DOCSLIB.ORG

Nordic Higher Music Education

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nordic Higher Music Education Nordic Higher Music Education: The Member Institutions of the Nordic Council of Conservatories Marja Heimonen Nordiska Konservatorierådet Nordic Council of Conservatories 2004 ii Acknowledgements This report is about higher music education offered by the member institutions of the Nordic Council of Conservatories (Nordiska Konservatorierådet). I would like to direct my special thanks to Dr Pekka Vapaavuori, the General Secretary of the Council, for his encouragement and invaluable comments on the work. I would also like to express my sincere thanks to all the members of the Working Committee for their support and the most important information they so kindly offered me. I am deeply indebted to all my contacts at the member institutions. I am also grateful for Professor Emeritus Anthony Kemp for revising the questionnaire, and I give special thanks to all those people who kindly answered the questions. Without them this work would not exist. I would like to express my gratitude to the personnel at the Sibelius Academy for helping me in many ways. Finally, I would like to thank Kari Kääriäinen for the layout and computing help. Helsinki, June 2004 Marja Heimonen iii CONTENTS INTRODUCTION ...................................................................................................................................................1 BACKGROUND .....................................................................................................................................................1 PRINCIPAL QUESTIONS .........................................................................................................................................2 APPROACH OF THE STUDY....................................................................................................................................2 OBJECTIVES .........................................................................................................................................................2 SIGNIFICANCE......................................................................................................................................................3 DURATION ...........................................................................................................................................................3 EVALUATION AND DISSEMINATION ......................................................................................................................3 ABBREVIATIONS ..................................................................................................................................................3 PROFESSIONAL MUSIC TRAINING IN THE NORDIC COUNTRIES.............................................................5 INTRODUCTION ....................................................................................................................................................5 DANISH HIGHER EDUCATION................................................................................................................................7 Higher music education in Denmark..............................................................................................................8 Some general remarks.................................................................................................................................................8 The status of education and degrees offered ...............................................................................................................8 The main contents of study programmes.....................................................................................................................9 Nordic and international co-operation.......................................................................................................................10 Reforms.....................................................................................................................................................................10 Strengths and profiles (according to the answers to the questionnaire).....................................................................10 FINNISH HIGHER EDUCATION .............................................................................................................................11 Higher music education in Finland..............................................................................................................14 Some general remarks...............................................................................................................................................14 The status of education and degrees offered .............................................................................................................14 The main contents of the study programmes.............................................................................................................14 International co-operation .........................................................................................................................................15 Reforms.....................................................................................................................................................................16 Strengths and profiles (according to the answers to the questionnaire).....................................................................16 ICELANDIC HIGHER EDUCATION .........................................................................................................................17 Higher music education in Iceland...............................................................................................................17 Some general remarks...............................................................................................................................................17 The status of education and degrees awarded ...........................................................................................................18 The main contents of the study programmes.............................................................................................................18 Nordic and international co-operation.......................................................................................................................18 Reforms.....................................................................................................................................................................19 Strengths and profile (according to the answer to the questionnaire)........................................................................19 NORWEGIAN HIGHER EDUCATION ......................................................................................................................19 Higher music education in Norway..............................................................................................................20 Some general remarks...............................................................................................................................................20 The status of education and degrees awarded ...........................................................................................................21 The main contents of the study