Lisa Zdechlik is Assistant Professor of Piano Pedagogy and Group Piano at the University of Arizona, holding a B.M. in piano performance and a B.M.E. in music education from the University of Northern Colorado, an M.M. in piano performance from San Diego State University, and a D.M.A. in piano performance/pedagogy from the University of Oklahoma. Her research involves the interaction between music analysis and performance and the applications of current technologies to music learning. Dr. Zdechlik is a recipient of a 2004 Arizona Board of Regents Learner-Centered Education Grant to develop an interactive CD-ROM for music and piano study. She was awarded the 2002 Dissertation Prize in Education, Fine Arts and the Professions at the University of Oklahoma for her dissertation, Texture and Pedaling in Selected Nocturnes of Frederic Chopin. Dr. Zdechlik has presented at local, state, and national conferences and is a consultant for Yamaha's Summer Technology Seminars. She serves on the steering committee of the National Group Piano and Piano Pedagogy Forum and as College Faculty Chair for the Arizona State Music Teachers Association.
Lisa Zdechlik
School of Music
University of Arizona-Tuscon
Tuscon, AZ 85721
520.626.9523
zdechlik@email.arizona.edu
Current technology affords the group piano instructor and learner a diverse set of resources that facilitate learning both within and outside the classroom. Web-enhanced tools, video- and DVD- instruction, sequencing technology, and MIDI and audio files are all resources at the disposal of the group piano instructor. Recording and sequencing technology is readily accessible as an on-board feature found on many digital pianos. Alternatively, sequencing software can be easily interfaced with a digital piano or keyboard via a computer.
Recording and sequencing technology can be an effective tool in the group piano curriculum to further the development of comprehensive musicianship skills including repertoire, harmonization, improvisation, sight reading, accompanying and ensemble playing. This technology may also be effectively used to teach techniques of arranging and orchestration and as a tool for score reading and score study and rehearsal preparation. Recording technology provides dynamic and instantaneous feedback that enables students to listen to and critically assess their performance, to reflect on their learning process, to take ownership of their progress, and to formulate strategies to improve their practice and performance.
This article demonstrates ways that I have integrated recording and sequencing technology into the group piano curriculum at the University of Arizona. The keyboard laboratory at the University of Arizona has twenty-one Yamaha CVP 103 Clavinovas, each with an on-board sixteen-track sequencer and floppy disk drive, permitting students to record and save their work on a regular basis. The teacher's console is equipped with a Yamaha CVP 107, a Yamaha MLC-100 lab controller, a document camera and a data projector, which is used to display the main screen of the teacher's instrument so that recording and multi-track sequencing can be easily demonstrated.
Repertoire
Recording and sequencing technology enhances the process of learning repertoire, provides an instrument for peer- and self-evaluation, and is a valuable tool in the testing of repertoire.
Learning Repertoire
Students may use sequencing technology to create a practice disk that helps them learn a repertoire piece. For instance, in learning the Minuet in F Major by Leopold Mozart1 students are instructed to:
Recording in this manner transforms the process of analysis from a passive written exercise to an active experience. Recording the rhythm and harmony reinforces the rhythmic fluctuations of the on- and off- beats of the accompaniment and develops an aural sense of the underlying harmonic structure. After this harmonic/rhythmic framework is recorded, students can practice hands separately, then hands together, with their created accompaniment disk. They now have a way to interact with both the harmony and the rhythm of the Minuet.
Peer- and Self-Evaluation of Repertoire
Another effective use of recording technology is as a self-evaluation or peer-evaluation tool for repertoire that students are learning. At various junctures in learning a piece, instruct students to record a performance and then to reflect on their performance, progress, and practice. This evaluation may be formal or informal and may focus on general or specific aspects. The objective is to provide students with a series of questions to assist them in evaluating their progress in the practice and performance of the piece. The same type of reflection tool can be effectively used for peer-evaluation.
General questions might include:
Specific questions might include:
Testing of Repertoire
An excellent way to prepare for testing is to ask students to record a repertoire piece and then to complete a self-evaluation of their playing using the same rubrics that will be used in the examination. Hence, each student experiences the evaluation process and knows what to expect during the actual examination. My experience is that after students have recorded, evaluated and scored their own performance, the quality of performance improves in testing.
