The Cambridge companion to electronic music:
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | English |
| Veröffentlicht: |
Cambridge [u.a.]
Cambridge Univ. Press
2007
|
| Ausgabe: | 1. publ. |
| Schriftenreihe: | Cambridge companions to music
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | XXI, 287 S. Ill., graph. Darst., Notenbeisp. |
| ISBN: | 9780521868617 9780521688659 |
Internformat
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| 245 | 1 | 0 | |a The Cambridge companion to electronic music |c ed. by Nick Collins ... |
| 246 | 1 | 3 | |a Electronic music |
| 246 | 1 | 3 | |a Companion to electronic music |
| 250 | |a 1. publ. | ||
| 264 | 1 | |a Cambridge [u.a.] |b Cambridge Univ. Press |c 2007 | |
| 300 | |a XXI, 287 S. |b Ill., graph. Darst., Notenbeisp. | ||
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Datensatz im Suchindex
| _version_ | 1804137146206912512 |
|---|---|
| adam_text | Contents
List of illustrations and figures [page
vii]
Notes on contributors
[ix]
Acknowledgements
[xii]
Chronology
[xiv]
Introduction Nick Collins and Julio d Escrivan
[1]
Part I
·
Electronic music in context
1
The origins of electronic music Andrew Hugill
[7]
2
Electronic music and the studio Margaret
Schedel
[24]
3
Live electronic music Nicolas Collins
[38]
4
A history of programming and music GeWang
[55]
Artists statements I:
[72]
Laurie Spiegel
[72]
YasunaoTone
[73]
John Oswald
[74]
Mathias Gmachl
(Farmer s Manual)
[75]
Erdem Helvacioglu
[76]
Pauline
Oliveros
[76]
Chris Jeffs
[77]
Rodrigo Sigal
[77]
MiraCalix
[78]
Denis Smalley
[78]
Seong-AhShin
[82]
Carsten Nicolai [82]
Warren
Burt
[84]
Max
Mathews [85]
Part II
·
Electronic music in practice
5
Interactivity and live computer music
Sergi Jordà
[89]
6
Algorithmic composition
Karlheinz
Essi
[107]
7
Live
audiovisuais
Amy Alexander and Nick Collins
[126]
8
Network music Julian Rohrhuber
[140]
9
Electronic music and the moving image Julio d Escrivan
[156]
vi
Contents
10
Musical
robots
and listening
machines
Nick Collins
[171]
Artists statements II:
[185]
Kevin Saunderson
[185]
Kanta
Horio
[185]
Donna Hewitt
[186]
Alejandro
Viñao
[186]
Bubblyfish
[188]
Barry Truax
[189]
Lukas Ligeti
(Burkina Electric)
[191]
Christina
Kubisch [191]
Murat Ertel
[192]
Adina
Izarra
[193]
CybOrk
[193]
Francis Dhomont
[194]
David Behrman
[195]
Kevin
Blechdom
(Kristin Erickson)
[196]
Karlheinz Stockhausen [198]
George
E.
