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Abbott, C. 1980. "The 4CED Program." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 278-304.

Abbott, C. 1981. "The 4CED Program." Computer Music Journal 5(1): 13-33.

Abelson, H. and G. Sussman. 1985. Structure and Interpretation of Computer Programs. Cambridge: MIT Press. Internet: http://mitpress.mit.edu/ sicp/ {amazon}

Abrams, S. and D. Oppenhiem, D. Pazel, J. Wright. 1999. "Higher-level Composition Control in Music Sketcher: Modifiers and Smart Harmony." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association.

Agon, C. 1998. OpenMusic: Un Langage Visuel pour la Composition Assistée par Ordinateur. Ph.D. Thesis, Université Paris VI.

Aho, A. C. and D. C. Lavoie, J. N. Paprocki. 1974. "MUSIM: Simulation of music composition using GASP." In Proceedings of the 7th conference on Winter simulation. New York: ACM Press. 2: 585-591.

Alexander, A. and O. Goriunova, A. McLean, A. Shulgin. 2003. "runme.org - say it with software art!." Internet: http://runme.org

Allouche, J. and T. Johnson. 1995. "Finite Automata and Morphisms in Assisted Musical Composition." Journal of New Music Research 24: 97-108.

Almeida, A. G. de. 1992. Composicao musical algoritmica com arvores de tempos em sintese FM. M.A. thesis, Computer Science: Universita de Brasilia.

Almeida, N. C. de. 1995. "CAC-MIDI MUSIC: The computer without algorithm." Sociedade Brasileira de Computacao 234-239.

Alonso, S. and J. Appleton, C. Jones. 1976. "A Special Purpose Digital System for Musical Instruction, Composition and Performance." Computer and the Humanities 10: 209-215.

Alpern, A. 1995. "Techniques for Algorithmic Composition of Music." Hampshire College. Internet: http://alum.hampshire.edu/ ~adaF92/ algocomp/ algocomp95.html

Alphonce, B. 1980. "Music analysis by computer: A field for theory formation." Computer Music Journal 4(2): 26-35.

Alsop, R. 1999. "Exploring the self through algorithmic composition." Leonardo Music Journal 9: 89-94.

Ambler, S. W. 2002. "Be Realistic About the UML: It's Simply Not Sufficient." Internet: http://www.agilemodeling.com/ essays/ realisticUML.htm

Ambler, S. W. 2003. The Elements of UML Style. Cambridge: Cambridge University Press. {amazon}

Ames, C. 1982. "Crystals: Recursive Structures in Automated Composition." Computer Music Journal 6(3): 46-64.

Ames, C. 1983. "Stylistic Automata in Gradient." In The Music Machine. C. Roads, ed. Cambridge: MIT Press. {amazon}

Ames, C. 1985. "Applications of Linked Data Structures to Automated Composition." In Proceedings of the International Computer Music Conference. International Computer Music Association. 251-258.

Ames, C. 1987. "Automated Composition in Retrospect: 1956-1986." Leonardo 20(2): 169-185.

Ames, C. 1987. "Tutorial on Automated Composition." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 1-8.

Ames, C. 1989. "The Markov Process as a Compositional Model: A Survey and Tutorial." Leonardo 22(2): 175-187.

Ames, C. 1990. "Statistics and Compositional Balance." Perspectives of New Music 28(1): 80-111.

Ames, C. 1991. "A Catalog of Statistical Distributions: Techniques for Transforming Random, Determinate and Chaotic Sequences." Leonardo Music Journal 1(1): 55-70.

Ames, C. 1991. "Introduction to COMPOSE: An Editor and Interpreter for Automated Score Generation and Score Processing." Interface: Journal of New Music Research 20(3-4): 181.

Ames, C. 1992. "A Catalog of Sequence Generators: Accounting for Proximity, Pattern, Exclusion, Balance and/or Randomness." Leonardo Music Journal 2(1): 55-72.

Ames, C. 1992. "Quantifying musical merit." Interface 21(1): 53-93.

Ames, C. 1993. "How to Level a Driver Sequence." Leonardo Music Journal 3: 45-52.

Ames, C. 1993. "Protocol: Motivation, design, and production of a composition for solo piano." MIT Press 357-382.

Ames, C. 1995. "Thresholds of Confidence: An Analysis of Statistical Methods for Composition." Leonardo Music Journal 5: 33-38.

