DOCSLIB.ORG

An Examination of the Cultural Materialisms of Raymond Williams

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Examination of the Cultural Materialisms of Raymond Williams Musicology and Mediation: an examination of the cultural materialisms of Raymond Williams and Pierre Bourdieu in relation to the fields of contemporary music and musicology, with a case study of Arvo Pärt and ECM. In memory of Dee Begbie Copyright Statement This copy of the thesishas been suppliedon conditionthat anyonewho consultsit is understoodto recognisethat its copyright rests with its author and that no quotation from the thesis and no informationderived from it may be publishedwithout the author'sprior written consent. Signed:... T...... ý.:.. ........ Date: 0.1.....S. k., ' °[. ... eF. : t..... Musicology and Mediation: an examination of the cultural materialisms of Raymond Williams and Pierre Bourdieu in relation to the fields of contemporary music and musicology, with a case study of Arvo Pärt and ECM. Tom Begbie A thesis submitted to the University of Plymouth In partial fulfilment for the degree of DOCTOR OF PHILOSOPHY University College Falmouth Incorporating Dartington College of Arts l November 2008 1W'`ý(ýý5ý= =i- '" Z tlýt 7 Abstract This thesis examines the usefulness of the work of Pierre Bourdieu and Raymond Williams for discussions of material mediation in musicology. In part I, I focus on Bourdieu's discussions of cultural production as set out in The Rules of Art and "The Field of Cultural Production", and reconstruct the terms of Williams's late theoretical project. In establishing the terms of these projects, I draw a parallel between their attempts to materialize the categories of Marx's superstructure - noting in Williams's subsequent use of a revised Marxist production paradigm Adorno by a proximity to the work of - before noting the differences imposed the pressures and limits of their respective intellectual cultures. The tensions between these two models are therefore identified as the opportunity for dialogue between theoretical traditions. In part 2, these reflections are tested through a discussion of Arvo Pärt's music and the record label Edition of Contemporary Music (ECM). Using data from musical scores, CDs, reviews, critical essays, magazine articles, interviews, and so on, Part's emergent field position in the late 1970s and early 1980s is reconstructed and ECM's function as both institution and artistic formation is argued. These instances of musical practice remain rhetorically committed to the ideals of autonomy while spanning the opposition of autonomy and heteronomy. This for ambiguity puts strain on Williams's and Bourdieu's readings of cultural production, allowing a critical approach to this range of debate. In this sense, the method becomes part of the subject matter, and the discussions combine both theoretical and musical reflection. 9 10 List of Contents COPYRIGHT STATEMENT 5 ................................................................................................................. ABSTRACT 9 ........................................................................................................................................ LIST CONTENTS II OF ........................................................................................................................ ACKNOWLEDGEMENTS 15 .................................................................................................................. DECLARATION 17 ................................................................................................................................ 1 PART I: RAYMOND WILLIAMS, PIERRE BOURDIEU, AND QUESTIONS 19 OF MATERIAL MEDIATION .......................................................................................... INTRODUCTION THE PLACE THEORY 19 - OF ................................................................................... Overview ResearchHistory 19 and ........................................................................................................................ Emphasis Theory 22 The on ...................................................................................................................................... I 25 1.1 CHAPTER -CONTEXTS ............................................................................................... Materialism, Development Alternative Musicologies 25 1.1.1 Idealism, and the of ............................... Musicology Mediation Towards Engagement Materialism 31 1.1.2 and - an with ................................. 1.1.3 Conclusion Models Cultural Production 43 -Two of ........................................................................ 1.2 CHAPTER 2- RAYMOND WILLIAMS PIERRE BOURDIEU 45 AND ........................................ Introduction 45 ............................................................................................................................................................. 1.2.1 RaymondWilliams's Mature Project 49 .................................................................................................. Overview 49 .................................................................................................................................................................................... Williams, Marx Marxisms 52 and ..............».................................................................................................................... ........... Williams, Adorno, Mediation 56 and ........................................................................................................................................ The Production Paradigm "Culture Industry Thesis............ 