84:; in them either everything present counts, or nothing at all; and each and every Now is not unremittingly regarded as the mere consequence of the one which preceded it and as the upbeat to the coming one—in which one puts one's hope—but rather as something personal, independent and centred, capable of existing on its own. They are forms in which an instant does not have to be just a bit of a temporal line, nor a moment just a particle of a measured duration, but rather in which concentration on the Now—on every Now—makes vertical slices, as it were, that cut through a horizontal temporal conception to a timelessness I call eternity: an eternity that does not begin at the end of time but is attainable in every moment. I am speaking of musical forms in which apparently nothing less is being attempted than to explode (even to overthrow) the temporal concept—or, put more accurately: the concept of duration. ...
1996:
62:", on the other hand, is a compositional approach in which a narrative overall line is deliberately avoided. The component moments in such a form are related by a nonlinear principle of proportions. If this system of proportions exhausts a set of possibilities, the form is said to be "closed"; if not, or if the series of proportions is not finite, then the form is "open".
79:
intense and seek to maintain the level of continued "main points", which are constantly equally present, right up until they stop. In these forms a minimum or a maximum may be expected in every moment, and no developmental direction can be predicted with certainty from the present one;
618:
Stockhausen-Kurse KĂĽrten 2007: Kompositions-Kurs ĂĽber KLANG, die 24 Stunden des Tages, Zweite Stunde: FREUDE fĂĽr 2 Harfen, 2005 / Stockhausen
Courses Kuerten 2007: Composition Course on KLANG/SOUND, the 24 Hours of the Day, Second Hour: FREUDE for 2 Harps, 2005, Work no.
74:
climax, nor at prepared (and consequently expected) multiple climaxes, and the usual introductory, rising, transitional and fading-away stages are not delineated in a development curve encompassing the entire duration of the work. On the contrary, these forms are
65:
Moment form does not necessarily avoid perceptible goal-directed processes. "They simply refuse to participate in a globally directed narrative curve, which is, naturally, not their purpose". In
Stockhausen's words, works with this property
55:
with clear components, or a mixture of the two; and it can be static, or dynamic, or a combination of the two. "Depending on their characteristics, they can be as long or as short as you like".
45:
A "moment", in
Stockhausen's terminology, is any "formal unit in a particular composition that is recognizable by a personal and unmistakable character." It can be either an indivisible
209:), the component moments can be ordered in different ways. Several other works by Stockhausen have this "mobile" feature, without falling into his category of moment form, for example,
728:
515:
1999:
746:
659:. 1981. "Serial and Non-Serial Techniques in the Music of Karlheinz Stockhausen from 1962–1968". Ph.D. diss., Seattle: University of Washington.
1848:
721:
647:
Kaletha, Holger. 2004. "Decomposition of the Sound
Continuum: Serialism and Development from a Genetic-Phenomenological Perspective."
547:
663:
2019:
714:
505:
1352:
211:
609:/SOUND, the 24 Hours of the Day: First Hour: ASCENSION for Organ or Synthesizer, Soprano and Tenor, 2004/05, Work No. 81
524:
1810:
883:
1530:
1522:
1317:
649:
632:
133:
127:
1903:
1098:
1853:
1689:
696:
24:
is defined as a "self-contained (quasi-)independent section, set off from other sections by discontinuities".
