Musical Interpretation and Re-invention: Bach Meets Bluegrass

Daniel Sponseller

A Capstone Project

12 May, 2015

Submitted in partial fulfillment of the requirements for Bachelor of Arts degree in

Advisor: Ofer Ben Amots

Introduction

My senior capstone project is an exploration of musical arrangement, a process that involves the adaptation of an original composition for the purpose of performance, and such a process usually involves harmonization, orchestration, or the addition of instrumental .1 The underlying question is, when a piece of music outlives its composer or era, how should it be preserved or re-imagined in a relevant way? To answer this question, I have chosen two pieces of music composed by Johann

Sebastian Bach, the Prelude from the G Major Cello Suite (BWV 1007) and the Bouree

II from English Suite no. 2 in A minor (BWV 807) to arrange for bluegrass instruments.

It is hard to imagine two genres of music more different; one is elevated European art music from the Baroque era, and the other an American popular music with its roots in the folk/country tradition. It is the difference between the styles that unveils the universality of Bach’s music; his music has lent itself to be successfully arranged in styles such as , rock and roll, electronic, and now bluegrass. As a first step for my project, I arranged the cello prelude No. 1 for the five-string banjo. This exercise served as my introduction to getting inside the music of Bach and transferring it to a new instrument. I then arranged the Bouree II for a bluegrass quartet consisting of acoustic guitar, banjo, cello, and mandolin. The cello, not being a part of the traditional bluegrass family, was chosen intentionally as a way to alter the boundaries of bluegrass traditions from within, while linking the folk and art elements in each genre respectively.

Musical interpretation has a long history of debate over what is seen as pure and what is seen as new. In the second half of the twentieth century, with all of the

1 Levine, xx

1 technological advances in instruments and electronics, there were projects like

“Switched-On Bach” in which Bach’s music was recorded on an electronic synthesizer.

These projects spawned a reactionary movement of people more geared toward “purist” arrangements of Bach. Both sides of the argument present valid points. The purists present an important key to understanding composers and their works. But the key is not solely in orchestration. The most important duty of a musical interpreter is to analyze the relationships within the music on the page and be able to transmit that through their performance.

Stubborn members of the music community have associated a prejudice with arrangement. They ignorantly claim it to be destructive to real art. However, it is my opinion that arranging is creative, noble, and respectful. It is a form unique to the art of music and should be embraced rather than taken for granted.

This project has three main objectives. First, it is a juxtaposition of two icons: the composer Bach and the bluegrass style. By merging these icons I challenge the listener to hear the differences and similarities between them and to question their preconceived notions regarding both types of music and I create a style of music that is entirely new. The second objective of the project is to create this new style by creatively exploring the possibilities of sound color and timbre hidden within a three hundred year- old piece of music, while respecting the original composition. The third objective encompasses the philosophical goal questioning the nature of musical composition, the objectivity of a piece of music, and the relationship between a piece of music and its instrumentation and genre.

2 Throughout the course of his life, Bach regularly rewrote his music for different instruments. To me this experiment is logical in the way that it explores Bach’s direction in and phrasing in an entirely new sound world from where it has resided for three hundred years. By transforming these pieces, we continue to pull back the curtain that hides the mystery of Bach.

SECTION I. Bach and Bluegrass in Context

It is hard to overstate Johann Sebastian Bach’s importance to music in Western culture. His works helped to shape the history of Western classical music because he took the musical language that had been under development for many centuries and codified it through his compositions. Today, Bach’s music provides a key for anyone wishing to perform, compose, or understand music in the Western tradition.

Bach wrote the Six English Suites between the years 1715 and 1720. They vary greatly in style from movement to movement, and he also makes allusions to the styles of other composers, particularly Corelli and Buxtehude. There are also sections in which

Bach’s thoroughness of ornamentation demonstrate his pedagogic style.2

I chose the second Bouree from the second of the six suites to arrange for bluegrass because it seems to have both form and content that translate well to bluegrass.

2 Geiringer, 285

3 This movement, like bluegrass music, is in a sectioned, repetitive (binary) form. It has a very fast tempo, which is characteristic of a bluegrass instrumental song. Melodically, the movement has flowing stepwise motion that emphasizes eighth and sixteenth notes culminating at distinct . Harmonically, Bach uses almost strictly the tonic, dominant, subtonic, and secondary dominants, which is the harmonic vocabulary of bluegrass.