Lewis
[198]
Part III
·
Analysis and synthesis
11
Computer generation and manipulation of sounds
Stefania Serafin
[203]
12
The psychology of electronic music
Petri
Toiviainen
[218]
13
Trends in electroacoustic music Natasha Barrett
[232]
Notes
[256]
References
[264]
Index
[280]
Illustrations and figures
1.1
Russolo s intonarumori
[19]
1.2
Percy Grainger s Kangaroo Pouch Machine (courtesy of The
Percy Grainger Society/Estate)
[21]
1.3
Le Corbusier,
Iannis Xenakis,
Edgard
Várese:
Philips Pavilion,
1958 [22]
3.1
Live performance of Speaker Swinging at the Music Gallery,
Toronto,
1987 [51]
4.1
A simple Max/MSP patch which synthesises the vowel
ahh
[65]
4.2
The SuperCollider programming environment in action
[67]
4.3
The ChucK programming language and environment
[69]
4.4
slub in action (photo by
Renate
Wieser) [70]
5.1
Michel Waisvisz performs with The Hands (photo:
Carla
van
Tijn)
[101]
7.1
VJ
Olga Mink
(Oxygen) (photo: Mark Trash)
[134]
8.1
The Wilmington based Tel-musici Company, from the
18
December
1909
issue of Telephony
[141]
8.2
Flyer by Rich Gold for the network ensemble The League
from
1978,
showing the different types of musical data
exchange
[145]
8.3
Adapted from Shannon s schematic diagram of a general
communication system (Shannon
1948) [148]
8.4
The network music ensemble The Hub,
1989
(top photo: Jim
Block) and
2006
(bottom photo: Chianan Yen)
[151]
8.5
Shared object
[152]
8.6
Distributed object
[153]
10.1
A schematic of Hsu s system
[176]
ILIA simple analysis-transformation-synthesis representation based
on spectral modelling
[210]
11.2
The Karplus-Strong algorithm
[213]
11.3
The exciter-resonator approach to physical modelling
synthesis
[214]
12.1
(a) Schematic presentation of the cochlea; (b) Excitation pattern
of
basilar
membrane for high, medium, and low frequencies;
[vii]
(с)
Auditory pathway;
1.
Auditory nerve;
2.
Cochlear nucleus;
viii
List of illustrations and figures
3.
Superior olive;
4.
Lateral lemniscus;
5.
Inferior colliculus;
6.
Thalamus;
7.
Auditory cortex
[220]
12.2
(a) Interaural Time Difference. The distance from the sound
source (black circle) to the right ear is
d
=
r
θ
+
r
sin
θ
longer
than to the left ear, where
r
denotes the radius of the head and
θ
the azimuth of the sound source, (b) Interaural Level Difference.
Head shadowing reduces the intensity of the sound arriving to
the right ear
[221]
12.3
(a) Grouping by proximity. A slow sequence of tones with
alternating frequencies (left) is perceived as a single stream; the
same sequence played twice as fast is perceived as two separate
streams; (b) Grouping by common fate. A collection of
partials
with no frequency modulation is perceived as a single tone (left);
when frequency modulation is introduced, tones with similar
FM
pattern are grouped together, resulting in a percept of three
separate tones (right); (c) Principle of old-plus-new heuristic .
Two frequency slides are perceived as separate tones (left); when a
tone burst is played between the slides, they are perceived as a
single tone
[225]
12.4
Response of a resonating oscillator bank to an excerpt from the
Scottish folk melody Auld Lang Syne : a) waveform; b) output of
an onset detector; c) outputs of resonating oscillators; d)
summed output of all oscillators
[230]
IMAGE 1
T HE C A M B R I D GE C O M P A N I ON TO E L E C T R O N IC M U S IC
MUSICIANS ARE ALWAYS QUICK TO ADOPT AND EXPLORE NEW TECHNOLOGIES. THE
FAST-PACED CHANGES WROUGHT BY ELECTRIFICATION, FROM THE MICROPHONE VIA
THE ANALOGUE SYNTHESISER TO THE LAPTOP COMPUTER, HAVE LED TO A WIDE
DIVERSITY OF NEW MUSICAL STYLES AND TECHNIQUES. ELECTRONIC MUSIC HAS
GROWN TO A BROAD FIELD OF INVESTIGATION, TAKING IN HISTORICAL MOVEMENTS
SUCH AS MUSIQUE CONCRETE AND ELEKTRONISCHE MUSIK, AND CONTEMPORARY
TRENDS SUCH AS ELECTRONIC DANCE MUSIC AND ELECTRONICA. A FASCINATING
ARRAY OF COMPOSERS AND INVENTORS HAVE CONTRIBUTED TO A DIVERSE SET OF
TECHNOLOGIES, PRACTICES AND MUSIC. THIS BOOK BRINGS TOGETHER SOME NOVEL
THREADS THROUGH THIS SCENE, FROM THE VIEWPOINT OF RESEARCHERS AT THE
FOREFRONT OF THE SONIC EXPLO RATIONS EMPOWERED BY ELECTRONIC
TECHNOLOGY. THE CHAPTERS PROVIDE ACCESSIBLE AND INSIGHTFUL OVERVIEWS OF
CORE TOPIC AREAS AND UNCOVER SOME HITHERTO LESS PUBLICISED CORNERS OF
WORLDWIDE MOVEMENTS. RECENT AREAS OF INTENSE ACTIVITY SUCH AS
AUDIOVISUALS, LIVE ELECTRONIC MUSIC, INTERACTIVITY AND NETWORK MUSIC ARE
ACTIVELY PROMOTED.