1973:
1933:
1423:
1162:
103:
1858:
1665:
1130:
1043:
938:
109:
34:
2024:
1082:
737:
684:
668:
570:
552:
39:
1795:
1673:
1309:
267:
1923:
1562:
1463:
1360:
1301:
1114:
962:
914:
875:
788:
765:
227:
101:, works cited by Stockhausen as being particularly concerned with moment forming include the earlier
1697:
1642:
1634:
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1610:
1602:
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1376:
1368:
1282:
1274:
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978:
922:
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606:
185:
179:
173:
1739:
1578:
1570:
1538:
1138:
954:
828:
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594:
167:
573:. 1963a. "Momentform: Neue Beziehungen zwischen AuffĂĽhrungsdauer, Werkdauer und Moment". In his
193:(or, in Stockhausen's nomenclature, "polyvalent") forms, because in four of these compositions (
1888:
1843:
1745:
1733:
1715:
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1400:
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279:
259:
157:
1122:
1918:
1898:
1873:
1800:
1769:
1727:
1721:
1388:
804:
679:
271:
235:
1938:
1838:
1178:
543:
287:
251:
190:
1978:
1948:
1928:
1913:
1868:
1863:
1154:
283:
275:
255:
243:
2013:
1958:
1943:
1883:
1805:
1495:
1058:
520:
299:
247:
1833:
1774:
1186:
690:
295:
291:
263:
32:
The concept of moment form, and the specific term, originated with the composition
1968:
1963:
1908:
1893:
1878:
1828:
1815:
1074:
986:
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627:
303:
239:
1953:
1779:
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1554:
1546:
1471:
1333:
1194:
1066:
1050:
1447:
1415:
867:
563:
The Time of Music: New
Meanings, New Temporalities, New Listening Strategies
534:
234:
Certain works by other composers, both earlier and contemporaneous, such as
139:
52:
47:
1586:
1487:
1431:
1407:
1325:
1146:
151:
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115:
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1090:
1013:
970:
946:
221:
145:
121:
778:
582:
Stockhausen, Karlheinz. 1963b. "Erfindung und
Entdeckung", in his
189:(2005). The concept of moment form has often been confused with
710:
496:
Albaugh, Michael D. 2004. "Moment Form and Joseph
Schwantner's
82:
they have always already commenced, and could continue forever
344:
342:
605:
Stockhausen-Courses
Kuerten 2006: Composition Course on
565:. New York: Schirmer Books; London: Collier Macmillan.
306:, have also been cited as instances of moment form .
20:
is defined as "a mosaic of moments", and, in turn, a
396:
1788:
1762:
1755:
1708:
1657:
1514:
1387:
1344:
1293:
1036:
997:
902:
851:
776:
753:
500:". DMA diss. Morgantown: West Virginia University.
586:, vol. 1, pp. 222–258. Cologne: DuMont Schauberg.
577:, vol. 1, pp. 189–210. Cologne: DuMont Schauberg.
86:In works of this kind the start and stop are open
516:The New Grove Dictionary of Music and Musicians
703:. Göttingen: Verlag Vandenhoek & Ruprecht.
532:Dack, John. 1999. "Kontakte and Narrativity".
722:
8:
384:
360:
348:
333:
88:and yet they cease after a certain duration.
432:
420:
408:
1759:
1393:
906:
757:
729:
715:
707:
513:Clarkson, Austin. 2001. "Wolpe, Stefan."
672:61, no. 1 (January): 1–16. Reprinted in
548:"Moment Form in Twentieth Century Music"
456:
687:: An Essay on Phenomenological Ontology
444:
314:
480:
468:
321:
107:(1955–56), as well as the subsequent
7:
598:(score). KĂĽrten: Stockhausen-Verlag.
372:
1849:Center for Art and Media Karlsruhe
14:
676:75, no. 4 (Winter 1991): 194–206.
664:"Stockhausen's Writings on Music"
1995:
1994:
630:. 1985. "Stockhausen on Opera".
616:Stockhausen, Karlheinz. 2007.
603:Stockhausen, Karlheinz. 2006.
591:Stockhausen, Karlheinz. 2002.
1:
621:. KĂĽrten: Stockhausen-Verlag.
611:. KĂĽrten: Stockhausen-Verlag.
626:Stockhausen, Karlheinz, and
519:, second edition, edited by
653:42, no. 1 (Winter): 84–128.
483:, pp. 50–52 and 61–62.
2041:
884:Helikopter-Streichquartett
636:23, no. 2 (Spring): 24–39.
1991:
1824:
1396:
909:
760:
744:
650:Perspectives of New Music
633:Perspectives of New Music
593:Michaelion: 4. Szene vom
397:Stockhausen and Kohl 1985
1904:Gottfried Michael Koenig
561:Kramer, Jonathan. 1988.
2020:Post-tonal music theory
1353:Klavierstücke Nos. 1–19
666:(Subscription access).
550:(Subscription access).
697:Weizsäcker, Viktor von
662:Morgan, Robert. 1975.