The cello suites have a very interesting background story. No known manuscript of the suites in Bach’s hand exists. It is unclear when they were composed, certainly before he moved to Leipzig, but there is no tangible proof that he wrote the suites in

Cothen. We know that he heard some of the earliest multi-movement works for solo violin while working in Weimar, a piece by Johann Paul Westhoff.3 It has even been suggested that he actually began writing the suites while imprisoned in Weimar.

It is likely that the cello suites were written for the cellist of Leopold’s court in

Cothen, though the works are advanced and difficult and would have challenged any cellist of the period. There is also a theory that the suites were not written for the cello at all, but for the violoncello de spalla, a baroque era cello-shaped instrument that was played resting on the shoulder like a violin. 4 The Cello Suites are an interesting choice for this project because of the mystery and ambiguity of the original intention of the composer.

Bluegrass is named after mandolinist Bill Monroe’s band The Blue Grass Boys.

It is a type of acoustic Country and Western music whose popularity began in the rural south, particularly in the Appalachians during the period after the Second World War.

3 Geiringer, 306 4 Siblin, 251

4 Early audiences were blue-collar workers, farm families, and other rural working-class people.5 Bluegrass music was a product of the migration of rural people to urban areas in the 1930’s. They moved usually to work in factories, where those who played music would band together and combine their influences of religious, dance, popular, and folk to create a new style.6 The traditional instrumentation can include any of the following: vocals, fiddle, mandolin, guitar, banjo, and bass. The instruments, techniques, and styles since the form’s inception have steadily changed through the creativity of countless musicians such as Lester Flat, Earl Scruggs, David Grisman, Jerry Garcia, Bela

Fleck, Sam Bush, and Chris Thile. These innovators have not only altered the sound of traditional bluegrass, they’ve also created and informed other genres of music such as

Rock and Roll, Jazz, Newgrass, and traditional classical music.

While Bach’s music and Bluegrass are contrasting in nature, they do offer some similarities. For example, the role of a marked and solid bass line with an ornate and intricate upper voice is characteristic to both styles of music.

Section II. Transformation from Cello to Banjo

Each of Bach’s six suites for cello begins with a prelude. “Bach’s preludes are virtuosic scene-setters that give each suite personality. They are fantasias that operate outside the rigid tempos governing the other movements; they stop, start, and stray, soar

5 Rosenberg, 6 6 Rosenberg, 19

5 to dizzying heights, hold their breath, and come crashing down. The essence of the story told by each suite is concentrated in the prelude.”7 The introductory phrases of the G major prelude seem to arrive with the tempo of waves rolling onto shore. This iconic piece of music unfolds like the telling of a timeless story, with both intrigue and inevitability. But why did Bach choose to write this sophisticated masterpiece for the violoncello, which at the time was considered a lowly instrumented, relegated to background droning?8 Aside from keyboard music, compositions for solo instruments in

Bach’s era were hardly common. He heard the Suite for solo violin by Johann Paul

Westhoff while working in Weimar and perhaps this was a catalyst for the conception of the Cello Suites. There is a romantic but plausible theory that like Cervantes with “Don

Quixote” and Oscar Wilde with “de profundis”, Bach dreamed up his masterful Cello

Suites while in prison.

7 Siblin, 28 8 Siblin, 4

6

The cello has a range of ppp to ff. The horsehair bow, held in the right hand, is drawn across the strings, creating a continuous sustained sound by friction between the bow and the string. The fingerboard and bridge are curved so that the bow can be used on each string individually. The cello has four strings tuned in fifths with a low range, from low C up to the A below middle C. The tone is full and rich, particularly on open strings. The sound is brighter and more focused in the higher reaches of the instrument.

It is held vertically and supported off the floor by an adjustable endpin coming from the bottom of the instrument. There are a number of bowing techniques employed that can vastly alter the timbre including: bowing near the bridge, bowing near the fingerboard, playing with just the edge of the bow hairs, playing only near the tip of the bow, playing only near the grip end of the bow, and playing with the wooden part of the bow. It is generally a monophonic instrument but chords of up to four notes are possible.9

The cello makes sense for this piece in every way. It’s tuning allows for the use of open strings and pedal points and allows for the pseudo-polyphony that this composition requires. But the cello is surely not the only instrument in which this music is immanent.

