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music had on mood, mental and physical state, increase in motivation and social engagement, and a connection with the client’s musical identity. From 2008-2012, the
Department of Oncology/ Hematology of the University Medical Center in Hamburg-Eppendorf orchestrated a randomized pilot study to determine if music therapy helped patients cope with pain and reduce chemotherapy side effects. The sessions were given twice a week for twenty minutes and patients could choose either receptive or active methods. Each week, the quality of life, functioning ability, and level of depression/anxiety were assessed. Although emotional functioning scores increased and perception of pain improved significantly, they determined the outcome was inconclusive because patients have differing levels of manageable side effects and a hope to survive may influence expectations of treatment. However, patients rated the program helpful and potentially beneficial. Moreover, the feasibility of these studies allows for music therapists to practice in educational, psychiatric, medical, and private settings. Although there haven’t been any statistical significance based on few empirical adult studies, the trend shows improvements on most measures.
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whose musical prowess is easier to understand in relation on a biological/evolutionary level, humanity's draw towards music and song is less clear-cut. There is no "music center" of the brain, yet the vast majority of humans have an innate ability to distinguish, "music, perceive tones, timbre, pitch intervals, melodic contours, harmony, and (perhaps most elementally) rhythm." With that in mind, Sacks examines human's musical inclination through the lens of musical therapy and treatment, as a fair number of neurological injuries and diseases have been documented to be successfully treated with music. This understanding (along with a medical case Sacks witnessed in 1966 wherein a
Parkinson's patient was able to be successfully treated via music therapy) is what galvanized Sacks to create an episodic compilation of patient cases that all experienced and were treated by music to some capacity. In doing so, Sacks concertizes each example by explaining the neurological factors that play into each patient's healing and treatment in ways that relate to a lay yet curious audience.
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wife, but would still remember how to play the piano because he dedicated this knowledge to muscle memory when he was young. Those memories never fade. Another example is the
Putamen. This portion of the brain processes rhythm and regulates body movement and coordination. When introduced to music, if the amount of dopamine in the area is increased, it increases our response to rhythm. By doing this, music has the ability to temporarily stop the symptoms of such diseases as Parkinson's Disease. The music serves as a cane to these patients, and when the music is taken away, the symptoms return. When it comes to which music people respond best to, it is a matter of individual background. In patients with dementia, it is found that most patients respond to music from their youth, rather than relying on a certain rhythm or element. Neuroscientist Kiminobu Sugaya explains "That means memories associated with music are emotional memories, which never fade out-even in Alzheimer's patients".
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485:. Sacks discusses several different types of synesthesia: key synesthesia, non-musical synesthesia centered on numbers, letters, and days, synesthesia centered on sounds in general, synesthesia centered on rhythm and tempo, and synesthesia in which the person sees lights and shapes instead of colors. Sacks also describes cases where synesthesia has accompanied blindness.
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is music that becomes the catalyst for discovering the child’s potential. In essence, musical play creates an atmosphere that emboldens a child to free expression and reproductive skills. Sometimes family members observe immediate effects because selfhood is encouraged and nurtured and thus a child’s personality develops in response to music.