571:Stockhausen, Karlheinz
498:Aftertones of Infinity
411:, pp. xii and xx.
90:
28:History and definition
1854:Collegium Vocale Köln
971:Hymnen (Third Region)
738:Karlheinz Stockhausen
685:Being and Nothingness
674:The Musical Quarterly
669:The Musical Quarterly
553:The Musical Quarterly
68:
40:Karlheinz Stockhausen
1789:Stockhausen Ensemble
1424:Gesang der JĂĽnglinge
1115:Aus den sieben Tagen
766:Atmen gibt das Leben
747:List of compositions
527:. London: Macmillan.
104:Gesang der JĂĽnglinge
93:Representative works
1131:FĂĽr kommende Zeiten
387:, pp. 198–199.
1740:Markus Stockhausen
1690:Alphabet für Liège
1674:Musik fĂĽr ein Haus
693:. London: Methuen.
595:Mittwoch aus Licht
447:, pp. 1, 7–8.
268:Witold Lutosławski
168:Mittwoch aus Licht
2007:
2006:
1987:
1986:
1924:MesĂas Maiguashca
1889:Nicolaus A. Huber
1844:Boudewijn Buckinx
1746:Simon Stockhausen
1734:Doris Stockhausen
1716:Mary Bauermeister
1653:
1652:
1464:Unsichtbare Chöre
1369:NatĂĽrliche Dauern
1032:
1031:
847:
846:
680:Sartre, Jean-Paul
385:Stockhausen 1963a
361:Stockhausen 1963a
349:Stockhausen 1963b
334:Stockhausen 1963a
280:Joseph Schwantner
274:, Morgan Powell,
260:Hans Werner Henze
158:Samstag aus Licht
2032:
1998:
1997:
1899:David C. Johnson
1874:Karel Goeyvaerts
1801:Johannes Fritsch
1770:Cornelius Cardew
1760:
1728:Suzanne Stephens
1722:Kathinka Pasveer
1394:
907:
758:
731:
724:
717:
708:
701:Gestalt und Zeit
689:. Translated by
637:
622:
612:
599:
587:
578:
566:
557:
544:Kramer, Jonathan
539:
528:
509:
484:
478:
472:
466:
460:
454:
448:
442:
436:
433:Stockhausen 2007
430:
424:
421:Stockhausen 2006
418:
412:
409:Stockhausen 2002
406:
400:
394:
388:
382:
376:
370:
364:
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352:
346:
337:
331:
325:
319:
272:Olivier Messiaen
2040:
2039:
2035:
2034:
2033:
2031:
2030:
2029:
2010:
2009:
2008:
2003:
1983:
1939:Costin Miereanu
1839:Fritz Bornemann
1820:
1811:Aloys Kontarsky
1784:
1751:
1704:
1649:
1510:
1383:
1340:
1310:Chöre für Doris
1289:
1179:In Freundschaft
1028:
993:
898:
843:
772:
749:
740:
735:
691:Hazel E. Barnes
644:
642:Further reading
625:
615:
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584:Texte zur Musik
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575:Texte zur Musik
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288:Igor Stravinsky
252:Roberto Gerhard
212:KlavierstĂĽck XI
95:
70:neither aim at
30:
12:
11:
5:
2038:
2036:
2028:
2027:
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2011:
2005:
2004:
1992:
1989:
1988:
1985:
1984:
1982:
1981:
1979:Michael Vetter
1976:
1971:
1966:
1961:
1956:
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1949:Jorge Peixinho
1946:
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1914:Mauricio Kagel
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1896:
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1869:Vinko Globokar
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1864:Herbert Eimert
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1531:Mikrophonie II
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1401:Konkrete EtĂĽde
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473:
471:, p. 178.
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363:, p. 200.
353:
351:, p. 250.
338:
336:, p. 189.
326:
324:, p. 453.