programmes.............................................................................................................21 International co-operation .........................................................................................................................................23 Forthcoming reforms.................................................................................................................................................24 Strengths and profiles (according to the answers to the questionnaire).....................................................................24 SWEDISH HIGHER EDUCATION............................................................................................................................25 Higher music education in Sweden ..............................................................................................................26 Some general remarks...............................................................................................................................................26 The status of education and degrees awarded ...........................................................................................................26 The main contents of the study programmes.............................................................................................................27 Nordic and international co-operation.......................................................................................................................28 Reforms.....................................................................................................................................................................29 Strengths and profiles (according to the answers to the questionnaire).....................................................................30 THE NORDIC INSTITUTIONS FOR HIGHER MUSIC EDUCATION.............................................................31 TABLE 1: AMOUNT OF STUDENTS.......................................................................................................................31 TABLE 2: DEGREES ............................................................................................................................................32 TABLE 3: STUDY
Load more

Recommended publications
  • New Students' Guide 2018
    New Students' Guide 2018 University of the Arts Student Union PUBLISHER University of the Arts Student Union ArtSU RENEWED EDITION (2018) Riikka Pellinen PHOTOS Mikael Kinanen (cover, ArtSU’s anniversary party 2015) Tiitus Petäjäniemi (p. 17, the capping of Havis Amanda statue 2016) UNIARTS HELSINKI Helsinki 2018 2 DEAR NEW STUDENT, It is my pleasure to welcome you as a member of the University of the Arts Student Union ArtSU! You are currently reading your copy of the New Students’ Guide, a compact data pack- age put together by the Student Union and the organisation of the University of the Arts Helsinki (Uniarts Helsinki). It contains some important things you as a new stu- dent need to know. If you have any questions, you can look for additional information at the Uniarts Helsinki website, intranet Artsi, or ask your department/degree pro- gramme director or your tutor. There is no shame in asking! You, just like any other new student at Uniarts Helsinki, have been appointed a per- sonal student tutor. A tutor is an older student, who wants to direct and guide you dur- ing the coming autumn. Feel free to ask your tutor about anything related to student life, university practices or studies. All tutors have been trained by ArtSU, and your tutor will act as your guide to Uniarts Helsinki, Student Union activities, your own academy and your new fellow students. You will meet your tutor at the beginning of the new students’ orientation period. It is my goal and that of our tutors to make you feel at home in our student community.
    [Show full text]
  • Norway's Jazz Identity by © 2019 Ashley Hirt MA
    Mountain Sound: Norway’s Jazz Identity By © 2019 Ashley Hirt M.A., University of Idaho, 2011 B.A., Pittsburg State University, 2009 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Musicology. __________________________ Chair: Dr. Roberta Freund Schwartz __________________________ Dr. Bryan Haaheim __________________________ Dr. Paul Laird __________________________ Dr. Sherrie Tucker __________________________ Dr. Ketty Wong-Cruz The dissertation committee for Ashley Hirt certifies that this is the approved version of the following dissertation: _____________________________ Chair: Date approved: ii Abstract Jazz musicians in Norway have cultivated a distinctive sound, driven by timbral markers and visual album aesthetics that are associated with the cold mountain valleys and fjords of their home country. This jazz dialect was developed in the decade following the Nazi occupation of Norway, when Norwegians utilized jazz as a subtle tool of resistance to Nazi cultural policies. This dialect was further enriched through the Scandinavian residencies of African American free jazz pioneers Don Cherry, Ornette Coleman, and George Russell, who tutored Norwegian saxophonist Jan Garbarek. Garbarek is credited with codifying the “Nordic sound” in the 1960s and ‘70s through his improvisations on numerous albums released on the ECM label. Throughout this document I will define, describe, and contextualize this sound concept. Today, the Nordic sound is embraced by Norwegian musicians and cultural institutions alike, and has come to form a significant component of modern Norwegian artistic identity. This document explores these dynamics and how they all contribute to a Norwegian jazz scene that continues to grow and flourish, expressing this jazz identity in a world marked by increasing globalization.
    [Show full text]
  • NORDIC COOL 2013 Feb. 19–Mar. 17
    NORDIC COOL 2013 DENMARK FINLAND Feb. 19–MAR. 17 ICELAND NorwAY SWEDEN THE KENNEDY CENTER GREENLAND THE FAroE ISLANDS WASHINGTON, D.C. THE ÅLAND ISLANDS Nordic Cool 2013 is presented in cooperation with the Nordic Council of Ministers and Denmark, Finland, Iceland, Norway, and Sweden. Presenting Underwriter HRH Foundation Festival Co-Chairs The Honorable Bonnie McElveen-Hunter, Marilyn Carlson Nelson, and Barbro Osher Major support is provided by the Honorable Bonnie McElveen-Hunter, Mrs. Marilyn Carlson Nelson and Dr. Glen Nelson, the Barbro Osher Pro Suecia Foundation, David M. Rubenstein, and the State Plaza Hotel. International Programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts. NORDIC COOL 2013 Perhaps more so than any other international the Faroe Islands… whether attending a performance festival we’ve created, Nordic Cool 2013 manifests at Sweden’s Royal Dramatic Theatre (where Ingmar the intersection of life and nature, art and culture. Bergman once presided), marveling at the exhibitions in Appreciation of and respect for the natural environment the Nobel Prize Museum, or touring the National Design are reflected throughout the Nordic countries—and Museum in Helsinki (and being excited and surprised at they’re deeply rooted in the arts there, too. seeing objects from my personal collection on exhibit there)… I began to form ideas and a picture of the The impact of the region’s long, dark, and cold winters remarkable cultural wealth these countries all possess. (sometimes brightened by the amazing light of the , photo by Sören Vilks Sören , photo by aurora borealis).