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respectively. Each part has between six and eight chapters, each of which is in turn dedicated to a particular case study (or several related case studies) that fit the overarching theme of the section. Presenting the book in this fashion makes the reading a little disjointed if one is doing so cover
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Certain portions of the brain are associated with how we use the brain to interact with music. For example, the cerebellum, a portion that coordinates movement and stores muscle memory, responds well to the introduction of music. For example, an
Alzheimer's patient would not be able to recognize his
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documented their work with audio recordings and videos of the transformative results of music with children who had emotional or behavioral problems, traumatic experiences, or handicaps. Robbins classifies the "Music Child" as the inner self in every child that evokes a healthy musical response. It
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was written in an attempt to widen the general populace's understanding of music and its effects on the brain. As Sacks states at the outset of the book's preface, music is omnipresent, influencing human's everyday lives in how we think and act. However, unlike other animal species (such as birds)
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Sacks includes discussions of several different conditions associated with music as well as conditions that are helped by music. These include musical conditions such as musical hallucinations, absolute pitch, and synesthesia, and non-musical conditions such as blindness, amnesia, and
Alzheimer's
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cohere is Sacks himself. He is the book's moral argument. Curious, cultured, caring, in his person Sacks justifies the medical profession and, one is tempted to say, the human race." Kramer concluded his review by writing, "Sacks is, in short, the ideal exponent of the view that responsiveness to
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Recently, studies have been conducted on the effects of music with chemo patients, stroke patients, patients with
Alzheimer, spinal or brain injury, and hospice patients. According to a 2017 report from Magee, Clark, Tamplin, and Bradt, a common theme of all their studies was the positive effect
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When music therapy was first introduced in tandem with other medical fields, it was mostly receptive and patients listened to live solo performances or pre-recorded songs. Today, music therapist allow for more creative interactions by having clients improvise, reproduce music or imitate melodies
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Since the 1970s, there have been multiple studies on the benefits of music therapy for clients with medical conditions, trauma, learning disabilities, and handicaps. Most of the documented studies for children have shown a positive effect in promoting self-actualization and developing receptive,
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First, the music therapist assesses each client to determine impairments, preferences, and skill level. Notably, every person appreciates different musical genres. Next, treatment is determined based on individualized goals and selection as well as frequency and length of sessions. Finally, the
502:. Sacks writes about how, even though Clive suffers from such severe amnesia, he still remembers how to read piano music and play the piano. However, Clive can only remember how to do so in the moment. Sacks also writes about
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Kordovan, Sarah; Preissler, Pia; Kamphausen, Anne; Bokemeyer, Carsten; Oechsle, Karin (April 2016). "Prospective Study on Music
Therapy in Terminally Ill Cancer Patients during Specialized Inpatient Palliative Care".
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progress of the client is evaluated and updated based on effectiveness. Although sessions are typically structured, therapist also remain flexible and try to meet clients where they are at emotionally and physically.
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Sacks discusses how blindness can affect the perception of music and musical notes, and he also writes that absolute pitch is much more common in blind musicians than it is in sighted musicians. Sacks writes about
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Hsiung, Ging-Yuek; Kirkland, Kevin; Hswen, Yulin; Slack, Penelope J.; Summers, Susan; Boyd, Lara; Jacova, Claudia (July 2013). "A pilot, randomized study of music therapy for people with
Alzheimer's disease".
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in which he explores a range of psychological and physiological ailments and their intriguing connections to music. It is broken down into four parts, each with a distinctive theme; part one titled
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Porter, Sam; McConnell, Tracey; Graham-Wisener, Lisa; Regan, Joan; McKeown, Miriam; Kirkwood, Jenny; Clarke, Mike; Gardner, Evie; Dorman, Saskie; McGrillen, Kerry; Reid, Joanne (December 2018).
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cognitive, and expressive capabilities. While the studies conducted with adults 18+ had overall positive effects, the conclusions were limited because of overt bias and small sample sizes.
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Guerrero, Nina; Turry, Alan; Geller, Daniel; Raghavan, Preeti (2014). "From
Historic to Contemporary: Nordoff-Robbins Music Therapy in Collaborative Interdisciplinary Rehabilitation".
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to cover, however, it also means one may pick up the book and flip to any chapter for a quick read without losing any context. Four case studies from the book are featured in the
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469:, and he mainly writes about someone who had a tumor in his left temporal lobe which caused him to have seizures, during which he heard music. Sacks then writes about
906:"A music therapy feasibility study with adults on a hospital neuroscience unit: Investigating service user technique choices and immediate effects on mood and pain"
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510:, and how, similar to with people who suffer from Tourette's, music with a strong rhythmic beat can help with movement and coordination. Sacks briefly discusses
644:"Music and the Brain: What Happens When You're Listening to Music." Pegasus Magazine, University of Central Florida, www.ucf.edu/pegasus/your-brain-on-music/.
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Since music is a fundamental aspect of every culture, it embodies every human emotion and can even transport us to an earlier time through our memory.