Using recording technology as a mechanism during testing provides an opportunity to give instantaneous feedback to students in the form of a mini-lesson. One method to test repertoire is to listen to each student play at his or her keyboard, simultaneously recording the performance. Then immediately discuss the student's performance with him or her using the recorded performance to support your verbal feedback. To point out strengths and weaknesses of the performance, cue the recording to the measure(s) under discussion so that the student and you can listen together. Then ask the student to record these measures again to immediately implement your feedback in his or her playing. When graduate teaching assistants grade repertoire, the recorded performance provides documentation of the student's performance so that if a student contests a grade, the professor has a means to objectively evaluate the performance.
As a documentation of students' work, recordings serve as a portfolio of their performances as well as a journal of their development throughout the semester. By reviewing and reflecting on their progress, students develop a dialectic between themselves and their learning processes. In turn, this creates an environment where students learn how to learn and to take ownership for their progress.
Harmonization
The skills involved in learning to harmonize include understanding harmonic functions of chords in major and minor keys, the ability to think and play chord progressions fluently, and facility in transposition. Furthermore, perceiving the tonal and rhythmic design of a melody and its interaction with the harmony is an integral component of harmonization.
Understanding Harmonic Function
At the outset of teaching harmonization, it is important to establish an environment where students are engaged in activities that foster divergent thinking. Otherwise, students resort to convergent thinking in which they are only concerned about finding the one "right" harmonization. When this occurs, students miss out on an exploratory process of discovering the harmonic choices implied in a given melody.
A simple two-track recording is an invaluable tool to lead students through the thinking processes involved in working out an effective harmonization. Instruct students to record the melody on one track and experiment with possible harmonic solutions while the recorded melody is playing. As students play different chords, they are free to listen to how each chord interacts with the melody. Prompt students to try out different chords and to generate two to three harmonizations. For instance, "What if the ii chord were used here instead of the IV?" "How would the vi chord sound in this measure?" "What is the effect of ending on the I chord instead of the V in the first phrase?" Then instruct students to record a number of possible harmonizations. To accomplish this in the most efficient way, use the "copy" feature found on most digital pianos rather than asking students to record the melody a number of times.
When students arrive at their most effective harmonization through experimenting in this manner, instruct them to record the harmonization on track two. Then ask students to exchange disks with a partner and subsequently dictate the harmony used by their partner. Follow this with a discussion between partners in which they compare and contrast each other's harmonization, justifying their individual choices. After students have been given ample time to discuss each other's harmonizations, bring the entire group together for discussion and confirmation of the most effective harmonization as well as to elicit basic principles of harmonization based on students' discoveries. While learning from each other, this activity encourages students to apply multiple skills such as critical thinking, harmonic dictation, and explaining and justifying one's musical choices.
After the harmonization has been worked out, the same two-track recording may be used to experiment with different accompaniment patterns. Practicing the left hand with the recorded melody allows students to experience an accompaniment without initially coordinating both hands, allowing them to hear, see, and feel how the accompaniment synchronizes with the melody. From this process, students rapidly create a stockpile of accompaniments.
Rejuvenating the Chord Progression
We have all observed students going through the painstaking machinations of playing a chord progression when they do not understand the voicing or function of chords or do not have enough experience with the keyboard to understand the topography of a new key. The thought process goes something like this: "keep the right hand thumb and fifth finger in the same place, move the second finger of the right hand up a whole step, while the third finger of the left hand moves down a third." All the while, the student is intently starring at his or her hands, forcing the fingers to move with the eyes. So, where are the ears?
Establishing a process of learning that helps students connect their ears to voice leading and harmonic function is critical to learning chord progressions. To develop this listening, divide the class into four groups and ask each group to play aloud and sing (in solfege) one voice of the chord progression. Instruct students to listen for the voice leading and the individual color of each harmony as they move from one chord to the next.
The next step is to complete a four-track recording of the chord progression in the same manner. This process engages the students' ears on a deeper level and ensures that they are listening for voice leading rather than painstakingly searching for whole and half step motion. In addition, this models a way for students to practice the harmonic progressions in the practice room or away from the piano.
Another way to rejuvenate a chord progression is to introduce the automatic accompaniment and style features found on most digital pianos and keyboards. Students enjoy experimenting with the different styles such as a "hip-hop" or "bossa nova" and are motivated to practice the progression when they hear a fleshed-out accompaniment of their chord progression. Far more interesting than the monotonous "click-click-click" of a metronome, the automatic accompaniment serves as a glorified metronome, helping guide students who struggle to maintain a steady beat or have difficulty changing the chords in rhythm.