    [Show full text]
  • Persecution, Collaboration, Resistance
    Münsteraner Schriften zur zeitgenössischen Musik 5 Ina Rupprecht (ed.) Persecution, Collaboration, Resistance Music in the ›Reichskommissariat Norwegen‹ (1940–45) Münsteraner Schrift en zur zeitgenössischen Musik Edited by Michael Custodis Volume 5 Ina Rupprecht (ed.) Persecution, Collaboration, Resistance Music in the ‘Reichskommissariat Norwegen’ (1940–45) Waxmann 2020 Münster x New York The publication was supported by the Deutsche Forschungsgemeinschaft , the Grieg Research Centre and the Westfälische Wilhelms-Universität Münster as well as the Open Access Publication Fund of the University of Münster. Bibliographic information published by the Deutsche Nationalbibliothek Th e Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografi e; detailed bibliographic data are available in the Internet at http://dnb.dnb.de Münsteraner Schrift en zur zeitgenössischen Musik, Volume 5 Print-ISBN 978-3-8309-4130-9 E-Book-ISBN 978-3-8309-9130-4 DOI: https://doi.org/10.31244/9783830991304 CC BY-NC-SA 4.0 Waxmann Verlag GmbH, 2020 Steinfurter Straße 555, 48159 Münster www.waxmann.com [email protected] Cover design: Pleßmann Design, Ascheberg Cover pictures: © Hjemmefrontarkivet, HA HHI DK DECA_0001_44, saddle of sources regarding the Norwegian resistance; Riksarkivet, Oslo, RA/RAFA-3309/U 39A/ 4/4-7, img 197, Atlantic Presse- bilderdienst 12. February 1942: Th e newly appointed Norwegian NS prime minister Vidkun Quisling (on the right) and Reichskomissar Josef Terboven (on the left ) walking along the front of an honorary
    [Show full text]
  • Norway – Music and Musical Life
    Norway2BOOK.book Page 273 Thursday, August 21, 2008 11:35 PM Chapter 18 Norway – Music and Musical Life Chapter 18 Norway – Music and Musical Life By Arvid Vollsnes Through all the centuries of documented Norwegian music it has been obvi- ous that there were strong connections to European cultural life. But from the 14th to the 19th century Norway was considered by other Europeans to be remote and belonging to the backwaters of Europe. Some daring travel- ers came in the Romantic era, and one of them wrote: The fantastic pillars and arches of fairy folk-lore may still be descried in the deep secluded glens of Thelemarken, undefaced with stucco, not propped by unsightly modern buttress. The harp of popular minstrelsy – though it hangs mouldering and mildewed with infrequency of use, its strings unbraced for want of cunning hands that can tune and strike them as the Scalds of Eld – may still now and then be heard sending forth its simple music. Sometimes this assumes the shape of a soothing lullaby to the sleep- ing babe, or an artless ballad of love-lorn swains, or an arch satire on rustic doings and foibles. Sometimes it swells into a symphony descriptive of the descent of Odin; or, in somewhat less Pindaric, and more Dibdin strain, it recounts the deeds of the rollicking, death-despising Vikings; while, anon, its numbers rise and fall with mysterious cadence as it strives to give a local habitation and a name to the dimly seen forms and antic pranks of the hol- low-backed Huldra crew.” (From The Oxonian in Thelemarken, or Notes of Travel in South-Western Norway in the Summers of 1856 and 1857, written by Frederick Metcalfe, Lincoln College, Oxford.) This was a typical Romantic way of describing a foreign culture.