Ames, C. and M. Domino. 1992. "Cybernetic Composer: An Overview." In Understanding Music with AI: Perspectives on Music Cognition. M. Balaban, K. Ebcioglu and O. Laske, eds. Cambridge: AAAI Press / MIT Press. 186-205. {amazon}

Amiot, E. and G. Assayag, C. Malherbe, A. Riotte. 1986. "Duration Structure Generation and Recognition in Musical Writing." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 75-81.

Amiot, E. and M. Andreatta, C. Agon. 2005. "Tiling the (Musical) Line with Polynomials: Some Theoretical and Implementational Aspects." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 227-230.

Amiot, E. and T. Noll, M. Andreatta, C. Agon. 2007. "Fourier Oracles for Computer-Aided Improvisation." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 99-103.

Amitani, S. and K. Hori. 2002. "Supporting musical composition by externalizing the composer's mental space." In Proceedings of the fourth conference on Creativity & cognition. New York: ACM Press. 165-172. Internet: http://doi.acm.org/ 10.1145/ 581710.581735

Anders, T. 2002. "A wizard's aid: efficient music constraint programming with Oz." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 152-155.

Anders, T. 2003. "Composing Music by Composing Rules: Computer Aided Composition Employing Constraint Logic Programming." Technical report, Queen's University Belfast. Internet: http://www.sarc.qub.ac.uk/ ~tanders/ publications/ Anders-Differentation.pdf

Anders, T. 2006. "Why Strasheela." Internet: http://strasheela.sourceforge.net/ strasheela/ doc/ StrasheelaMotivation/ index.html

Anders, T. 2007. Composing Music by Composing Rules: Design and Usage of a Generic Music Constraint System. Ph.D. thesis, Queen's University, Belfast.

Anders, T. and C. Anagnostopoulou, M. Alcorn. 2005. "Strasheela: Design and Usage of a Music Composition Environment Based on the Oz Programming Model." In Multiparadigm Programming in Mozart/OZ: Second International Conference, MOZ 2004, LNCS 3389. P. van Roy, ed. London: Springer-Verlag.

Anderson, A. R. 1964. Minds and Machines. Englewood Cliffs, NJ: Prentice-Hall. {amazon}

Anderson, D. and R. Kuivila. 1986. "Accurately Timed Generation of Discrete Musical Events." Computer Music Journal 10(3): 48-56.

Anderson, D. and R. Kuivila. 1989. "Continuous Abstractions for Discrete Event Languages." Computer Music Journal 13(3): 11-23.

Anderson, D. and R. Kuivila. 1992. "Formula: A Programming Language for Expressive Computer Music." In Readings in Computer-Generated Music. D. Baggi, ed. Los Alamitos: IEEE Computer Society Press. 9-23.

Anderson, J. 2000. "A Provisional History of Spectral Music." Contemporary Music Review 19(2): 7-22.

Anderson, T. M. 1990. "E-SCaPE: An extendable sonic composition and performance environment." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 212-215.

Ando, Daichi, Dahlstedt, Palle and M. G. Nordahl, H. Iba. 2007. "Computer Aided Composition by Mean of Interactive GP." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 254-257.

Andreatta, M. and C. Agon. 2003. "Implementing algebraic methods in OpenMusic." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 377-384.

Andreatta, M. and C. Agon, E. Amiot. 2002. "Tiling problems in music composition: Theory and Implementation." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 156-163.

Anonymous. 1956. "'Brain' Computes New Tune for TV." New York Times July 3: 51.

Anonymous. 1956. "Electronic Brain Composes at University of Illinois." Illinois Music Educator 16(1): 16.

Anonymous. 1956. "The first ballad to be composed by an electronic computer." International Musician 55: 21.

Anonymous. 1956. "Gulbransen Piano Used as Electronic Brain Writes 1,000 Popular Songs an Hour." Piano Review 115: 21.

Anonymous. 1956. "Syncopation by Automation." In Data from ElectroData. Pasadena: Burroughs Corporation (ElectroData Division). 2.

Anonymous. 1957. "Music Transcription by Computer." Computing News 5(17): 108-113.

Anonymous. 1960. "Mechanized Music." Musical America LXXX: 22.

Anonymous. 1960. "Will a machine compose a new symphony?." The School Musician 31(5): 59.

Anonymous. 1962. "Inside stuff — music (first "stocastic work" composed by IBM coordinator 70.90)." Variety 207: 65.

Anonymous. 1962. "Les principes de composition de la musique algorithmique par des ensembles à traiter l'information." Electro-calcul 4(2).