Transposing the Harmonic Changes of a Melody
Most keyboards have a transposition feature that allows the user to transpose a recorded piece to another key and still maintain the original key on the keyboard. This feature provides a useful practice tool-students can record a melody in one key then use the transposition feature to change to another key. As the recorded melody plays in a new key, students can play along, transposing the harmonic changes to the new key. Practicing in this manner develops fluency and accuracy in transposing a chord progression within the context of a piece of music rather than as an isolated exercise.
Improvisation
Improvisation is one of the most enlivening and rewarding aspects of music making; however, for some students, the idea of spontaneously creating music causes high anxiety. The music background of many students has not included improvisation on their major instrument, yet suddenly they are asked to improvise on a new, secondary instrument. Technology can be effectively used to bypass this fear and to immediately involve students in improvisation. Not only can students improvise over disk accompaniments but they may also record their improvisations and listen without the fear of their peers listening to and evaluating their improvisation. Both structured and unstructured improvisations are useful in developing improvisational skills.
Structured improvisations
Improvising a melody over a harmonic progression becomes more interactive and meaningful when students are able to first record the progression on one track, improvise as they listen to the harmonic changes, and finally record their improvisation on a second track. When students have to record the progression themselves, rather than relying on a pre-recorded commercial disk, they tend to hear the harmonic changes more clearly and begin to anticipate these changes in their melodic improvisations. A variation of this activity is to use the pre-selected style settings available on most digital pianos or keyboards to add a stylistic background to the harmonic progression. The next step is to improvise a melody that complements the selected style.
Two-track recordings can also be used to test improvisation. In the second semester, students pre-record a twelve-bar blues accompaniment using a piano sound.2 For the examination, students improvise and record a second track using a melodic instrument that is appropriate to the style.
Creating a collaborative improvisation is another way to use recording technology to engage students in both critical listening and playing with the musical ideas of their peers. Ask students to first record a sixteen-measure accompaniment and then to improvise and record a series of phrases over the accompaniment. For instance, each partner is instructed to improvise and record an a phrase, leave four measures blank, and then record an "A1" or "B" phrase. Partners then switch disks and attempt to imitate the recorded phrases, playing in the blank measures. Students can then be asked to transcribe their partner's improvised phrases.
Once students obtain a performance level with a repertoire piece, ask them to record the piece as written, then improvise and record an obligato or countermelody using the harmonic changes as a framework. Prelude-type compositions such as Dreamscape by George Peter Tingley,3 Toccatina by E.L. Lancaster4 and Summer Mood by Lynn Freeman Olson5 are well suited for this activity.
Unstructured Improvisations
The objective in using an unstructured improvisation is to tap into the students' innate musicality by exploring musical elements and the sonorous characteristics of the piano. One such improvisation is called Creating a Musical Painting. This is a non-judgmental activity-the focus is not on creating a "good" or "right" improvisation. Students are given a suggested topic or one of their own choosing to guide their improvisations. For instance, they may be asked to play a piece that captures the essence of flowers and dew. As students are introduced to musical elements and the characteristics of the piano, they are also given specific musical or pianistic concepts to incorporate into their musical painting. For instance, "in your improvisation, explore the different registers of the piano, the damper pedal, the range of dynamics from pianissimo to fortissimo and the contrast between staccato and legato articulations."
Recording technology is helpful because students can record and compare a number of improvisations. As students become more comfortable with this type of improvisation, have them listen to a classmate's recorded improvisation. Students can comment on what they hear in the improvisation in terms of the treatment of musical elements and the use of the piano. Providing an exploratory guide to focus students' attention and listening on the use of the piano and different musical elements helps students continue to grow musically and to gain confidence in their improvising.