58 and the ........................................................................... Williams Post-Structuralism 61 and ......................................................................................................................................... 1.2.2 Bourdieu's "Structuralist Constructivism" 65 ....................................................................................... Overview...... 65 ............................................................................................................................................................................. Conception Mediation Bourdieu's Model 66 Towards a of in Theoretical .................................................... _............ CULTURE 75 1.3 CHAPTER 3 -TWO MATERIAL APPROACHES TO THE STUDY OF ................ 1.3.1 The Grounds for Comparison 75 ............................................................................................................. 1.3.2 The Emphases Objectivity Experience 83 on and ................................................................................ 91 CONCLUSION MATERIALISM AND THE STUDY MUSIC - OF .......................................................... 2 PART 2: ARVO PART AND ECM 93 ........................................................................... 2.4 CHAPTER 4- QUESTIONS AUTONOMY 99 OF .................................................................... 2.4.1 Autonomy, Topos Refusal, Future 99 the of and the Wager on the .............................................. A Distinction between Autonomies 99 ................................................................................................................................... Production 102 Bourdieu: the Strugglefor Autonomy, and its Placein the Laws of the Field of .......................... Notions Autonomy in Williams's Late Project 112 of ........................................................................................................ Goldmann's "Tragic Refusal" "Wager" Williams Bourdieu 119 and in and .................................................................. 125 Consideration of the Avant-Garde in Williams's and Bourdieu's Theory ................................................_.......... The Importance Source Material 129 of ................................................................................................................................. EMERGENT POSITION-TAKING 2.5 CHAPTER 5 -TOWARDS AN UNDERSTANDING OF AN 131 Introduction: Tabula Musical Rhetoric 131 rasa -Towards a ...........» .............................................................. Overview 131 .......»... ». ». ».. ». ................................................ The Placeof Tabularosa 133 ............................................................................................................................................... 2.5.1 Section I Musical Production 137 -Tintinnabulation and the Field of ........................................... Preliminaries The Field the Structure Feeling 137 - and of ............................................................................................... The Field 137 ............................................................................................................................................................................. The Structure Feeling 141 of ................................................................................................................................................ Tintinnabulation Moves Triad 146 - within the .................................................................................................................... The 'Emergence' Arvo Part Moves field 156 of - within a ................................................................................................. The Importance Soviet Field 157 of the ............................................................................................................................ An 'Avant-garde' 'Experimental' 165 and opposition?..................................................................................................
Load more

Recommended publications
  • The Choral Compositions of Arvo Pärt As an Example of “God-Seeking” Through Music in Soviet Russia
    Journal of Eastern Christian Studies 59(1-2), 85-101. doi: 10.2143/JECS.59.1.2023428 T©HE 2007 CHORAL by Journal COMPOSITIONS of Eastern Christian OF ARVO Studies. PÄRT All rights reserved. 85 THE CHORAL COMPOSITIONS OF ARVO PÄRT AS AN EXAMPLE OF “GOD-SEEKING” THROUGH MUSIC IN SOVIET RUSSIA TATIANA SOLOVIOVA* 1. EMERGING FROM THE UNDERGROUND OF ‘OFFICIAL ATHEISM’ OF THE SOVIET ERA Arvo Pärt was a representative of the underground music in the former Soviet Union. His music, like the works of many other musicians and art- ists, did not fit within the narrow bosom of Socialist Realism – the prevail- ing ideology of the time.1 He had to struggle in order to write the music he wanted. Nowadays there is no Soviet Empire anymore, and the composi- tions of Pärt represent “the face” of contemporary music. He is one of the few composers whose art music enjoys success similar to that of pop. He is widely known, and his works are being performed all over the world. Arvo Pärt was born in 1935 in Paide, near Tallinn, the capital of Estonia, one of the Western republics within the former USSR. Between the First and the Second World War this little country enjoyed a short period of in- dependence. Life for Pärt till 1980 was inseparably connected with his Motherland Estonia on one hand, and with Russia, which was the political and cultural dominant at that time, on the other hand. Pärt knew and loved national traditions, as well as he knew European and Russian culture: he called the composer Glazunov who taught his teacher Heino Eller ‘my musi- * Tatiana Soloviova studied at Moscow State University and obtained her PhD in His- tory.