    [Show full text]
  • Trollfågeln the Magic Bird
    EMILIA AMPER Trollfågeln The Magic Bird BIS-2013 2013_f-b.indd 1 2012-10-02 11.28 Trollfågeln 1. Till Maria 5'00 2. G-mollpolska efter Anders Gustaf Jernberg 3'25 3. Ut i mörka natten 4'55 4. Isadoras land 3'50 5. Trollfuglen 2'25 6. Polska fra Hoffsmyran 4'02 7. Herr Lager och skön fager 3'08 8. Brännvinslåt från Torsås 2'40 9. Pigopolskan / Den glömda polskan 5'08 10. När som flickorna de gifta sig 4'05 11. Kapad 4'44 12. Bredals Näckapolska 3'01 13. Galatea Creek 3'19 14. Vals från Valsebo 8'56 TT: 59'42 Emilia Amper nyckelharpa, sång Johan Hedin nyckelharpa Anders Löfberg cello Dan Svensson slagverk, gitarr, sång Olle Linder slagverk, gitarr Helge Andreas Norbakken slagverk Stråkar ur TrondheimSolistene: Johannes Rusten och Daniel Turcina violin Frøydis Tøsse viola, Marit Aspaas cello Rolf Hoff Baltzersen kontrabas 2 Trollfågeln innehåller 14 spår som på många sätt illustrerar mig som person och mitt liv som musiker och kompositör. Här är musiken som jag brinner för, en brokig skara låtar där traditionella svenska polskor möter nykomponerad musik inspirerad av andra länders folk- musik, och av pop, rock och kammarmusik. Jag spelar och sjunger solo eller tillsammans med goda vänner från både folkmusik och klassiskt. Som 10-åring förälskade jag mig i nyckelharpan vid första ögonkastet! Barndomens direkta glädje av instrument och melodier övergick efterhand i ett växande intresse för folkmusiken som genre. Jag mötte musik och människor från hela världen, och för mig var det liksom samma språk vi alla talade, ett språk där kopplingen mellan musik och dans är direkt och självklar.
    [Show full text]
  • Mindekirken COMMUNICATOR No
    Mindekirken COMMUNICATOR No. 146 February 2016 Newsletter of the Norwegian Lutheran Memorial Church - ELCA Family Fun Event Feb. 21 at 1:00 p.m. Come make pretzels! Come celebrate Lent with us and make pretzels! Pretzels were commonly made during Lent because while many people were fasting from certain foods, such as milk, butter, cheese, eggs, and meat, they would make pretzels out of water, flour and salt to remind themselves that Lent was a time to fast. The pretzels were shaped in the form of crossed arms to symbolize prayer. Come join me in making pretzels on Sunday Feb. 21st! All are welcome. Location: Oslo/Bergen Room Please contact Rachel Maxwell, Youth Ministry Director with any questions Laura Ellestad, Hardanger fiddle player 608-790-6462 [email protected] to perform at Mindekirken on Sun., Feb. 7 11:00 am Norwegian Worship Service 1:00 pm Gathering of Hardanger fiddle players Open to the Public Laura Ellestad plays traditional Hardanger fiddle music from Val- dres, Norway. She holds a bachelor’s degree in Traditional Music Performance from the Ole Bull Academy in Voss (2008–2012) and a master's degree in Performance with Thesis from the Norwegian Academy of Music in Oslo (2012–2014). She has studied with some of the foremost Hardanger fiddlers and tradition bearers in Norway, including Tore Bolstad, Jan Beit- ohaugen Granli, Leif Rygg, and Håkon Høgemo. Laura grew up in Calgary, Alberta, Canada. She received the Hardanger Fiddle Association of America’s Ole Bull Scholarship in 2005. In 2009 she received Torleiv Bolstads minnestipend, a me- morial scholarship awarded to young fiddlers who play in the Valdres tradition.