Another activity to engage students in unstructured improvisation is what I refer to as Galumphing with Sound Patterns. Galumphing, a Lewis Carroll word, is a combination of galloping and triumphant!6 In his book Free Play: Improvisation in Life and Art, Stephen Nachmanovitch explains galumphing as "the immaculately rambunctious and seemingly inexhaustible play-energy apparent in puppies, kittens, children, baby baboons-and also in young communities and civilizations."7 Galumphing sets the stage to improvise at the piano in the uninhibited spirit of pure fun and play. When students are introduced to sound patterns (major/minor five-finger patterns, whole-tone, pentatonic, blues, etc.), galumphing is an excellent means to discover and become comfortable with the sound and the topographical feel of these different patterns. Students record their "galumphs" to listen to the distinguishing sound of a pattern and as a way to hear how they have brought the pattern into "play." As a follow-up ear training activity, students play their recorded galumphs for a partner and the partner identifies the sound pattern used. These recorded “galumphs” are certainly not masterpieces, nor are they intended to be. Their purpose is to serve as an improvisatory vehicle for students to "play" with various sound patterns. These galumphs also become a springboard to composition, serving as a recorded sketchbook of musical ideas. The benefit of using this technology is that it allows students to listen to, review, and choose their galumphing sound patterns for compositions.
Sight Reading
Sight reading is a skill that requires consistent, persistent practice and one in which students progress at vastly different rates. As they practice sight reading students are many times not in engaged in a level a reflection in which they contemplate, "What did I miss?" "Why did I mess up that rhythm?" "Did I really anticipate the harmony of the chord progression?" One way to use recording technology to build sight-reading skills is to have students sight-read and record a musical selection, listen to their playing, and complete a written reflection on their process and performance. This reflective/evaluative tool prompts students to listen for pitch and rhythmic inaccuracies and to reflect on possible causes of these inaccuracies. An example follows:
Sight Reading Reflection
During examinations, students record the sight reading example. They are given a segment of time to review the sight reading, mark the score, and think it through. Then students press record and play through the example one time. To lessen test anxiety, it is essential for students to practice using this process often throughout the semester. After examinations, listen to and evaluate students' sight reading and compile a sampling to use for class discussion and feedback. If you teach multiple sections of group piano, use an example from one section and demonstrate it another so that an individual's sight reading is never subject to identification. After listening to each example, have students identify strengths and weaknesses in the playing and suggest solutions and strategies to improve their sight reading.
Accompanying
Collaborative and accompanying skills are important components of musicianship. Two-track recordings effectively foster these skills because they engage students in a virtual experience of collaboration in which they first take on the role of soloist, then that of accompanist. For instance, with a piece such as Aura Lee (written for solo B-flat trumpet and piano accompaniment)8 or What'll I Do9 (written for voice in lead line notation) students first record the melody on track one and then “accompany” themselves by playing along with the recorded melody. In completing an assignment such as this, students have to step outside the box of their individual instruments and consider the performance concerns of other instruments.
When assigning this project, first ask students to record the melody using the metronome, playing precisely on the beat. As students become more familiar with the melody, ask them to record it a second time with sensitivity to the breathing, attacks, and releases that a singer or instrumentalist would use. For the second recording, prompt students to dynamically shape each phrase and add rubato to their performance. After students have re-recorded the melody, instruct them to critically listen to it, noting the shape of individual phrases and their use of rubato. They may need to listen to the nuances of their melody a number of times before they are comfortable in synchronizing the accompaniment with the melody. This activity develops heightened sensitivity to the expressiveness of the solo line and the interaction between the soloist and accompanist as well as an awareness of the decision-making processes involved in developing an interpretation.
Ensemble Playing
Ensemble playing reinforces sight reading, develops collaborative skills and fosters the ability to listen to one's own part in relationship to the group. Sequencing technology allows students to partake in a virtual reality experience of an ensemble, strengthening each of these skills.
Multi-track recording projects of ensembles are assigned in each semester of group piano. These assignments provide students with instructions for each project that include the objective of the recording, a process for recording, what to listen for as they record, and how their final project will be evaluated. Here is an example of a four-track recording project, assigned in the first semester of group piano.10
Multi-track Recording: Erie Canal, p. 83
The objective of this project is to simulate an ensemble experience by completing a multi-track recording of the ensemble. As you add each of the individual parts to your recording, you will need to carefully listen to the interaction between the different parts. For instance, listen to these different combinations of parts: Part 1 + Part 3, Parts 2 + 4, Parts 3 + 4, etc. A recording process is outlined below.
After students have completed a multi-track recording assignment and played the ensemble in class, their rhythmic skills are more precise and their ears more attuned to dynamic balance between the parts. In addition, students gain a deeper understanding of how the parts interrelate and they begin to listen more critically to their individual parts and to the ensemble as a whole.