    [Show full text]
  • Choral Vespers
    GONVILLE & CAIUS COLLEGE CHAPEL Easter Term 2021 CHORAL VESPERS Vespers is the sixth of the seven prayer services of the Christian day. Its name comes from the Latin vespera, which means ‘evening.’ When Thomas Cranmer created the English Prayer Book in 1549 and 1552 he combined Vespers with the night service (compline) into the service we know as Evensong. Magnificat is the Gospel Canticle of Vespers, as Nunc Dimittis is the Gospel Canticle of Compline. The service ends with a traditional antiphon (a special seasonal text, from which comes our modern word ‘anthem’) in honour of the Blessed Virgin Mary. 2nd May Fourth Sunday of Easter LUCERNARIUM (The Lighting of the Lamps) Thy word is a lantern unto my feet and a light unto my paths. Thou also shalt light my candle the Lord my God shall make my darkness to be light. The light and peace of Jesus Christ be with you and with thy spirit Light Prayer Blessed art thou, Sovereign Lord, God and Father of our Lord Jesus Christ, to thee be glory and praise for ever. Thou hast called us out of darkness into thy marvellous light that our lives may reflect thy glory and our lips repeat thy song: Blessed be God, Father, Son and Holy Spirit HYMN LUCIS Creator optime O BLEST Creator of the light, lucem dierum proferens, Who mak'st the day with radiance bright, primordiis lucis novae, and o'er the forming world didst call mundi parans originem: the light from chaos first of all; Qui mane iunctum vesperi Whose wisdom joined in meet array diem vocari praecipis: the morn and eve, and named them Day: taetrum chaos illabitur, night comes with all its darkling fears; audi preces cum fletibus.
    [Show full text]
  • Culture and Materialism : Raymond Williams and the Marxist Debate
    CULTURE AND MATERIALISM: RAYMOND WILLIAMS AND THE MARXIST DEBATE by David C. Robinson B.A. (Honours1, Queen's University, 1988 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS (COMMUNICATIONS) in the ,Department of Communication @ David C. Robinson 1991 SIMON FRASER UNIVERSITY July, 1991 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL NAME: David Robinson DEGREE: Master of Arts (Communication) TITLE OF THESIS: Culture and Materialism: Raymond Williams and the Marxist Debate EXAMINING COMMITTEE: CHAIR: Dr. Linda Harasim Dr. Richard S. Gruneau Professor Senior Supervisor Dr. Alison C. M. Beale Assistant Professor Supervisor " - Dr. Jerald Zaslove Associate Professor Department of English Examiner DATE APPROVED: PARTIAL COPYRIGHT LICENCE I hereby grant to Simon Fraser University the right to lend my thesis or dissertation (the title of which is shown below) to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. I further agree that permission for multiple copying of this thesis for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Title of Thesis/Dissertation: Culture and Materialism: Raymond Williams and the Marxist Debate Author : signature David C.