Anonymous. 1964. "Sound of cybernetics: aleatoric music performed by the New York Philharmonic Orchestra." Newsweek 63: 88.

Anonymous. 1965. "Age of the Patchwork." Time September 24. Internet: http://www.time.com/ time/ printout/ 0,8816,834382,00.html

Anonymous. 1982. "Composing Computers." Science Digest 90: 79.

Anonymous. 2000. "History of Electronic and Computer Music Including Automatic Instruments and Composition Machines." Internet: http://music.dartmouth.edu/ ~wowem/ electronmedia/ music/ eamhistory.html

Appelton, J. 1964. "Aesthetic Direction in Electronic Music." The Western Humanities Review 18: 345.

Appleton, J. 1992. "Machine Songs III: Music in the Service of Science - Science in the Service of Music." Computer Music Journal 16(3): 17-21.

Apter, M. J. 1969. "Cybernetics and Art." Leonardo 2(3): 257-265.

Arcela, A. and G. Ramalho. 1991. "A Formal Composition System based on the Theory of Time Trees." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 246-253.

Arden, J. 1996. Focussing the musical imagination: exploring in composition the ideas and techniques of Joseph Schillinger. Ph.D. Thesis, The Department of Music, City University London. Internet: http://www.mracpublishing.eu/ publications/ phdthesis-schillinger

Ariza, C. 2000. "Stravinsky's Verticals as Set Class Similarity Contours."

Ariza, C. 2001. "athenaCL: Set Class Utility and Algorithmic Composition in Csound."

Ariza, C. 2002. "A New Language for Computer-Aided Post-Tonal Pitch Analysis: Python and the Open Source athenaCL Project."

Ariza, C. 2002. "Prokaryotic Groove: Rhythmic Cycles as Real-Value Encoded Genetic Algorithms." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 561-567. Internet: http://www.flexatone.net/ docs/ pgrcrvega.pdf

Ariza, C. 2003. "Ornament as Data Structure: An Algorithmic Model based on Micro-Rhythms of Csángó Laments and Funeral Music." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 187-193. Internet: http://www.flexatone.net/ docs/ odsammrclfm.pdf abstract

Ariza, C. 2004. "algorithmic.net: A Lexicon of Systems and Research in Computer-Aided Algorithmic Composition." Internet: http://www.algorithmic.net

Ariza, C. 2004. "An Object Oriented Model of the Xenakis Sieve for Algorithmic Pitch, Rhythm, and Parameter Generation." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 63-70. abstract

Ariza, C. 2005. An Open Design for Computer-Aided Algorithmic Music Composition: athenaCL. Ph.D. Dissertation, New York University. Internet: http://www.flexatone.net/ caac.html abstract {amazon}

Ariza, C. 2005. athenaCL Tutorial Manual. 2nd ed. Internet: http://www.flexatone.net/ athenaDocs abstract

Ariza, C. 2005. "Navigating the Landscape of Computer-Aided Algorithmic Composition Systems: A Definition, Seven Descriptors, and a Lexicon of Systems and Research." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 765-772. Internet: http://www.flexatone.net/ docs/ nlcaacs.pdf abstract

Ariza, C. 2005. "The Xenakis Sieve as Object: A New Model and a Complete Implementation." Computer Music Journal 29(2): 40-60. Internet: http://www.mitpressjournals.org/ doi/ abs/ 10.1162/ 0148926054094396 abstract

Ariza, C. 2006. "The babelcast Information Sheet." Internet: http://www.flexatone.net/ docs/ babelcast.pdf

Ariza, C. 2006. "Beyond the Transition Matrix: A Language-Independent, String-Based Input Notation for Incomplete, Multiple-Order, Static Markov Transition Values." Internet: http://www.flexatone.net/ docs/ btmimosmtv.pdf abstract

Ariza, C. 2007. "Automata Bending: Applications of Dynamic Mutation and Dynamic Rules in Modular One-Dimensional Cellular Automata." Computer Music Journal 31(1): 29-49. Internet: http://www.mitpressjournals.org/ doi/ abs/ 10.1162/ comj.2007.31.1.29

Ariza, C. 2007. "Serial RSS Sound Installation as Open Work: The babelcast." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 1: 275-278. Internet: http://www.flexatone.net/ docs/ srsiowb.pdf abstract

Ariza, C. 2008. "Composing Musical Structures within a Web-Browser: A Guide to Envl.net." Internet: http://www.flexatone.net/ envl/ docs

Ariza, C. 2008. "Python at the Control Rate: athenaCL Generators as Csound Signals." Csound Journal 9. Internet: http://www.csounds.com/ journal/ issue9/ pcragcs.html

Arsenault, L. M. 2002. "Iannis Xenakis's Achorripsis: The Matrix Game." Computer Music Journal 26(1): 58-72.