Sequencing projects of this type are integrated throughout the four to six semesters of the group piano curriculum at the University of Arizona. To ensure success in implementing multi-track recording, the scope and sequence of instruction must be carefully thought through and structured. Students complete one to two sequencing projects each semester. In the first semester of group piano, students begin with a one-track recording, progress to a two-track recording, and finally sequence a four-track recording. In the second semester, students complete a five-track recording.11 In the third and fourth semesters, students complete a multi-track recording project involving an ensemble of seven different instruments.12 In the fifth and sixth semesters of group piano, students arrange and sequence a piano accompaniment to a choral score.
Arranging and Orchestration
For some ensembles, the instrumentation is indicated per the score; for others, students will need to decide on an appropriate instrumentation. Being able to use sampled instruments as well as multi-track recording technology involves students in a dynamic process that is integral to developing an understanding of orchestration. The process of orchestrating and sequencing helps students build a knowledge base of the ranges and characteristics of instruments as well as effective instrumental combinations. Sequencing an ensemble allows students a measure of freedom in their orchestration as they explore and choose instruments that will most effectively express each of the parts of an ensemble. For instance, a bass line should not be recorded with a flute nor can a pizzicato string execute a truly legato line. After students hand in their recorded sequences, compile a representative sampling of orchestrations so that students have the opportunity to hear the orchestral sequences of their peers. As students critically listen to and discuss each sequence, an experiential and knowledge base of orchestration emerges giving students fresh ears and ideas to bring to their next project.
In the fifth and sixth semesters of group piano (Functional Piano for the Music Education Major), students complete sequencing projects that involve more complex arranging skills. One such project involves creating an accompaniment to a song from a general music basal series, arranging and sequencing the accompaniment for multiple instruments, and presenting it to their peers. Another project consists of arranging an instrumental sequence of a piano accompaniment (using five to seven instruments) that demonstrates students' creative use of the piano and the digital piano.
Score Reading
When first encountering an open-score or a large multi-part score, students are often intimidated by the multiple layers and may not be able to readily read and play the parts together. Managing the multiple layers of a score in listening, reading, and playing takes time to develop and is facilitated through sequencing the score. Pre-reading and studying these scores via the process of multi-track recording promotes both vertical listening and reading. It helps students slow the process of reading the whole score so that they are able to incrementally grasp it in its entirety. For students who hastily read through a score (seemingly getting the big picture but missing the details), sequencing forces them to slow down and experience a worm's eye view of the score.
Score Study and Rehearsal Preparation
An objective of score study is to be able to look at a score and hear it with the inner ear. Multi-track recording serves as an intermediary step to this goal, giving students a tangible way to interact with each part of a score through actually playing and recording each part. One of the most beneficial applications of using a sixteen-track sequencer in reading and studying a large ensemble score is that students can approach the score in a concrete hands-on manner and simulate a large ensemble experience. For the wind ensemble, orchestra, or choir director, this technology provides an invaluable tool for score study and rehearsal preparation, augmenting the standard tools of the trade. Recording each instrument of the ensemble on a separate track helps students learn the intricacies of individual parts as well as hear, study, and rehearse the score from the perspective of different instruments. Sequencing each part intimately involves students with the performance concerns of the particular instrument and in decoding and performing transposed parts. This is an entirely different process than listening to a recorded performance of the score.
The process of sequencing a score allows students to take greater ownership of the music while the product of sequencing, the multi-track recording, functions as a practical tool for preparing a rehearsal. When first rehearsing a score, a conductor may experience a sense of disorientation upon hearing the mass of sound produced by the full ensemble, resulting in the inability to distinguish individual instruments or to accurately hear the ensemble. This problem is partially overcome by using multi-track recording to study and rehearse the score. The multi-track sequence can be used to isolate and pre-rehearse anticipated problem areas of the score. Individual instruments can be solo-ed or played in different combinations, tempo adjustments can be made, and options such as pause and rewind allow students to isolate and cue the sequence to a specific measure.