    [Show full text]
  • Arvo Pärt Triodion Polyphony · Stephen Layton
    ARVO PÄRT TRIODION POLYPHONY · STEPHEN LAYTON TRIODION ARVO PÄRT POLYPHONYPOLYPHONY STEPHENSTEPHEN LAYTONLAYTON 30 OLYPHONY’s first Hyperion recording of Arvo Pärt’s choral music (CDA66960) focused on music written Pbetween 1988 and 1991, a particularly fertile period for the composer which coincided with a surge of international performances and recordings, and resulting acclaim. Works on that disc, and others such as the large-scale setting of Psalm 51, Miserere, suggested that Pärt was moving into more complex, exotic harmonic territory. With clusters, compound chords and use of the augmented second interval, he seemed to be stretching the crucial, characteristic boundary in his music between dissonance and consonance. Judging by the more recent music on this disc—all written between 1996 and 2002—that harmonic journey was, for Pärt, something from which he has now returned. The essential purity of the triad remains paramount, and chord progressions in works such as Triodion and Salve Regina seem more diatonically conventional. And although there is less evidence in these pieces of strict ARVO PÄRT © Tina Foster ‘tintinnabulation’—the rigidly maintained discourse during the recording sessions at Temple Church, London between stepwise and triadic part-writing—there is enough austerity of structure and harmony in other ways extended periods at his second home near Colchester in to make it unmistakably ‘Pärtian’. Essex—resulting in a noticeably greater fluency with Polyphony’s first Hyperion disc featured Pärt’s first English. But this, he insists, is not the reason for a greater setting in English (a section from Saint Matthew’s account number of English settings.
    [Show full text]
  • An Analysis of Sergei Rachmaninov's All-Night Vigil “Now Let Thy Servant
    An Analysis of Sergei Rachmaninov’s All-Night Vigil “Now Let Thy Servant Depart” Lance Morrow Lance Morrow is music director at Salem United Methodist Church and an adjunct faculty member of the Department of Music at Austin Peay State University, both in Clarksville, TN. He holds choral music and conducting degrees from the University of North Alabama and Austin Peay State University [email protected] Introduction the Saturday-evening service preceding major feast days n the years just prior to 1915, Sergei Rachmaninov and includes Vespers (or Great Compline, depending on toured the United States, Austria, and Poland. He the occasion), Matins, and the First Hour. Originally, the I returned to Russia just before the enforcement All-Night Vigil stretched throughout the night, hence its of traveling restrictions due to the Great War. In only title; however, most modern parishes simply use the Nunc two weeks in early 1915 (almost thirty years before his Dimittis, from the Vespers service, as one of the last read- death), he completed his All-Night Vigil, now considered ings before lying down to sleep. a masterpiece of choral literature. This was the last of a Also called the “Canticle of Simeon,” the Nunc Dimittis few sacred settings in a small body of choral works, and [Now Let Thy Servant Depart] originates in Luke 2:29–32 Rachmaninov dedicated it to the memory of Stepan Vasi- of the New Testament. This prayer to “depart in peace” lyevich Smolensky, the respected church music historian, correlates with a tranquil death—a serene decline—an idea who had introduced him to Orthodox sacred music.
    [Show full text]
  • ARVO PÄRT Da Pacem Domine
    ARVO PÄRT Da pacem Domine Latvian Radio Choir Sigvards Kļava 1 ARVO PÄRT 2 ARVO PÄRT (1935) Triodion (1998) 1 Introduction 0:27 2 Ode I 4:10 3 Ode II 5:26 4 Ode III 4:59 5 Coda 0:58 Sieben Magnificat-Antiphonen (1988/91) 6 I O Weisheit 1:33 7 II O Adonai 2:33 8 III O Sproß aus Isais Wurzel 1:04 9 IV O Schlüssel Davids 2:25 10 V O Morgenstern 2:00 11 VI O König aller Völker 1:22 12 VII O Immanuel 3:13 13 Nunc dimittis (2001) 7:45 14 Dopo la vittoria (1996/98) 9:20 15 Virgencita (2012) 8:11 16 The Woman with the Alabaster Box (1997) 5:57 17 Tribute to Caesar (1997) 5:31 18 Da pacem Domine (2004/06) 4:24 Latvian Radio Choir Sigvards Kļava, conductor 3 Keeping time, time, time, In a sort of Runic rhyme, To the tintinnabulation that so musically wells From the bells, bells, bells, bells… Edgar Allan Poe: The Bells, (ll. 9-12) Throughout history, composers have presented radical stylistic shifts in their work: compare the post-Wagnerian language of early Schoenberg with his later twelve- tone music; or, conversely, Richard Strauss’ return to romanticism after such ground- breaking works as Salome and Elektra. The same is true of the contemporary Estonian composer Arvo Pärt (b. 1935), though his earlier compositional style has been almost entirely overshadowed by the tremendous popularity of his second period. Pärt began his career writing works that adopted neo-classicism, serialism and polystylism, but between 1968 and 1976 suffered a kind of writer’s block.