CONTENTS OF THIS VOLUME
CHRONOLOGY
N I CK C O L L I NS A ND JULIO D ESCRIVAN INTRODUCTION
PART I. E L E C T R O N IC MUSIC IN C O N T E XT
A N D R EW H U G I LL THE ORIGINS OF ELECTRONIC MUSIC
M A R G A R ET SCHEDEL ELECTRONIC MUSIC AND THE STUDIO
N I C O L AS C O L L I NS LIVE ELECTRONIC MUSIC
GE W A NG A HISTORY OF PROGRAMMING AND MUSIC
ARTISTS STATEMENTS I
LAURIE SPIEGEL, YASUNAO TONE, JOHN OSWALD, MATHIAS GMACHL (FARMER S
MANUAL), ERDEM HELVACIOGLU, PAULINE OLIVEROS,
CHRIS JEFFS, RODRIGO SIGAL, MIRA CALIX, DENIS SMALLEY, SEONG-AH SHIN,
CARSTEN NICOLAI, WARREN BURT, MAX MATHEWS
PART II. E L E C T R O N IC MUSIC IN PRACTICE
S E R GI JORDA INTERACTIVITY AND LIVE COMPUTER MUSIC
K A R L H E I NZ ESSI ALGORITHMIC COMPOSITION
AMY A L E X A N D ER AND N I CK C O L L I NS LIVE AUDIOVISUALS
J U L I AN R O H R H U B ER NETWORK MUSIC
JULIO D ESCRIVAN ELECTRONIC MUSIC AND THE MOVING IMAGE
N I CK C O L L I NS MUSICAL ROBOTS AND LISTENING MACHINES
ARTISTS STATEMENTS II
KEVIN SAUNDERSON, KANTA HORIO, DONNA HEWITT, ALEJANDRO VINAO,
BUBBLYFISH, BARRY TRUAX, LUKAS LIGETI
(BURKINA ELECTRIC), CHRISTINA KUBISCH, MURAT ERTEL, ADINA IZARRA,
CYBORK, FRANCIS DHOMONT, DAVID BEHRMAN,
KEVIN BLECHDOM (KRISTIN ERICKSON), KARLHEINZ STOCKHAUSEN, GEORGE E.
LEWIS
PART III. ANALYSIS A ND SYNTHESIS
STEFANIA SERAFIN COMPUTER GENERATION AND MANIPULATION OF SOUNDS
P E T RI T O I V I A I N EN THE PSYCHOLOGY OF ELECTRONIC MUSIC
N A T A S HA B A R R E TT TRENDS IN ELECTROACOUSTIC MUSIC
CAMBRIDGE U N I V E R S I TY PRESS WWW.CAMBRIDGE.ORG
|
| adam_txt |
Contents
List of illustrations and figures [page
vii]
Notes on contributors
[ix]
Acknowledgements
[xii]
Chronology
[xiv]
Introduction Nick Collins and Julio d'Escrivan
[1]
Part I
·
Electronic music in context
1
The origins of electronic music Andrew Hugill
[7]
2
Electronic music and the studio Margaret
Schedel
[24]
3
Live electronic music Nicolas Collins
[38]
4
A history of programming and music GeWang
[55]
Artists' statements I:
[72]
Laurie Spiegel
[72]
YasunaoTone
[73]
John Oswald
[74]
Mathias Gmachl
(Farmer's Manual)
[75]
Erdem Helvacioglu
[76]
Pauline
Oliveros
[76]
Chris Jeffs
[77]
Rodrigo Sigal
[77]
MiraCalix
[78]
Denis Smalley
[78]
Seong-AhShin
[82]
Carsten Nicolai [82]
Warren
Burt
[84]
Max
Mathews [85]
Part II
·
Electronic music in practice
5
Interactivity and live computer music
Sergi Jordà
[89]
6
Algorithmic composition
Karlheinz
Essi
[107]
7
Live
audiovisuais
Amy Alexander and Nick Collins
[126]
8
Network music Julian Rohrhuber
[140]
9
Electronic music and the moving image Julio d'Escrivan
[156]
vi
Contents
10
Musical
robots
and listening
machines
Nick Collins
[171]
Artists'statements II:
[185]
Kevin Saunderson
[185]
Kanta
Horio
[185]
Donna Hewitt
[186]
Alejandro
Viñao
[186]
Bubblyfish
[188]
Barry Truax
[189]
Lukas Ligeti
(Burkina Electric)
[191]
Christina
Kubisch [191]
Murat Ertel
[192]
Adina
Izarra
[193]
CybOrk
[193]
Francis Dhomont
[194]
David Behrman
[195]
Kevin
Blechdom
(Kristin Erickson)
[196]
Karlheinz Stockhausen [198]
George
E.