    [Show full text]
  • New Student's Guide 2020
    New Student's Guide 2020 University of the Arts Student Union PUBLISHER University of the Arts Student Union (ArtSU) RENEWED EDITION (2020) Hannu Jaakkola, Ville Sinnemäki PHOTOS Mikael Kinanen (cover, ArtSU’s anniversary party 2015) Tiitus Petäjäniemi (p. 16, the capping of Havis Amanda statue 2016) UNIARTS HELSINKI Helsinki 2020 2 TABLE OF CONTENTS 1. What is Uniarts Helsinki? 4 2. Why am I a member of the Student Union? 4 What is ArtSU? 4 Membership and the membership fee 4 Interest organisation of the students 5 Bringing students together in events 5 Benefits and services provided by the Student Union 5 ArtSU administration and communications 6 Academy committees and department clubs 6 3. How can I get started with my studies? 8 University registration i.e. enrollment for the academic year 8 Student card 8 Housing 9 Notification of a change of address 10 4. Where should I be, and how do I know what is happening? 11 The Uniarts Helsinki locations 11 Communications 11 Practical tips for students 11 5. What rights and responsibilities do I have? How can I affect the University? 13 Duration of studies for a university degree 13 Right to study 13 Extending the right to study 14 Assessment of study attainments -- students’ rights 14 Chances of making an impact 14 Subject groups, degree programmes and subject areas 15 6. How can I get by as a student? 17 Student financial aid 17 General housing allowance 18 Income support 19 Grants 20 Working 20 7. How can I use student discounts and enjoy the student life? 21 Student lunches 21 Travelling 21 Short guide to public traffic for students 22 Other discounts and affordable services 23 Parties 23 8.
    [Show full text]
  • 2001-2002 Season Schedule
    Press Release FOR IMMEDIATE RELEASE: March 6, 2012 The John F. Kennedy Center for the Performing Arts announces Nordic Cool 2013 International Festival of Theater, Dance, Music, Visual Arts, Literature, Design, and Film To Highlight Culture of Denmark, Finland, Iceland, Norway, and Sweden As Well as Territories of Greenland, the Faroe and Åland Islands In Ticketed and Free Events Throughout the Kennedy Center February 19 – March 17, 2013 (WASHINGTON, D.C.)—From February 19 to March 17, 2013, the John F. Kennedy Center for the Performing Arts presents an unprecedented festival highlighting the culture of the Nordic countries— Denmark, Finland, Iceland, Norway, Sweden—and the territories of Greenland, the Faroe, and Åland Islands. Continuing the Center’s tradition of producing renowned international celebrations by curating traditional and contemporary expressions of theater, dance, music, visual arts, literature, design, and film, this Festival will also explore the interplay of themes central to Nordic life, such as nature, technological innovation, environmental sustainability, entrepreneurial spirit, and youth culture. Seeking to answer the question of what is “Nordic,” this Festival aspires to offer clarity on a region of the world whose dynamic culture and creative economy have seemed elusive to many, particularly in America. By exploring the region’s cultural diversity, the Kennedy Center aims to foster an appreciation of the Nordic heritage, and an understanding of the region’s emerging global influence. In addition to the performing arts, New Nordic Cuisine will be highlighted in the Kennedy Center’s restaurants and demonstrations by the region’s renowned chefs will be featured on the Millennium Stage.
    [Show full text]
  • The Finnish National Opera and Ballet in 2016
    THE FINNISH NATIONAL OPERA AND BALLET IN 2016 This is a shortened Finnish National Opera and Ballet The Finnish National Opera and Ballet is a national arts version of the institution, offering opera and ballet performances and Annual Report 2016. other events to Finns of all ages. Guest performances, Memorable school operas, TV broadcasts and streaming bring the FNOB to everyone all over the country and even the experiences globe. In terms of personnel, the Finnish National Opera and Ballet is a medium-sized opera and ballet company. for everyone In 2016, there were 538 employees on average, representing 36 nationalities. The Orchestra has 112 members, the Chorus has 50 singers, the Ballet has 78 dancers and the FNB Youth Company 12 dancers. Finnish and foreign guest artists appear alongside the FNOB’s own soloists. The FNOB also employs experts from a wide range of crafts specialities, from shoemakers to metalworkers. Our aim is to create a good and inspiring workplace for all professional groups by being equitable, transparent and fair; by offering opportunities for continuing self-improvement; and by supporting wellbeing at work and work ability. The FNOB generally stages four new opera productions and three new ballet productions each year. Added to these are revivals of old productions, resulting in a programme that is different every week and may include dozens of productions in the course of the year. The FNOB performs both established classics and contemporary opera and dance works, especially new Finnish works. All the opera performances are performed in original language and subtitled in English, Finnish and Swedish.