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Kim, Dong Soo; Park, Yoon Ghil; Choi, Jung Hwa; Im, Sang-Hee; Jung, Kang Jae; Cha, Young A; Jung, Chul Oh; Yoon, Yeo Hoon (2011).
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and how children with
Williams syndrome were found to be very responsive to music. Sacks finishes his book with a discussion of
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and the effects that music can have on tics, for example, slowing tics down to match the tempo of a song. Sacks writes about
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Mondanaro, John; Loewy, Joanne (2015-07-09). Edwards, Jane (ed.). "Music Therapy with Adolescents in Medical Settings".
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Magee, Wendy L; Clark, Imogen; Tamplin, Jeanette; Bradt, Joke (2017-01-20). Cochrane Stroke Group (ed.).
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threatens to disintegrate into a catalogue of disparate phenomena." Kramer went on to say, "What makes
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allows readers to join Sacks where he is most alive, amid melodies and with his patients."
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examines mysterious onsets of musicality and musicophilia (and musicophobia). Part two
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that often accompany deafness, partial hearing loss, or conditions like
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The Man Who Mistook His Wife for a Hat and Other Clinical Tales
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Oliver Sacks: The Last Interview and Other Conversations
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Rebecca, West; Michael, J. Silverman (February 2020).
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Everything in Its Place: First Loves and Last Tales
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Seeing Voices: A Journey Into the World of the Deaf
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1994:This Is Your Brain on Music
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321:Oaxaca Journal (2002)
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357:A Range of Musicality
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837:
816:(2): 173–185.
796:
739:
717:
702:
684:
646:
637:
610:
591:(2007-10-28).
579:
578:
576:
573:
536:
533:
527:
524:
490:
487:
479:absolute pitch
462:
459:
453:
450:
402:
399:
389:
386:
337:
336:
332:The Mind's Eye
328:
324:
323:
318:
314:
313:
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276:
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184:
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138:
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129:
122:
121:
83:
81:
74:
69:
43:
42:
40:
33:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2053:
2042:
2039:
2037:
2034:
2032:
2029:
2027:
2024:
2022:
2019:
2017:
2014:
2013:
2011:
1996:
1995:
1991:
1989:
1988:
1984:
1982:
1981:
1977:
1975:
1974:
1970:
1968:
1967:
1963:
1961:
1960:
1956:
1954:
1953:
1949:
1948:
1946:
1942:
1936:
1935:Sandra Trehub
1933:
1931:
1928:
1926:
1923:
1921:
1918:
1916:
1915:Roger Shepard
1913:
1911:
1908:
1906:
1905:Carl Seashore
1903:
1901:
1898:
1896:
1893:
1891:
1890:James Mursell
1888:
1886:
1883:
1881:
1878:
1876:
1873:
1871:
1868:
1866:
1863:
1861:
1858:
1856:
1853:
1851:
1848:
1846:
1845:Tuomas Eerola
1843:
1841:
1840:Diana Deutsch
1838:
1836:
1835:Irène Deliège
1833:
1831:
1828:
1826:
1823:
1821:
1818:
1816:
1813:
1812:
1810:
1808:
1804:
1798:
1797:Zoomusicology
1795:
1793:
1790:
1788:
1785:
1783:
1780:
1778:
1775:
1773:
1770:
1768:
1765:
1763:
1760:
1758:
1755:
1753:
1750:
1748:
1747:Music therapy
1745:
1743:
1740:
1738:
1735:
1733:
1730:
1728:
1725:
1723:
1720:
1718:
1715:
1714:
1712:
1708:
1702:
1701:Tone deafness
1699:
1697:
1694:
1692:
1689:
1687:
1684:
1682:
1681:Beat deafness
1679:
1677:
1674:
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1669:
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1666:
1664:
1660:
1654:
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1646:
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1599:
1596:
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1584:
1581:
1579:
1576:
1574:
1573:Mozart effect
1571:
1569:
1566:
1564:
1561:
1559:
1556:
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1551:
1549:
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1544:
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1526:
1524:
1521:
1519:
1516:
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1504:
1501:
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1479:
1476:
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1471:
1470:
1468:
1466:
1462:
1456:
1453:
1451:
1448:
1446:
1443:
1441:
1438:
1436:
1433:
1431:
1430:Biomusicology
1428:
1427:
1425:
1421:
1417:
1410:
1405:
1403:
1398:
1396:
1391:
1390:
1387:
1375:
1374:
1370:
1368:
1367:
1363:
1361:
1358:
1357:
1355:
1351:
1345:
1344:
1340:
1338:
1337:
1333:
1331:
1330:
1326:
1324:
1323:
1319:
1317:
1316:
1312:
1311:
1309:
1305:
1298:
1295:
1292:
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1287:
1284:
1281:
1278:
1277:
1273:
1270:
1269:
1265:
1262:
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1257:
1254:
1253:
1249:
1246:
1245:
1241:
1238:
1237:
1233:
1230:
1229:
1225:
1222:
1221:
1217:
1214:
1213:
1209:
1206:
1205:
1201:
1198:
1197:
1193:
1190:
1189:
1185:
1182:
1181:
1177:
1174:
1173:
1169:
1168:
1166:
1162:
1158:
1151:
1146:
1144:
1139:
1137:
1132:
1131:
1128:
1120:
1116:
1112:
1108:
1105:
1104:
1100:
1096:
1091:
1090:
1086:
1077:
1073:
1069:
1065:
1061:
1057:
1053:
1049:
1041:
1038:
1033:
1029:
1024:
1019:
1015:
1011:
1007:
1003:
999:
992:
989:
984:
980:
975:
970:
966:
962:
957:
952:
948:
944:
940:
933:
930:
924:
919:
915:
911:
907:
900:
897:
892:
888:
884:
877:
874:
869:
865:
861:
857:
853:
849:
841:
838:
833:
829:
824:
819:
815:
811:
807:
800:
797:
792:
788:
783:
778:
774:
770:
766:
762:
759:(6): 977–81.
758:
754:
750:
743:
740:
736:
732:
728:
721:
718:
713:
709:
705:
699:
695:
688:
685:
680:
676:
672:
668:
664:
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638:
626:
625:
620:
614:
611:
600:
599:
594:
590:
584:
581:
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572:
568:
564:
560:
557:
552:
550:
546:
541:
534:
532:
525:
523:
521:
517:
513:
509:
505:
501:
497:
496:Clive Wearing
488:
486:
484:
480:
476:
472:
468:
460:
458:
451:
449:
447:
446:
441:
437:
435:
430:
426:
422:
418:
414:
410:
409:
400:
398:
395:
387:
385:
383:
382:
381:Musical Minds
377:
372:
370:
365:
364:
358:
354:
350:
349:
344:
335:
333:
329:
325:
322:
319:
315:
311:
309:
307:LC Class
303:
299:
296:
295:Dewey Decimal
291:
288:
285:
283:
277:
274:
271:
269:
265:
261:
255:
251:
247:
243:
239:
236:
233:
229:
226:
223:
219:
215:
210:
198:
195:
180:
177:
169:
166:December 2019
159:
155:
151:
145:
144:
139:This article
137:
128:
127:
118:
115:
107:
104:December 2019
97:
91:
89:
82:
73:
72:
67:
65:
58:
57:
52:
51:
46:
41:
32:
31:
19:
1992:
1985:
1978:
1971:
1966:Musicophilia
1965:
1964:
1957:
1950:
1920:John Sloboda
1900:Oliver Sacks
1870:Fred Lerdahl
1722:Bioacoustics
1648:Tonal memory
1633:Shepard tone
1371:
1364:
1341:
1334:
1327:
1320:
1313:
1296:
1288:
1282:
1274:
1266:
1258:
1250:
1244:Musicophilia
1243:
1242:
1234:
1226:
1218:
1210:
1202:
1194:
1186:
1178:
1170:
1157:Oliver Sacks
1113:(Dec 2007).