Lewis
[198]
Part III
·
Analysis and synthesis
11
Computer generation and manipulation of sounds
Stefania Serafin
[203]
12
The psychology of electronic music
Petri
Toiviainen
[218]
13
Trends in electroacoustic music Natasha Barrett
[232]
Notes
[256]
References
[264]
Index
[280]
Illustrations and figures
1.1
Russolo's intonarumori
[19]
1.2
Percy Grainger's Kangaroo Pouch Machine (courtesy of The
Percy Grainger Society/Estate)
[21]
1.3
Le Corbusier,
Iannis Xenakis,
Edgard
Várese:
Philips Pavilion,
1958 [22]
3.1
Live performance of Speaker Swinging at the Music Gallery,
Toronto,
1987 [51]
4.1
A simple Max/MSP patch which synthesises the vowel
'ahh'
[65]
4.2
The SuperCollider programming environment in action
[67]
4.3
The ChucK programming language and environment
[69]
4.4
slub in action (photo by
Renate
Wieser) [70]
5.1
Michel Waisvisz performs with The Hands (photo:
Carla
van
Tijn)
[101]
7.1
VJ
Olga Mink
(Oxygen) (photo: Mark Trash)
[134]
8.1
The Wilmington based Tel-musici Company, from the
18
December
1909
issue of Telephony
[141]
8.2
Flyer by Rich Gold for the network ensemble The League
from
1978,
showing the different types of musical data
exchange
[145]
8.3
Adapted from Shannon's 'schematic diagram of a general
communication system' (Shannon
1948) [148]
8.4
The network music ensemble The Hub,
1989
(top photo: Jim
Block) and
2006
(bottom photo: Chianan Yen)
[151]
8.5
Shared object
[152]
8.6
Distributed object
[153]
10.1
A schematic of Hsu's system
[176]
ILIA simple analysis-transformation-synthesis representation based
on spectral modelling
[210]
11.2
The Karplus-Strong algorithm
[213]
11.3
The exciter-resonator approach to physical modelling
synthesis
[214]
12.1
(a) Schematic presentation of the cochlea; (b) Excitation pattern
of
basilar
membrane for high, medium, and low frequencies;
[vii]
(с)
Auditory pathway;
1.
Auditory nerve;
2.
Cochlear nucleus;
viii
List of illustrations and figures
3.
Superior olive;
4.
Lateral lemniscus;
5.
Inferior colliculus;
6.
Thalamus;
7.
Auditory cortex
[220]
12.2
(a) Interaural Time Difference. The distance from the sound
source (black circle) to the right ear is
d
=
r
θ
+
r
sin
θ
longer
than to the left ear, where
r
denotes the radius of the head and
θ
the azimuth of the sound source, (b) Interaural Level Difference.