9 Stiller, 351-63

7

The banjo is a unique instrument in shape, sound, and technique. It is the loudest acoustic string instrument, with a fortissimo that approaches fff. Compare this to its usual companions the guitar and mandolin which only approach f. The parchment soundboard along with high tension strings combine to give the banjo its ability to play loudly. The acoustically sensitive head and shallow body make for explosive attacks and quick decays: five seconds for open strings, two to four for stopped strings, and less than half a second when the sing is stopped near the end of the fretboard. Often the sound quality produced is sharp, but this can be altered to an extent by picking with the right hand closer to the neck. The closer the pick is to the bridge, the more bright and shrill the sound produced will be. The banjo is plucked with the thumb, index, and middle finger, each with its own fingerpick. The thumb pick is plastic and the other two steel. Tuning of the banjo is usually in the key of “open G” (g,d,g,b,d) or “open D” (f#,d,f#,a,d). In this case, for the G major prelude “open G” is the obvious choice. One of the most important characteristics of the banjo is the fifth string: the high-pitched drone. It is tuned to the first string stopped at the fifth fret and is generally not intended to be

8 stopped. The banjo’s open tuning and fingerpicking style allow for a broken style pseudo-polyphony.10

Among its strengths are its range of loudness from pp to fff, the usefulness of the drone string and open strings, and the finger-picking style’s allowance of very fast playing. Some limitations include the short note duration when strings are stopped towards the end of the fretboard, and the concentrated range, which in this case goes from d1 to c4.

There were a few challenges that I encountered in trying to arrange the Cello prelude for banjo. The principal challenge throughout was in the nature of the banjo’s tuning. There are numerous ways to finger any given note, so it was vital throughout to find fingerings that fit the flow of the music while at the same time maintaining physical consistency for the performer’s sake. This consistency includes right hand picking patterns and left hand fingerings. To fit the range of the banjo, I had to transpose the entire piece up two . Another issue arose in measures 20 and 21 where Bach uses the lowest notes of the tessitura, a C and C sharp, which are just below the range of the

Banjo in G.

10 Stiller, 337-339

9 To solve this issue I had to move the notes up an .

This sacrifices an important moment in the piece, when the lowest notes are played, however the significance of this melody in terms of tension and flow within the overall piece I think are still preserved even with the notes played an octave higher.

Another challenge was finding compatibility between Bach’s flowing ascending/descending passages and the banjo’s close tuning. These passages demand incredible focus and precision from the performer, as the right hand plucking pattern becomes counterintuitive. Take for instance the passage in measure 14 where the melody is descending from G stepwise to the lower octave, yet the banjo pattern is alternating strings in the right hand in a seemingly dyslexic way.

The pedal tone passages in the piece sit perfectly for the banjo’s open strings. G,

D, and A being the most important notes as far as tonal function, the banjo handles these sections of musical tension with physical ease.

10

Section III. Expansion of Bouree II from English Suites

Written sometime between 1715 and 1720 while Bach was living in Weimar, the

English Suites were the first of the 19 suites for keyboard that he composed. Like the

cello suites the English Suites are a set of six dance suites, each beginning with a prelude

followed by a number of baroque dance movements. The Bouree is a lively dance style

similar to the gavotte, always beginning with an up-beat. The Bouree II from the second

suite is in binary form. It is written for solo keyboard and is often performed on or

harpsichord. Although the piece is written for solo instrument, the is composed

of three and sometimes four distinct voices, so the piece lends itself to experimentation of

arrangement. Transposing it from its original key of A major to the key of G major first

of all relates it through key to my other project, the G major prelude, and second and

more importantly allows for a range that sits perfectly in the natural range of the cello,

banjo, mandolin, and acoustic guitar.

I chose the banjo, mandolin, and acoustic guitar because they are the essential

instruments of a bluegrass ensemble. Fortunately, the ranges of these instruments sit well

around the original voices written for the keyboard. The mandolin is very useful because

it can carry the melody as well as join the guitar to play chords that enrich the harmony.

The banjo in this piece works well when carrying the melody. The

along with the banjo’s tuning allow characteristic picking style in the right hand.

However in the B section, the banjo serves a contrapuntal/harmonic purpose and the

technique becomes very unnatural in order to satisfy the part.