    [Show full text]
  • Helsinki Music Center Concert Hall Helsinki, Finland 2011
    HELSINKI MUSIC CENTER CONCERT HALL HELSINKI, FINLAND 2011 Acoustic Consultant: Nagata Acoustics Architect: Arkkitehtitoimisto Laiho-Pulkkinen-Raunio Owner: Kiinteistö Oy: State of Finland (48%) City of Helsinki (28%) Finish Broadcasting Company (26%) Main User: Helsinki Philharmonic Orchestra (HPO) Finnish Radio Symphony Orchestra (FRSO) Sibelius Academy (SibA) Construction Cost: 188 million EUR The Helsinki Music Centre was built in the central district of the city of Helsinki, between Finlandia Hall (Alvar Aalto, architect), and the contemporary art museum, Kiasma (Steven Holl, architect). The National Parliament of Finland stands across the street from the Centre. The 1,704-seat concert hall forms the core of the building. In addition to the concert hall, there are six small halls ranging from 140–400 seats and the Sibelius Academy premises. The function and acoustics in each small hall has been designed to serve a different program: orchestra rehearsal, organ, chamber music, vocal music, black box, and lecture. The Centre is owned jointly by the state of Finland, the City of Helsinki, and the Finnish Broadcasting Company (YLE), and the main users of the centre are the Helsinki Philharmonic Orchestra (HPO), the Finnish Radio Symphony Orchestra (FRSO), and the Sibelius Academy. BUILDING DETAILS AND ACOUSTIC DATA Location Mannerheimintie 13a, Helsinki, Finland Building Size 38,600 m2 Concert Hall: Seating Capacity 1,704 Room Volume 24,000 m3 Reverberation Time (Mid-Frequency) Unoccupied 2.5 sec Occupied 2.1 sec Finish Materials Ceiling : Painted fiberglass cloth on concrete. Walls : Wood work with random groove on concrete, Wood grill, Glazing Aud. Floor : Wood flooring on concrete Stage Floor : Finnish pine Canopy : Painted figerglass cloth on concrete Noise Level : NC < 15 PLAN REVERBERATION TIME LONGITUDINAL SECTION HELSINKI MUSIC CENTER CONCERT HALL HELSINKI, FINLAND 2011 Music Facilities 1.
    [Show full text]
  • Northern Lights: Even Hammer and the Norwegian Enlightenment
    Northern Lights: Even Hammer and the Norwegian Enlightenment Sophus A. Reinert Working Paper 17-054 Northern Lights: Even Hammer and the Norwegian Enlightenment Sophus A. Reinert Harvard Business School Working Paper 17-054 Copyright © 2016 by Sophus A. Reinert Working papers are in draft form. This working paper is distributed for purposes of comment and discussion only. It may not be reproduced without permission of the copyright holder. Copies of working papers are available from the author. Northern Lights: Even Hammer and the Norwegian Enlightenment Sophus A. Reinert1 Harvard Business School On 27 May 1776, the Scottish immigrant John Robertson Brand, sometimes known as John Brandt, was awarded a silver medal by the Royal Norwegian Scientific Society in the church of the fishing village of Hustad, south of the Trondheim Fjord in central Norway. Though below the Arctic Circle, Hustad lays slightly off the 63rd parallel north, which otherwise runs through Canada’s Nunavut and Yukon Territories, the Davis Strait, and the deep Russian tundra, far, far north of the traditional latitudes of Enlightenment. And yet, stepping into the small wooden church’s aisle on that spring day to deliver a speech marking the occasion, District Governor Even Hammer of Romsdal (1732-1800) summoned a language of reform, improvement, industriousness, civic virtue, public happiness, jealousy of trade, and political economy, that would have resonated deeply and widely across the European world, a language indebted to wider international currents but resolutely inflected by local conditions in what he appropriately called ‘our cold North’.2 Few cases better justify the great Turinese historian Franco Venturi’s admonition, a few 1 Rolv Petter Amdam first introduced me to Even Hammer, and I would like to express my gratitude to him, to Mads Langnes at Romsdalsmuseet in Molde for going well beyond the call of duty in facilitating my work on this intriguing figure, and, particularly, to Marit Sjelmo for jovial research assistance and Robert Fredona for invaluable suggestions.
    [Show full text]