Head shadowing reduces the intensity of the sound arriving to
the right ear
[221]
12.3
(a) Grouping by proximity. A slow sequence of tones with
alternating frequencies (left) is perceived as a single stream; the
same sequence played twice as fast is perceived as two separate
streams; (b) Grouping by common fate. A collection of
partials
with no frequency modulation is perceived as a single tone (left);
when frequency modulation is introduced, tones with similar
FM
pattern are grouped together, resulting in a percept of three
separate tones (right); (c) Principle of 'old-plus-new heuristic'.
Two frequency slides are perceived as separate tones (left); when a
tone burst is played between the slides, they are perceived as a
single tone
[225]
12.4
Response of a resonating oscillator bank to an excerpt from the
Scottish folk melody 'Auld Lang Syne': a) waveform; b) output of
an onset detector; c) outputs of resonating oscillators; d)
summed output of all oscillators
[230]
IMAGE 1
T HE C A M B R I D GE C O M P A N I ON TO E L E C T R O N IC M U S IC
MUSICIANS ARE ALWAYS QUICK TO ADOPT AND EXPLORE NEW TECHNOLOGIES. THE
FAST-PACED CHANGES WROUGHT BY ELECTRIFICATION, FROM THE MICROPHONE VIA
THE ANALOGUE SYNTHESISER TO THE LAPTOP COMPUTER, HAVE LED TO A WIDE
DIVERSITY OF NEW MUSICAL STYLES AND TECHNIQUES. ELECTRONIC MUSIC HAS
GROWN TO A BROAD FIELD OF INVESTIGATION, TAKING IN HISTORICAL MOVEMENTS
SUCH AS MUSIQUE CONCRETE AND ELEKTRONISCHE MUSIK, AND CONTEMPORARY
TRENDS SUCH AS ELECTRONIC DANCE MUSIC AND ELECTRONICA. A FASCINATING
ARRAY OF COMPOSERS AND INVENTORS HAVE CONTRIBUTED TO A DIVERSE SET OF
TECHNOLOGIES, PRACTICES AND MUSIC. THIS BOOK BRINGS TOGETHER SOME NOVEL
THREADS THROUGH THIS SCENE, FROM THE VIEWPOINT OF RESEARCHERS AT THE
FOREFRONT OF THE SONIC EXPLO RATIONS EMPOWERED BY ELECTRONIC
TECHNOLOGY. THE CHAPTERS PROVIDE ACCESSIBLE AND INSIGHTFUL OVERVIEWS OF
CORE TOPIC AREAS AND UNCOVER SOME HITHERTO LESS PUBLICISED CORNERS OF
WORLDWIDE MOVEMENTS. RECENT AREAS OF INTENSE ACTIVITY SUCH AS
AUDIOVISUALS, LIVE ELECTRONIC MUSIC, INTERACTIVITY AND NETWORK MUSIC ARE
ACTIVELY PROMOTED.
CONTENTS OF THIS VOLUME
CHRONOLOGY
N I CK C O L L I NS A ND JULIO D'ESCRIVAN INTRODUCTION
PART I. E L E C T R O N IC MUSIC IN C O N T E XT
A N D R EW H U G I LL THE ORIGINS OF ELECTRONIC MUSIC
M A R G A R ET SCHEDEL ELECTRONIC MUSIC AND THE STUDIO
N I C O L AS C O L L I NS LIVE ELECTRONIC MUSIC
GE W A NG A HISTORY OF PROGRAMMING AND MUSIC
ARTISTS' STATEMENTS I
LAURIE SPIEGEL, YASUNAO TONE, JOHN OSWALD, MATHIAS GMACHL (FARMER'S
MANUAL), ERDEM HELVACIOGLU, PAULINE OLIVEROS,
CHRIS JEFFS, RODRIGO SIGAL, MIRA CALIX, DENIS SMALLEY, SEONG-AH SHIN,
CARSTEN NICOLAI, WARREN BURT, MAX MATHEWS
PART II. E L E C T R O N IC MUSIC IN PRACTICE
S E R GI JORDA INTERACTIVITY AND LIVE COMPUTER MUSIC
K A R L H E I NZ ESSI ALGORITHMIC COMPOSITION
AMY A L E X A N D ER AND N I CK C O L L I NS LIVE AUDIOVISUALS
J U L I AN R O H R H U B ER NETWORK MUSIC
JULIO D'ESCRIVAN ELECTRONIC MUSIC AND THE MOVING IMAGE
N I CK C O L L I NS MUSICAL ROBOTS AND LISTENING MACHINES
ARTISTS' STATEMENTS II
KEVIN SAUNDERSON, KANTA HORIO, DONNA HEWITT, ALEJANDRO VINAO,
BUBBLYFISH, BARRY TRUAX, LUKAS LIGETI
(BURKINA ELECTRIC), CHRISTINA KUBISCH, MURAT ERTEL, ADINA IZARRA,
CYBORK, FRANCIS DHOMONT, DAVID BEHRMAN,
KEVIN BLECHDOM (KRISTIN ERICKSON), KARLHEINZ STOCKHAUSEN, GEORGE E.