11 The most important characteristic of the Bouree is the bass line, so it was vital that I chose an instrument that could do the line justice while being able to compete with the power of the banjo for presence in the mix. The , a common bluegrass ensemble member would have done the job fine. However, I thought that the cello would add a richness to the overall sound color that the bass could not. The cello is a very intentional choice for this project and ensemble because it employs the instrument that was denied its usual role as the vehicle for the first piece, and it also questions the strict tradition of permissible instruments in bluegrass.

As the piece begins, the upper two voices separated by thirds play the melody. I felt the banjo would be best suited for the top voice to cut through and introduce the theme. The mandolin mimics below and plays tremolando on its occasional sustained notes. All the while the cello follows the line of the bottom voice and the acoustic guitar accompanies with full bluegrass-style chords, serving the role of the baroque basso continuo.

Upon the arrival of the B section the banjo and mandolin switch voices. The mandolin charges through the upper melody while the banjo provides contrapuntal texture as the piece modulates though a number of key centers. The cadential points find the guitar, mandolin, and banjo all playing chords to thicken the texture.

12 Measure 18 is where the arranging process became the most difficult. In Bach’s original score for keyboard, a fourth voice joins the texture here.

The guitar at this point has not played melodically at all; it has only played chords. I could have given the new voice to the guitar, but the power of the guitar would be washed out by that of other instruments, and the texture as a whole would be compromised through the loss of the guitars additions to the harmony. This is the point in the music where it became very obvious that a transposition to G major was necessary.

In G major, the cello can play the bass line as well as the newly added voice through the use of relatively simple open strings and double stops.

My arrangement of this composition by Bach turns a classic piece into something entirely new. It highlights individual voices and interactions between them. It speaks to an audience that might never have been introduced to Bach’s music, and likewise to another audience that might never be introduced to bluegrass. And it passes along a gift from Bach, to an interpreter, to listeners of the 21st century.

13 Section IV. History, Ethics, and Esthetics of Interpretation and Arrangement

For centuries, it was considered normal in Western music that works be composed

only to disappear after a length of time and be replaced by new, modern works. After a

composer’s death, his works were forgotten. Viennese classical music was the first that

remained in the repertoire from the time of their creation until today.11 Music from that

point on did not have to be rediscovered like the music of earlier composers such as

Bach. In Bach’s time, music was still a truly transitory art; there was no recording

technology or widespread publication of his manuscripts. If not for the efforts of Felix

Mendelssohn, Bach’s music would have in all likelihood been forgotten.

Beginning in the 19th century, the modern issue of interpretation began to present

itself as conductors dealt with performing works of bygone eras. There have been two

dominant approaches to interpretation since then. The first approach, espressivo

interpretation, involved musicians and conductors exercising liberal use of phrase

rubato. Wagner was a champion of this approach and according to him: “the conductor

has to modify the tempi in order to bring out vividly the individual phrases, to contrast

the essential with the secondary.”12 The espressivo approach was influential in the

performing and conducting of Liszt, Mahler, and Webern in their interpretations of music

from the past. Then, in the 1920’s, the second approach to interpretation was born

through Igor Stravinsky. The followers of the neo-objective style were concerned with

execution, as opposed to interpretation. Stravinsky argued that music had to be realized,

not interpreted. The music world seems to have agreed with Stravinsky because the new

11 Stenzl, 684 12 Stenzl, 688

14 neo-objective approach displaced the old espressivo and is still dominant in concert halls today. Ironically, even the works of Wagner and Mahler, which were decidedly composed with the espressivo interpretation in mind, are today performed with the new approach.

According to musicologist and philosopher Theodor Adorno, the role of the interpreter is to analyze a composition in depth. To analyze, he says, is “to investigate the inner relationships of the work and to investigate what is essentially contained within the composition.”13 However, there is no set formula for analyzing music. A performer cannot analyze a Beethoven symphony, meant to be heard as one unified organism of themes, the same way they would analyze a symphony by Mozart, a conversation of contrasting themes meant to balance each other.14 Even two different works by the same composer like J.S. Bach need to be analyzed through a slightly different lens. According to Adorno, the performer who can effectively analyze the work they are to perform is one who gives the most “authentic” performance.