313:
311:
308:
284:Roger Sessions
276:Roger Reynolds
256:Michael Gielen
244:Elliott Carter
149:(1966–67/69),
134:Mikrophonie II
119:(1962–64/69),
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91:
87:
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29:
26:
13:
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2018:
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1959:Roger Smalley
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1944:Nam June Paik
1942:
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1884:Hans G. Helms
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1523:Mikrophonie I
1520:
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1515:With soloists
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1496:Cosmic Pulses
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1059:Kontra-Punkte
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998:With soloists
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521:Stanley Sadie
518:
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490:Cited sources
489:
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458:
457:Clarkson 2001
453:
450:
446:
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438:
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429:
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423:, p. 10.
422:
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405:
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399:, p. 25.
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300:Yehuda Yannay
297:
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248:Barney Childs
245:
241:
237:
236:István Anhalt
232:
230:
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204:
203:Mikrophonie I
200:
196:
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136:
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128:Mikrophonie I
124:
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106:
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92:
89:
85:
81:
76:
71:
67:
63:
61:
56:
54:
50:
49:
43:
41:
38:(1958–60) by
37:
36:
27:
25:
23:
19:
2025:Musical form
1993:
1974:Thomas Wells
1934:John McGuire
1834:Junsang Bahk
1796:Péter Eötvös
1775:Richard Toop
1696:
1688:
1680:
1672:
1664:
1641:
1633:
1625:
1617:
1609:
1601:
1593:
1585:
1577:
1569:
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1406:
1375:
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1300:
1281:
1273:
1265:
1257:
1249:
1241:
1233:
1225:
1217:
1209:
1202:
1193:
1187:Europa-Gruss
1185:
1177:
1169:
1161:
1153:
1145:
1137:
1129:
1123:Dr K–Sextett
1121:
1113:
1105:
1097:
1089:
1081:
1073:
1065:
1057:
1049:
1020:
1012:
1004:
985:
977:
969:
961:
953:
945:
937:
929:
921:
913:
890:
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866:
858:
835:
827:
819:
811:
803:
795:
787:
777:
764:
700:
683:
673:
667:
657:Kohl, Jerome
648:
631:
617:
604:
592:
583:
574:
562:
551:
533:
525:John Tyrrell
514:
497:
476:
464:
452:
445:Albaugh 2004
440:
435:, p. 3.
428:
416:
404:
392:
380:
368:
356:
329:
317:
296:Stefan Wolpe
292:Anton Webern
264:Charles Ives
233:
226:
225:(1959), and
220:
216:
210:
206:
202:
198:
194:
184:
183:(2005), and
178:
172:
166:
162:
156:
150:
144:
138:
132:
126:
120:
114:
108:
102:
98:
96:
69:
64:
59:
57:
46:
44:
33:
31:
21:
17:
15:
1964:Tim Souster
1929:Tomás Marco
1909:Jerome Kohl
1894:Alden Jenks
1879:Georg Heike
1859:Hugh Davies
1829:David Ahern
1816:David Tudor
1658:Other works
1377:Himmelfahrt
1356:(1952–2003)
1318:Drei Lieder
892:Himmels-TĂĽr
860:Herbstmusik
628:Jerome Kohl
556:64:177–194.
481:Kramer 1988
469:Kramer 1978
322:Kramer 1988
304:Frank Zappa
240:Earle Brown
231:(1975–77).
186:Himmels-TĂĽr
177:(2004–05),
174:Himmelfahrt
161:(1981–83),
77:immediately
18:moment form
2014:Categories
1954:Otto Piene
1780:Jill Purce
1763:Assistants
1736:(1st wife)
1718:(2nd wife)
1682:Sternklang
1555:Kurzwellen
1547:Prozession
1472:Oktophonie
1389:Electronic
1334:Litanei 97
1195:Trumpetent
1099:Plus-Minus
1067:Schlagtrio
1051:Kreuzspiel
903:Orchestral
789:Donnerstag
506:0549737960
310:References
163:Michaelion
16:In music,
1969:Avo Sõmer
1730:(partner)
1724:(partner)
1448:Telemusik
1416:Studie II
1235:Schönheit
1219:Harmonien
1163:Tierkreis
868:Originale
538:2, no. 2.
535:eContact!