Ascher, F. 1952. "Das Zwölftonwunder." Inspiré 24.

Ashby, R. 1956. An Introduction to Cybernetics. London: Chapman & Hall Ltd. Internet: http://pcp.vub.ac.be/ books/ IntroCyb.pdf

Ashton, A. C. 1971. "A Computer Stores, Composes, and Plays Music." Computers and Automation 20(12): 43-44.

Assayag, G. and J. Baboni, K. Haddad. 2001. OpenMusic 4.0 User's Manual and Reference. Paris: IRCAM — Centre Georges Pompidou. Internet: http://recherche.ircam.fr/ equipes/ repmus/ OpenMusic/ Documentation/ OMUserDocumentation/ DocFiles/ Documentation/ index.html

Assayag, G. and S. Dubnov, O. Delerue. 1999. "Guessing the Composer's Mind: Applying Universal Prediction to Musical Style." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 496-499.

Assayag, G. and C. Rueda, M. Laurson, C. Agon, O. Delerue. 1999. "Computer-Assisted Composition at IRCAM: From PatchWork to OpenMusic." Computer Music Journal 23(3): 59-72. Internet: http://www.ircam.fr/ equipes/ repmus/ RMPapers/ CMJ98/

Assayag, G. 1998. "Computer Aided Composition Today." IRCAM Music Representation Team. Internet: http://recherche.ircam.fr/ equipes/ repmus/ RMPapers/ Corfou98/

Assayag, G. and C. Agon, J. Fineberg, P. Hanappe. 1997. "An Object Oriented Visual Environment for Musical Composition." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 364-367.

Attali, J. 1985. Noise: The Political Economy of Music. Translated by B. Massunmi. Minneapolis: University of Minnesota Press.

Austin, L. 1982. "Phantasmagoria: Chronicle of Computer-assisted Composition/Performance." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association.

Ayers, L. M. 1996. "Ayers, Lydia Merapi: A composition for gamelan and computer-generated tape." Leonardo Music Journal 29(6): 7-14.

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b

Babbage, C. 1832. On the Economy of Machinery and Manufactures. London: Charles Knight. {amazon}

Babbitt, M. 1958. "Who Cares if you Listen." High Fidelity 8(2): 38.

Babbitt, M. 1962. "Twelve-Tone Rhythmic Structure and the Electronic Medium." Perspectives of New Music 1(1): 49-79.

Backus, J. 1960. "Re: Pseudo-science in music." Journal of Music Theory 55: 220-232.

Baffioni, C. and F. Guerra, L. T. Lalli. 1981. "Music and Aleatory Processes." In Proceedings of the '5-Tage-Kurs' of the USP Mathematisierung. Bielefeld University. 272.

Baffioni, C. and F. Guerra, L. T. Lalli. 1984. "The Theory of Stochastic Processes and Dynamical Systems as a Basis for Models of Musical Structures." In Musical Grammars and Computer Analysis. M. Baroni and L. Callegari, eds. Florence: Olschki. {amazon}

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Bailey, R. W. 1973. "Computer Poems." Potagannissing Press.

Bailey, R. W. 1974. "Computer-assisted poetry: the writing machine is for everybody." In Computers in the Humanities. J. L. Mitchell, ed. Minneapolis: University of Minnesota Press. 283-295. {amazon}

Bain, R. 2007. "The AIMS Project: Creative Experiments in Musical Sonification." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 656-660.

Bain, R. 1990. "Algorithmic composition: Quantum mechanics and the musical domain." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 276-279.

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Baisnée, P. F. 1988. "Esquisse: A Compositional Environment." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 108-118.

Baisnée, P. and J. Barrière, M. Dalbavia, J. Duthen, M. Lindburg, Y. Potard, K. Saariaho. 1988. "ESQUISSE: A Compositional Environment." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 108-118.

Baker, R. S. 1906. "New Music for an Old World." McClure's Magazine.