During the second half of the 20th century, developments in technology allowed for a world of new possibilities in music. Wendy Carlos’s 1968 Album “Switched-On

Bach” involved the performance of many of the composer’s famous works on a Moog synthesizer. This was one of many revolutionary interpretations of classical music of the era that spawned a movement in reaction. Musicians and conductors like Nikolaus

Harnoncourt, Trevor Pinnick, John Eliot Gardiner, and Tom Koopman were the forces behind a movement of musical “purity”. The movement aimed to perform music

“authentically” by strictly using instruments and performance practice from the period of

13 Adorno, 163 14 Monelle, 7

15 the composition. In Bach’s music, this created a schism between those “devotees”15 who insisted on period instruments, and the other Bach admirers who did not.

Since the 1970’s, conductor John Eliot Gardiner has led ensembles dedicated to using period instruments as a means of getting closer to the sound world of Baroque composers. He is a favorite conductor of the Bach “devotees” because his performances line up with their views. However, Gardiner understands that it is a misconception to think that just by “getting the instruments right you got to the “truth” of the music.”16 He describes his frustration in: “an enervating mid-twentieth-century tendency to iron out crucial temperamental and stylistic differences between composers by playing everything on the same “instrument”: the standard modern symphony .”17 For Gardiner, period instruments allow each work to be revealed in its original form, and this, he thinks is among the most important keys to authentic interpretation.

Those “devotees” who insist on strict, “pure” interpretations of Bach’s music to ensure an authentic performance are victims of a phenomenon within our culture.

Cultural, scientific, and religious movements of the last few centuries along with capitalist ideology have combined to attribute great but unwarranted importance to the creators of art. The explanation of an artwork is too often sought in the creator of that work, rather than in the work itself. In the case of Bach purists, the emphasis is on the composer, the “Thomas Cantor” whose music expresses absolute order. This point of view reduces Bach and his music to a formalist ideology. To the “devotees”, Bach’s music is most important in what it represents, not in the essence of its content. “It is only

15 Adorno, 135 16 Gardiner, 10 17 Gardiner, 13

16 rising barbarism that limits works of art to what meets the eye, blind to the difference between essence and appearance in them; such a confusion of the being of Bach’s music with its intention wipes out the very metaphysics which it is supposed to protect.”18 Bach purists are proud of the objectivity of his music. But the objectivity of the music is not tied up in the original performance of it. If anything, it is the notes on the page that are the most important; it is certainly not their transmission through early instruments in a world of far less developed sound colors. “Even had Bach been in fact satisfied with the organs and harpsichords of the epoch, with its thin choruses and , this would in no way prove their adequacy for the intrinsic substance of his music.” Additionally, what is known of Bach as an interpreter directly conflicts the ideas of his “devotees”. He would “much prefer to renounce the monumental than give up the chance of adapting the tone to subjective impulse.”19 Screechy old instruments are not upholders of the sacred truth of Bach’s music; they are just one of many ways of breathing life into it, and those who do not allow for liberties in orchestration of Bach build a wall in front of their idol.

Bach composed his music at a particular time and place and for a particular audience. To perform Bach with period instruments is to perform it exactly how it would have been played in the early 18th century. But with the innumerable developments in instruments, technology, and aesthetics in the three hundred years since then, the modern ear hears far differently than the ear of the baroque audience. What today’s listener hears in a period arrangement of Bach is something different than what a contemporary of Bach would have heard. For this reason, I think that experimenting with arranging the notes on the page is a useful tool in presenting Bach’s music to a new generation of listeners.

18 Adorno, 138 19 Adorno, 143

17 There was another fascinating project in 1968 involving revolutionary takes on

Bach’s music. German organist and composer Gerd Zacher recorded “Contrapunctus I” from Die Kunst Der Fuge ten times. The first recording was as close to the performance practice of Baroque times as Zacher could make it. Each successive recording took the

Contrapunctus on a journey through the history of styles from Schumann to Messiaen to

Schnebel. Bach’s original manuscript is intentionally vague and Zacher highlights the cracks in the score to demonstrate its multiplicity. His goal is not to find the absolute true interpretation of “Contrapunctus I”, it is to discover things that are entirely new using

Bach’s music as a tool. Like Zacher, the goal with my project is to learn about Bach’s music while at the same time using it to create something entirely new.

