and sound as a form of artistic expression are subjects under discussion. The artists' work reviewed in the course includes selections from audio innovators such as the Italian Futurists, Edgard Varèse, John Cage, King Tubby, Brian Eno, Steve Reich, Afrika Bambaataa, Kraftwerk, Merzbow, Aphex Twin, Rza, Björk, and

Subjects

popular culture | popular culture | contemporary music | contemporary music | rock | rock | rap | rap | electronic music | electronic music | electronica | electronica | sampling | sampling | noise | noise | audio | audio | avant-garde | avant-garde | music criticism | music criticism | studio production | studio production | podcast | podcast | mashup | mashup | collage | collage | tape loop | tape loop | DJ | DJ | synthesizer | synthesizer | music synthesis | music synthesis | drum machine | drum machine | music concrete | music concrete

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21M.380 Music and Technology: Live Electronics Performance Practices (MIT)

Description

This course is a creative, hands-on exploration of contemporary and historical approaches to live electronics performance and improvisation, including basic analog instrument design, computer synthesis programming, and hardware and software interface design.

Subjects

Music composition | music history | computer music | music performance | electronic music | contemporary music | music synthesis | improvisation | analog electronics | live electronic music | electroacoustic improvisation

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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CMS.876 History of Media and Technology: Sound, the Minority Report -- Radical Music of the Past 100 Years (MIT)

Description

This course looks at the history of avant-garde and electronic music from the early twentieth century to the present. The class is organized as a theory and production seminar for which students may either produce audio/multimedia projects or a research paper. It engages music scholarship, cultural criticism, studio production, and multi-media development, such as recent software, sound design for film and games, and sound installation. Sound as a media tool for communication and sound as a form of artistic expression are subjects under discussion. The artists' work reviewed in the course includes selections from audio innovators such as the Italian Futurists, Edgard Varèse, John Cage, King Tubby, Brian Eno, Steve Reich, Afrika Bambaataa, Kraftwerk, Merzbow, Aphex Twin, Rza, Bj&oum

Subjects

popular culture | contemporary music | rock | rap | electronic music | electronica | sampling | noise | audio | avant-garde | music criticism | studio production | podcast | mashup | collage | tape loop | DJ | synthesizer | music synthesis | drum machine | music concrete

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21M.775 Hip Hop (MIT)

Description

This course explores the political and aesthetic foundations of hip hop. It traces the musical, corporeal, visual, spoken word, and literary manifestations of hip hop over its thirty-five year presence in the American cultural imaginary. It also investigates specific black cultural practices that have given rise to its various idioms. Hip hop has invigorated the academy, inspiring scholarship rooted in black musical and literary traditions. This course assesses these sharp breaks and flamboyant versionings of hip hop that have occurred within the academy.RealOne™ is a trademark or a registered trademark of RealNetworks, Inc.

Subjects

Hip Hop | Dance | Rap | Black | visual culture | Music | African | American | history | literature | sexuality | mysogyny | feminism | performance | electronic music | activism | politics | consumerism | race | artist | political | aesthetic | musical | corporeal | visual | spoken word | literary | American cultural imagery | African American | cultural practices | material culture | performance studio | hip hop style | rapping | break | breaking | beats | dj | dee jay | turntables | mic | mc | graffiti | fashion | sex | feminist | electronica | mediated performance | anarchy | commodity fetishism | globalization | whiteness | realness | journalism | criticism | autobiography | black

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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21M.380 Music and Technology: Algorithmic and Generative Music (MIT)

Description

This course examines the history, techniques, and aesthetics of mechanical and computer-aided approaches to algorithmic music composition and generative music systems. Through creative hands-on projects, readings, listening assignments, and lectures, students will explore a variety of historical and contemporary approaches. Diverse tools and systems will be employed, including applications in Python, MIDI, Csound, SuperCollider, and Pure Data.