Baker, R. 1963. "MUSICOMP: Music-Simulator for Compositional Procedures for the IBM 7090 Electronic Digital Computer." Tehcnical Report No. 9, University of Illinois, Experimental Music Studio. {amazon}

Baker, R. 1963. A Statistical Analysis of the Harmonic Practice of the 18th and 19th Centuries. D.M.A. Dissertation, University of Illinois.

Balaban, M. 1992. "Music Structures: Interleaving the Temporal and Hierarchical Aspects in Music." In Understanding Music with AI: Perspectives on Music Cognition. M. Balaban, K. Ebcioglu and O. E. Laske, eds. Cambridge: AAAI Press / MIT Press. 31-48. {amazon}

Balaban, M. and K. Ebcioglu, O. E. Laske. 1992. Understanding Music with AI: Perspectives on Music Cognition. Cambridge: AAAI Press / MIT Press. {amazon}

Balestrini, N. 1968. "Tape Mark I." In Cybernetic Serendipity. J. Reichardt, ed. London: Studio International, W. & J. Mackay. 55-56.

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Barbaud, P. 1974. "Composing Music and Generating Sound by Computer." In IFIP Congress. IFIP Congress.

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Barlow, C. 1987. "Two Essays on Theory." Computer Music Journal 11(1): 44-60.

Barlow, C. 1990. "Autobusk: An algorithmic real-time pitch and rhythm improvisation programme." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 166-168.

Barlow, C. 1999. "Methoden algorithmischer Klangerzeugung anhand eigener Arbeiten: Von Klanglomeration und Schallwellenreiten zu Synthrumentation und Spektastik." Saarbrucken: PFAU 67-82.

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Barrett, G. D. and M. Winter, H. Wulfson. 2007. "Automatic Notation Generators." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 1: 25-30.

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Bartetzki, A. 1997. "Csound Score Generation and Granular Synthesis with CMask." Internet: http://gigant.kgw.tu-berlin.de/ ~abart/ CMaskPaper/ cmask-article.html

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Battey, B. 2004. "Bézier Spline Modeling of Pitch-continuous Melodic Expression and Ornamentation." Computer Music Journal 28(4): 25-39.

Battey, B. 2004. "Musical Pattern Generation with Variable-coupled Iterated Map Networks." Organised Sound 9(2): 137-150.

Battey, B. 2007. "Editing Strategies for Bézier-Modeled Continuous Expression Curves." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 1: 398-401.

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Beilharz, K. 2005. "Integrating Computational Generative Processes in Acoustic Music Composition." In Generative Arts Practice '05: A Creativity and Cognition Symposium. E. Edmonds, P. Brown and D. Burraston, eds. University of Technology Sydney. 5-20. Internet: http://wwwpeople.arch.usyd.edu.au/ ~kirsty/ Publications_files/ GAP05-Beilharz.pdf

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Bel, B. 1998. "Migrating Musical Concepts: An Overview of the Bol Processor." Computer Music Journal 22(2): 56-64.

Bel, B. 1999. "Portrait of an Extra-Terrestrian." In Otto Laske: Navigating Musical Horizons. J. Tabor, ed. Westport: Greenwood Press . 81-91. Internet: http://www.lpl.univ-aix.fr/ lpl/ ressources/ sons/ bp2/ extrater.htm {amazon}

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Belet, B. 1992. "Toward a unification of algorithmic composition, real-time software synthesis, and live performance interaction." In Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association. 158-161.

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Benjamin, W. 1968. Illuminations. Translated by H. Zohn. New York: Schocken Books.

Benson, D. 2007. Music: A Mathematical Offering. Cambridge: Cambridge University Press. {amazon}

Berg, P. and R. Rowe, D. Theriault. 1980. "SSP and Sound Description." Computer Music Journal 4(1): 25-35.

Berg, P. 1978. A User's Manual for SSP. Utrecht: Institute of Sonology.

Berg, P. 1979. "PILE - A Language for Sound Synthesis." Computer Music Journal 3(1): 30-41.

Berg, P. 1996. "Abstracting the Future: The Search for Musical Constructs." Computer Music Journal 20(3): 24-27.

Berg, P. 2003. Using the AC Toolbox. Den Haag: Institute of Sonology, Royal Conservatory. Internet: http://www.koncon.nl/ ACToolbox/ files/ AC_Toolbox_Tutorial.pdf

Berggen, U. 1995. Ars Combinatoria: Algorithmic Construction of Sonata Movements by Means of Building Blocks Derived from W. A. Mozart's Piano Sonatas. Ph.D. Dissertation, Department of Musicology, Uppsala University. {amazon}

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