    [Show full text]
  • Chapter Three Minimal Music
    72 Chapter Three Minimal music This chapter begins with a brief outline of minimal music in the United States, Europe and Australia. Focusing on composers and stylistic characteristics of their music, plus aspects of minimal music pertinent to this study, it helps the reader situate the compositions, composers and events referred to throughout the thesis. The chapter then outlines reasons for engaging students aged 9 to 18 years in composing activities drawn from projects with minimalist characteristics, reasons often related to compositional or historical aspects of minimal music since the late 1960s. A number of these reasons are educational, concerned with minimalism as an accessible teaching resource that draws on students’ current musical knowledge and offers a bridge from which to explore musics of other cultures and other contemporary art musics. Other reasons are concerned with the performance capabilities of students, with the opportunity to introduce students to a contemporary aesthetic, to different structural possibilities and collaboration and subject integration opportunities. There is also an educational need for a study investigating student composing activities to focus on these activities in relation to contemporary art music. There are social reasons for engaging students in minimalist projects concerned with introducing students to contemporary arts practice through ‘the new tonality’, involving students with a contemporary music which is often controversial, and engaging students with minimalism at a time of particular activity and expansion in the United States and in Australia. 3.1 Minimalism Minimalism is an aesthetic found across a number of different art forms – architecture, dance, visual art, theatre, design and music - and at the beginning of the twenty-first century, it is still strongly influential on many contemporary artists.
    [Show full text]
  • Narrative Machines, Or, from ‘Bottom to Top’ Early Discourses on the Novel and Film
    10.1515/nor-2017-0302 Narrative Machines, or, from ‘Bottom to Top’ Early Discourses on the Novel and Film JOHN SUNDHOLM There is a certain tendency in the contemporary rience of modernity. The subject of film and cultural historiography of early film studies to construe mo- modernity is an established field of its own within dernity as a model for the textual analysis of spe- the broader film studies context.3 However, such cific, isolated moments in film history. Furthermore, historiography could also be criticised as a sort of film history – and other media histories – is usually “historical blind spot”, founded on an excessively studied and written within the academic boundaries expressive interpretation of history. of different departments. We are given the history The original arguments used in early 20th cen- of media according to media and communications, tury discourse are reproduced in studies by later film studies, art history, literature and so on. Very scholars as expressing a homogeneous tendency – seldom are we offered a perspective founded on an broadly defineable as modernity – thus placing the interdisciplinary or comparative approach. discourse aside from most historical and compara- Therefore, I will both criticise some trends in tive relations with, for example, previous 19th cen- early film historiography and argue in favour of the tury discourse. Such deterministic views on tech- importance – and necessity – of employing a histo- nology – and on film vs. society – often fail to con- rico-dialectical and comparative analysis. I support sider that the object under study and the agent that my argument and discussion by comparing the constitutes the object are both part of the same paradigmatic interpretations of “modernity vs.