Subjects

Music composition | music history | music aesthetics | algorithmic composition | generative music | computer music | electronic music | contemporary music | music synthesis

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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21M.380 Music and Technology (Contemporary History and Aesthetics) (MIT)

Description

This course is an investigation into the history and aesthetics of music and technology as deployed in experimental and popular musics from the 19th century to the present. Through original research, creative hands-on projects, readings, and lectures, the following topics will be explored. The history of radio, audio recording, and the recording studio, as well as the development of musique concrte and early electronic instruments. The creation and extension of musical interfaces by composers such as Harry Partch, John Cage, Conlon Nancarrow, and others. The exploration of electromagnetic technologies in pickups, and the development of dub, hip-hop, and turntablism. The history and application of the analog synthesizer, from the Moog modular to the Roland TR-808. The history of computer

Subjects

audio | music technology | sound recording | sound reproduction | contemporary music | experimental music | electronic music | synthesis | synthesizers | music history | music software | analog recording | digital recording | digital audio | music composition | computer music | Musique concr?te | rock music | rock and roll | hip hop | circuit bending | phonograph | radio | noise music | recording studio | sequencer | sampling | sampler | sound art | electric guitar | turntablism | scratching | electro-acoustic music | music copyright

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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21M.361 Composing with Computers I (Electronic Music Composition) (MIT)

Description

This class explores sound and what can be done with it. Sources are recorded from students' surroundings - sampled and electronically generated (both analog and digital). Assignments include composing with the sampled sounds, feedback, and noise, using digital signal processing (DSP), convolution, algorithms, and simple mixing. The class focuses on sonic and compositional aspects rather than technology, math, or acoustics, though these are examined in varying detail. Students complete weekly composition and listening assignments; material for the latter is drawn from sound art, experimental electronica, conventional and non-conventional classical electronic works, popular music, and previous students' compositions.

Subjects

computer music | sound | music | audio | listening | electronic music | new music | electronica | sound art | noise | noise music | avant-garde | contemporary music | modern music | composition | recording | music production | recording studio | audio software | recording software | sampling | synthesis | audio engineering | mixing | Radiohead

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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21M.775 Hip Hop (MIT)

Description

This class explores the political and aesthetic foundations of hip hop. Students trace the musical, corporeal, visual, spoken word, and literary manifestations of hip hop over its 30 year presence in the American cultural imagery. Students also investigate specific black cultural practices that have given rise to its various idioms. Students create material culture related to each thematic section of the course. Scheduled work in performance studio helps students understand how hip hop is created and assessed.

Subjects

Hip Hop | Dance | Rap | Black | breaking | visual culture | Music | African | American | African-American | world music | DJ | history | literature | sexuality | misogyny | feminism | performance | electronic music | activism | politics | consumerism | race | artist | racism | turntablism | gangsta | gangster | beats | graffiti | fashion | popular culture | urban | authenticity

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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CMS.876 History of Media and Technology: Sound, the Minority Report -- Radical Music of the Past 100 Years (MIT)

Description

This course looks at the history of avant-garde and electronic music from the early twentieth century to the present. The class is organized as a theory and production seminar for which students may either produce audio/multimedia projects or a research paper. It engages music scholarship, cultural criticism, studio production, and multi-media development, such as recent software, sound design for film and games, and sound installation. Sound as a media tool for communication and sound as a form of artistic expression are subjects under discussion. The artists' work reviewed in the course includes selections from audio innovators such as the Italian Futurists, Edgard Varse, John Cage, King Tubby, Brian Eno, Steve Reich, Afrika Bambaataa, Kraftwerk, Merzbow, Aphex Twin, Rza, Bjrk, and

Subjects

popular culture | contemporary music | rock | rap | electronic music | electronica | sampling | noise | audio | avant-garde | music criticism | studio production | podcast | mashup | collage | tape loop | DJ | synthesizer | music synthesis | drum machine | music concrete

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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21M.260 Stravinsky to the Present (MIT)

Description

This course provides an overview of the musical styles and techniques developed over the past 115 years. The anthology and supplemental listening will present a range of art music aesthetics in a variety of genres such as chamber music, symphonic and choral music, and opera. While tuning your ears to novel sounds, you will hone your own preferences and aim to understand the motivations behind and importance of a wide diversity of compositional orientations, including Expressionism, Impressionism, atonality, neo-Classicism, serialism, nationalism, the influence of jazz and popular idioms, post-tonality, electronic music, aleatory, performance art, post-modernism, minimalism, spectralism, the New Complexity, neo-Romanticism, and post-minimalism.

Subjects

music history | 20th century | contempory music | classical music | serial music | electronic music | minimalism | modernism

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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