1103:Musicophilia
1102:
1051:
1047:
1040:
1005:
1001:
991:
946:
942:
932:
913:
909:
899:
882:
876:
851:
847:
840:
813:
809:
799:
756:
752:
742:
727:Musicophilia
726:
720:
693:
687:
665:(1): 38–46.
662:
658:
640:
629:. Retrieved
627:. 2007-12-02
622:
613:
602:. Retrieved
596:
583:
569:
565:
561:
553:
549:Musicophilia
548:
547:, author of
545:Oliver Sacks
542:
538:
529:
492:
464:
455:
443:
440:Musicophilia
439:
438:
434:Musicophilia
433:
429:Musicophilia
428:
425:Musicophilia
424:
417:Musicophilia
416:
406:
404:
394:Musicophilia
393:
391:
379:
367:
360:
356:
352:
347:
346:
343:Oliver Sacks
340:
334:(2010)
330:
320:
225:Oliver Sacks
190:
172:
163:
140:
110:
101:
85:
61:
54:
48:
47:Please help
44:
2031:Music books
1925:Carl Stumpf
1855:David Huron
1807:Researchers
1513:Entrainment
1307:Adaptations
1119:The Monthly
1115:"Wunderbar"
854:(4): P477.
483:synesthesia
415:wrote, "In
2010:Categories
1910:Max Schoen
1860:Nina Kraus
1820:Lola Cuddy
1757:Musicology
1322:Awakenings
1180:Awakenings
949:(1): 125.
916:: 101585.
735:1107668220
631:2007-12-26
604:2007-12-26
575:References
300:781/.11 22
262:2007-10-16
150:improve it
50:improve it
1663:Disorders
1276:Gratitude
1068:1096-6218
965:1472-684X
832:2353-4184
773:0513-5796
712:956277739
679:0734-6875
457:disease.
249:Publisher
235:Chip Kidd
154:verifying
56:talk page
1172:Migraine
1076:26894922
1032:28103638
983:30482192
868:53259190
791:22028163
520:dementia
475:tinnitus
378:program
369:Emotions
287:85692744
241:Language
1732:Hearing
1503:Earworm
1353:Related
1023:6464962
974:6260709
782:3220261
500:amnesia
401:Reviews
388:Purpose
244:English
148:Please
1671:Amusia
1465:Topics
1299:(2019)
1293:(2017)
1285:(2016)
1279:(2015)
1271:(2015)
1263:(2012)
1255:(2010)
1247:(2007)
1239:(2002)
1231:(2001)
1223:(1997)
1215:(1995)
1207:(1989)
1199:(1985)
1191:(1984)
1183:(1973)
1175:(1970)
1074:
1066:
1030:
1020:
981:
971:
963:
866:
830:
789:
779:
771:
733:
710:
700:
677:
221:Author
1423:Areas
1164:Books
864:S2CID
363:Music
252:Knopf
1072:PMID
1064:ISSN
1028:PMID
979:PMID
961:ISSN
828:ISSN
787:PMID
769:ISSN
731:OCLC
708:OCLC
698:ISBN
675:ISSN
518:and
376:NOVA
366:and
281:OCLC
268:ISBN
1056:doi
1018:PMC
1010:doi
969:PMC
951:doi
918:doi
887:doi
856:doi
818:doi
777:PMC
761:doi
667:doi
152:by
2012::
1117:.
1070:.
1062:.
1052:19
1050:.
1026:.
1016:.
1004:.
1000:.
977:.
967:.
959:.
947:17
945:.
941:.
914:67
912:.
908:.
885:.
862:.
850:.
826:.
812:.
808:.
785:.
775:.
767:.
757:52
755:.
751:.
729:,
706:.
673:.
663:32
661:.
649:^
621:.
595:.
448:.
411:,
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1058::
1034:.
1012::
1006:1
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953::
926:.
920::
893:.
889::
870:.
858::
852:9
834:.
820::
814:5
793:.
763::
714:.
681:.
669::
634:.
607:.
197:)
191:(
179:)
173:(
168:)
164:(
146:.
117:)
111:(
106:)
102:(
92:.
66:)
62:(
20:)
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