    [Show full text]
  • Raymond Williams and the Structure of Feeling of Reality TV
    International Journal of Humanities and Social Science Vol. 2 No. 7; April 2012 Raymond Williams and the Structure of Feeling of Reality TV Beverley Best Assistant Professor Department of Sociology and Anthropology Concordia University Montreal, QC, Canada. Introduction There is some general truth to the narrative that cultural studies moved away from its fraught, yet productive, entanglement with Marxist critique in the 1980s, never again to seriously rekindle that engagement. The trajectory of the work of Raymond Williams, however, moves in the opposite direction to much of that field of inquiry of which Williams is often identified as a founder. I will argue, for instance, that on the question of method, the work of Raymond Williams is increasingly influenced by debates in Marxist cultural theory. More so, the question of method itself, and in particular the problematic of mediation, both become central concerns for Williams— fundamental theoretical occupations which he shared with the Western Marxists, such as Theodor Adorno, Max Horkheimer, and Walter Benjamin. The increasing centrality of the problematic of mediation, in its various guises—the dynamics of materialist critique, the relation between structure and agency, the question of determination, and even the movement of the dialectic—in Williams‟ later work, reflects a deepening engagement with traditional Marxist categories while never claiming a simple identity with Marxist critique. The deepening engagement with traditional Marxist categories signals both a continuity and a rupture within the trajectory of Williams‟ analytical method over his career: for instance, the approach which Williams first calls “cultural materialism” evolves into an approach which in his later work he comes to refer to as the “sociology of culture.” My goal in this chapter is to sketch the movement of the critical method which Williams calls the sociology of culture and why the question of mediation is a central dimension of it.
    [Show full text]
  • An Analytical Conductor's Guide to the SATB a Capella Works of Arvo Part
    The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 An Analytical Conductor's Guide to the SATB A Capella Works of Arvo Part Kimberly Anne Cargile University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Musicology Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cargile, Kimberly Anne, "An Analytical Conductor's Guide to the SATB A Capella Works of Arvo Part" (2008). Dissertations. 1106. https://aquila.usm.edu/dissertations/1106 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi AN ANALYTICAL CONDUCTOR'S GUIDE TO THE SATB A CAPPELLA WORKS OF ARVO PART by Kimberly Anne Cargile A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 COPYRIGHT BY KIMBERLY ANNE CARGILE 2008 The University of Southern Mississippi AN ANALYTICAL CONDUCTOR'S GUIDE TO THE SATB A CAPPELLA WORKS OF ARVO PART by Kimberly Anne Cargile Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 DISSERTATION ABSTRACT AN ANALYTICAL CONDUCTOR'S GUIDE TO THE SATB A CAPPELLA WORKS OF ARVO PART by Kimberly Anne Cargile May 2008 Arvo Part (b.
    [Show full text]
  • Arvo Pärt D a Pa C E M
    SUPER AUDIO CD ARVO PÄRT D A PA C E M Estonian Philharmonic Chamber Choir PAUL HILLIER with Christopher Bowers-Broadbent organ 807401 ARVO PÄRT (b. 1935) 1 Da pacem Domine (2004) 5:45 2 Salve Regina (2001/2) 12:51 Zwei slawische Psalmen (1984 / 1997) 7:53 3 Psalm 117 3:47 4 Psalm 131 4:06 5 Magnificat (1989) 7:13 • Kaia Urb soprano 6 An den Wassern zu Babel (1976 / 1984 / 1991) 7:14 • Kaia Urb soprano • Tiit Kogerman tenor • Aarne Talvik bass 7 Dopo la vittoria (1996 / 1998) 11:11 8 Nunc dimittis (2001) 6:56 • Kaia Urb soprano 9 Littlemore Tractus (2000) 5:27 ESTONIAN PHILHARMONIC CHAMBER CHOIR Christopher Bowers-Broadbent organ (2, 6, 9) PAUL HILLIER DA PACEM Motets by Arvo Pärt his collection of shorter sacred works by Arvo Pärt includes some of his newest compositions as well as a sprinkling of works from earlier in his career. Together with T my two earlier CDs of Pärt’s music on harmonia mundi, they provide a comprehensive survey of his choral music both a cappella and with organ accompaniment. While some of the newer pieces demonstrate a more colourful and nuanced approach to the setting of texts to music, the influence of early music on his style is a constant presence and returns with renewed strength in these recent works. This influence operates at three levels and the most significant of them concerns what may be described as Pärt’s rhetorical position as reflected in the way in which he uses a text for music.
    [Show full text]
  • King's Research Portal
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by King's Research Portal King’s Research Portal Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Hutton, A. N. (2016). Literature, Criticism, and Politics in the Early New Left, 1956–62. Twentieth Century British History, 27(1), 51-75. Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim.
    [Show full text]