The radical Bach purists perpetuate the ignorant sentiment that arrangement is a destruction of the original piece. To this I reply that arrangement is noble, respectful, and is a creative art form on its own. Musicians like Franz Liszt and now Chris Thile arrange music of great composers for their own instruments as a noble duty to introduce their own fans to it. Beethoven and Mahler arranged pieces by other composers out of respect and admiration. Schoenberg arranged works by Mahler for the noble task of keeping them alive. And as far as creativity goes, think of Liszt’s most beloved and popular solo piano work, the “Liebestraum”, which is in fact an arrangement of his earlier piece for full orchestra. No other art form has anything to compare with arrangement, and musicians should be thankful for its power. In an arrangement, music interacts with other music and creates something unique and important.20

20 Walker, 2003

18 Conclusion

This project had a wide scope of tasks ranging from the tedious task of notating

banjo tablature to the abstract task of grasping theories of philosophers and

musicologists. The pieces of music that I created were unique in sound and style while

remaining respectful to both the composer Bach and the Bluegrass style. The music

expanded on Bach’s sound world through creative and reverential orchestration. Both of

my arrangements explore the relationship of the original pieces to their instruments and

genre through creative interpretation. Most importantly, the project achieved these goals

through a loyal, respectful, and creative interaction between these two icons of music:

Bach and bluegrass.

The resulting products demonstrate that to successfully present Bach’s music to a

modern audience, the first step is to have a fundamental understanding of the music itself

and the composer’s intentions. Armed with this knowledge, the arranger can take an

imaginative point of view in order to re-invent the music for an entirely new audience.

The resulting piece of music does not in any way destroy Bach’s original composition or

intention, it simply adds to the music community’s investigation of the mystery of Bach.

It engages bluegrass audiences to a composer that they may never have had the pleasure

of hearing, and likewise introduces Bach fans to the American treasure that is bluegrass.

19 Bibliography

Adorno, Theodor. Essays on Music. Berkeley: University of California, 2002.

Adorno, Theodor. Prisms. Massachusets: The MIT Press Cambridge. “Bach Defended Against His Devotees”. 1995.

Barthes, Roland, and Stephen Heath. "The Death of The Author." Image, Music, Text. New York: Hill and Wang, 1977. Print.

Burkholder, J. Peter, et. al. A History of Western Music. 6th edition. New York: W.W. Norton, 2006. Print.

Cage, John. Silence. Middletown: Wesleyan University Press, 1973..

Cobussen, Marcel. "Deconstruction in Music; The Jacques Derrida - Gerd Zacher Encounter." Web. . (accessed 22 September 2014).

Gallagher, Sean. The Century of Bach and Mozart: Perspectives on Historiography, Composition, Theory, and Performance. Cambridge, Mass.: Harvard U Department of Music :, 2008. Print.

Gardiner, John Eliot. Music in the Castle of Heaven: A Portrait of Johann Sebastian Bach. London: Penguin, 2014. Print.

Geiringer, Karl. Johann Sebastian Bach. New York: Oxford University Press, 1966.

Levine. Victoria Lindsay. Writing American Indian Music: Historic Transcriptions, Notations, and Arrangements. Middleton, WI: A-R Editions for the American Musicological Society, 2002. xx. Print.

20 Madrone, Juliana and Sienna M. Wood. “Musical Borrowing and Appropriation.” Theme and Variations: New Perspective in Musical History. Juliana Madrone and Sienna M. Wood. Web. 2014.

Monelle, Raymond. The Sense of Music Semiotic Essays. Princeton, N.J.: Princeton UP, 2000. Print.

Rosenberg, Neil V. Bluegrass: A History. Urbana: U of Illinois, 1985. Print.

Siblin, Eric. The Cello Suites: J.S. Bach, Pablo Casals, and the Search for A Baroque Masterpiece. New York: Atlantic Monthly Press, 2009.

Stenzl, Jürg, and Irene Zedlacher. "In Search of a History of Musical Interpretation." The Musical Quarterly 79.4 (1995): 683-99.

Stiller, Andrew. Handbook of Instrumentation. Philadelphia: Kallisti Music, 1994.

Veilhan, Jean-Claude. The Rules of Musical Interpretation in the Baroque Era. Paris: Alphonse Leduc, 1979.

Walker, Alan. “MUSIC: Do Arrangers Destroy or Create?” The New York Times 16 March 2003. Web. Accessed 22 September 2014.

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