373:Dack 1999
140:Telemusik
53:structure
2000:Category
1701:(2004–7)
1666:Ensemble
1635:Paradies
1627:Orvonton
1587:Strahlen
1488:Strahlen
1480:Weltraum
1432:Kontakte
1408:Studie I
1345:Keyboard
1326:Stimmung
1275:Hoffnung
1251:Erwachen
1227:Katikati
1147:Harlekin
1075:ZeitmaĂźe
1044:Sonatine
987:Jubiläum
829:Mittwoch
813:Dienstag
699:. 1960.
682:. 1957.
546:. 1978.
219:(1959),
215:(1956),
207:Stimmung
155:(1968),
152:Stimmung
143:(1966),
137:(1965),
131:(1964),
125:(1964),
113:(1960),
99:Kontakte
97:Besides
58:"Moment
35:Kontakte
1619:Nebadon
1611:Jerusem
1595:Edentia
1243:Balance
1083:Refrain
1037:Chamber
1006:Momente
931:Gruppen
852:Theatre
837:Sonntag
821:Freitag
797:Samstag
217:Refrain
195:Momente
116:Momente
60:forming
48:gestalt
1709:Family
1693:(1972)
1685:(1971)
1677:(1968)
1669:(1967)
1646:(2007)
1643:Uversa
1638:(2007)
1630:(2007)
1622:(2007)
1614:(2007)
1606:(2007)
1603:Havona
1598:(2007)
1590:(2002)
1582:(1970)
1574:(1970)
1566:(1968)
1563:Spiral
1558:(1968)
1550:(1967)
1542:(1966)
1534:(1965)
1526:(1964)
1507:(2006)
1499:(2006)
1491:(2002)
1483:(1994)
1475:(1991)
1467:(1979)
1459:(1967)
1456:Hymnen
1451:(1966)
1443:(1964)
1440:Mixtur
1435:(1960)
1427:(1956)
1419:(1954)
1411:(1953)
1403:(1952)
1380:(2005)
1372:(2006)
1364:(1970)
1361:Mantra
1337:(1997)
1329:(1968)
1321:(1950)
1313:(1950)
1305:(1950)
1302:Choral
1286:(2007)
1278:(2007)
1270:(2007)
1262:(2007)
1254:(2007)
1246:(2007)
1238:(2006)
1230:(2006)
1222:(2006)
1214:(2005)
1211:Freude
1206:(1997)
1203:Rotary
1198:(1995)
1190:(1992)
1182:(1977)
1174:(1976)
1166:(1975)
1158:(1975)
1150:(1975)
1142:(1972)
1134:(1971)
1126:(1969)
1118:(1968)
1110:(1966)
1102:(1963)
1094:(1959)
1091:Zyklus
1086:(1959)
1078:(1956)
1070:(1952)
1062:(1952)
1054:(1951)
1046:(1951)
1025:(1974)
1017:(1964)
1014:Mixtur
1009:(1964)
990:(1977)
982:(1971)
974:(1969)
966:(1969)
963:Fresco
958:(1965)
950:(1962)
947:Punkte
942:(1960)
934:(1957)
926:(1952)
918:(1951)
915:Formel
895:(2005)
887:(1993)
879:(1977)
876:Sirius
871:(1961)
863:(1974)
840:(2003)
832:(1997)
824:(1994)
816:(1991)
808:(1988)
805:Montag
800:(1983)
792:(1980)
769:(1977)
754:Operas
504:
302:, and
228:Sirius
222:Zyklus
205:, and
199:Mixtur
191:mobile
180:Freude
146:Hymnen
122:Mixtur
22:moment
1748:(son)
1742:(son)
1698:Klang
1504:TĂĽrin
1294:Vocal
1283:Treue
1267:GlĂĽck
1259:Glanz
1171:Amour
1107:Adieu
1022:Inori
979:Trans
939:Carré
923:Spiel
779:Licht
607:KLANG
165:from
110:Carré
1579:Pole
1571:Expo
1539:Solo
1139:Ylem
955:Stop
523:and
502:ISBN
51:, a
72:the
2016::
619:82
341:^
298:,
294:,
290:,
286:,
282:,
278:,
270:,
266:,
262:,
258:,
254:,
250:,
246:,
242:,
238:,
201:,
197:,
171:,
42:.
730:e
723:t
716:v
508:.
459:.
375:.
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