A score study/rehearsal project that students accomplish in the fifth and sixth semesters of group piano (Functional Piano for the Music Education Major) is to sequence, rehearse, and accompany a three-part choral score. The objective of this project is to demonstrate the ability to rehearse a score using sequencing technology-students' sequenced recordings are in effect the rehearsal pianist. Students rehearse one, two, and then three voices of the ensemble, they isolate and rehearse portions of the score by cuing the sequence to selected measures, and they practice a particular passage in different tempi. After rehearsing their "choir," students play the accompaniment live with the three-track recording.
Summation
These are some of the ways that I have integrated recording and sequencing technology into the group piano curriculum at the University of Arizona. This technology has been an invaluable teaching and learning tool for students and for me. It has challenged me to rethink the design of the curriculum, the delivery of instruction, and assessment practices. For students, it has enhanced and enriched the overall learning environment by stimulating them to become more involved in their own learning processes. In addition, it has also helped students to develop keener critical listening skills, finer musicianship, and a heightened level of performance.
Notes
1. E. L. Lancaster and Kenon D. Renfrow, Alfred's Group Piano for Adults, Book 1, 2nd ed. (Van Nuys, CA: Alfred Publishing Co., Inc., 2004), 160.
2. E. L. Lancaster and Kenon D. Renfrow, Alfred's Group Piano for Adults, Book 1, 2nd ed. (Van Nuys, CA: Alfred Publishing Co., Inc., 2004), 304.
3. Elyse Mach, Contemporary Class Piano, 6th ed. (New York: Oxford University Press, 2004), 514-515.
4. E. L. Lancaster and Kenon D. Renfrow, Alfred's Group Piano for Adults, Book 1, 2nd ed. (Van Nuys, CA: Alfred Publishing Co., Inc., 2004), 88-89.
5. Martha Hilley and Lynn Freeman Olson, Piano for the Developing Musician, 6e (Belmont, CA: Thompson Schirmer, 2006), 108-109.
6. Lewis Carroll, Through the Looking Glass. (Woobury, New York: Bobley Publishing Corp., 1979), 140.
7. Stephen Nachmanovitch, Free Play: Improvisation in Life and Art. (New York: Jeremy P. Tarcher/Putnam), 43-44.
8. E. L. Lancaster and Kenon D. Renfrow, Alfred's Group Piano for Adults, Book 2. (Van Nuys, CA: Alfred Publishing Co., Inc. 1996), 61.
9. James Lyke, et al, Keyboard Musicinaship. (Champaign, IL: Stipes Publishing Co., 1999), 47.
10. E. L. Lancaster and Kenon D. Renfrow, Alfred's Group Piano for Adults, Book 1, 2nd ed. (Van Nuys, CA: Alfred Publishing Co., Inc., 2004), 83. Other examples include: Alexander's Ragtime Band from Martha Hilley and Lynn Freeman Olson, Piano for the Developing Musician, 6e (Belmont, CA: Thompson Schirmer, 2006), 281-283.
11. E. L. Lancaster and Kenon D. Renfrow, Alfred's Group Piano for Adults, Book 1, 2nd ed. (Van Nuys, CA: Alfred Publishing Co., Inc., 2004), 194-195. Other examples include: Alexander's Ragtime Band from Martha Hilley and Lynn Freeman Olson, Piano for the Developing Musician, 6e (Belmont, CA: Thompson Schirmer, 2006), 281-283.
12. E. L. Lancaster and Kenon D. Renfrow, Alfred's Group Piano for Adults, Book 2. (Van Nuys, CA: Alfred Publishing Co., Inc., 1996), 174-175 and 330-331.
Bibliography
Carroll, Lewis. Through the Looking Glass. Woodbury, New York: Bobley Publishing Corp., 1979.
Hilley, Martha, and Lynn Freeman Olson. Piano for the Developing Musician, 6e Belmont, CA: Thomson Schirmer, 2006.
Lancaster, E.L. and Kennon Renfrow. Alfred's Group Piano for Adults, Book 2. Van Nuys, California: Alfred Publishing Company, 1996.
Lyke, James, Tony Caramia, Reid Alexander and Geoffrey Haydon. Keyboard Musicianship, Book Two. 7th ed. Champaign, Illinois: Stipes Publishing Company, 1999.
Mach, Elyse. Contemporary Class Piano, 6th ed. New York: Oxford University Press, 2004.
Nachmanovitch, Stephen. Free Play: Improvisation in Life and Art. New York: Jeremy P. Tarcher/Putnam, 1990.
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