LEWIS
PART III. ANALYSIS A ND SYNTHESIS
STEFANIA SERAFIN COMPUTER GENERATION AND MANIPULATION OF SOUNDS
P E T RI T O I V I A I N EN THE PSYCHOLOGY OF ELECTRONIC MUSIC
N A T A S HA B A R R E TT TRENDS IN ELECTROACOUSTIC MUSIC
CAMBRIDGE U N I V E R S I TY PRESS WWW.CAMBRIDGE.ORG |
| any_adam_object | 1 |
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| ctrlnum | (OCoLC)230229605 (DE-599)BSZ265113547 |
| dewey-full | 786.74 |
| dewey-hundreds | 700 - The arts |
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| dewey-sort | 3786.74 |
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| edition | 1. publ. |
| format | Book |
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| genre | (DE-588)4143413-4 Aufsatzsammlung gnd-content |
| genre_facet | Aufsatzsammlung |
| id | DE-604.BV022882074 |
| illustrated | Illustrated |
| index_date | 2024-07-02T18:50:49Z |
| indexdate | 2024-07-09T21:07:39Z |
| institution | BVB |
| isbn | 9780521868617 9780521688659 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016087035 |
| oclc_num | 230229605 |
| open_access_boolean | |
| owner | DE-703 DE-29 DE-12 DE-20 DE-11 |
| owner_facet | DE-703 DE-29 DE-12 DE-20 DE-11 |
| physical | XXI, 287 S. Ill., graph. Darst., Notenbeisp. |
| publishDate | 2007 |
| publishDateSearch | 2007 |
| publishDateSort | 2007 |
| publisher | Cambridge Univ. Press |
| record_format | marc |
| series2 | Cambridge companions to music |
| spelling | The Cambridge companion to electronic music ed. by Nick Collins ... Electronic music Companion to electronic music 1. publ. Cambridge [u.a.] Cambridge Univ. Press 2007 XXI, 287 S. Ill., graph. Darst., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Cambridge companions to music Electronic music History and criticism Elektronische Musik (DE-588)4014355-7 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Elektronische Musik (DE-588)4014355-7 s DE-604 Collins, Nick 1975- Sonstige (DE-588)1029701180 oth Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016087035&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis SWB Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016087035&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
| spellingShingle | The Cambridge companion to electronic music Electronic music History and criticism Elektronische Musik (DE-588)4014355-7 gnd |
| subject_GND | (DE-588)4014355-7 (DE-588)4143413-4 |
| title | The Cambridge companion to electronic music |
| title_alt | Electronic music Companion to electronic music |
| title_auth | The Cambridge companion to electronic music |
| title_exact_search | The Cambridge companion to electronic music |
| title_exact_search_txtP | The Cambridge companion to electronic music |
| title_full | The Cambridge companion to electronic music ed. by Nick Collins ... |
| title_fullStr | The Cambridge companion to electronic music ed. by Nick Collins ... |
| title_full_unstemmed | The Cambridge companion to electronic music ed. by Nick Collins ... |
| title_short | The Cambridge companion to electronic music |
| title_sort | the cambridge companion to electronic music |
| topic | Electronic music History and criticism Elektronische Musik (DE-588)4014355-7 gnd |
| topic_facet | Electronic music History and criticism Elektronische Musik Aufsatzsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016087035&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016087035&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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