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Portrait of Dr Bryn Harrison Dr Bryn Harrison

b.d.harrison@hud.ac.uk | 01484 472402



Biography

Bryn Harrison (b. 1969) studied composition with Gavin Bryars at De Montfort University, Leicester and briefly with Alvin Lucier, Christian Wolff and Peter Kotik during the 2001 Ostrava New Music Days. His music has been performed extensively in the UK at most of Britain’s leading festivals and broadcast on BBC Radio 3. He has established a particularly close association with the Huddersfield Contemporary Music Festival receiving prizes there in 1993 and 1995 and commissions from the festival in 1999 and 2002.

Research & Scholarship

In 1999 Bryn was selected to compete for the International Gaudeamus Prize in the Netherlands and since then he has received many performances throughout Europe, USA and Japan including those at festivals such as Wien Horgange, Ultraschall, Hannover Biennale, Festival Klangspuren, Europaischer Musikmonat, Wittener Tage and the Paris Festival Automne. He was invited to attend the ISCM World Music Days in Yokohama, Japan in 2001 and to the same festival in Lucerne, Switzerland in 2004.

Commissions include those for the London Symphony Orchestra, Ensemble Recherche, Apartment House, Plus-Minus, Klangforum Wien, Ixion, London Sinfonietta, Suono Mobile, 175 East, Chroma and Birmingham Contemporary Music Group and Asamisimasa as well as performances from duos and soloists such as Darragh Morgan and Mary Dullea, Duo Contour, Anton Lukoszevieze, Irvine Arditti and Mieko Kanno, Susan Knight, Clive Williamson, Andrew Sparling, Jonathan Powell, Philip Thomas and the internationally-acclaimed accordionist Teodoro Anzellotti.

Over the last five years he has participated on a number of projects with painter and printmaker Mike Walker as well as collaborating recently with artist book-maker John McDowall.

His In Nomine after William Byrd (1999) recorded by Ensemble Recherche is available on the Kairos CD The Witten In Nomine Broken Consort Book and Listenings I recorded by Darragh Morgan and Mary Dullea is available on the NMC disc 'Opera'.

Publications and Other Research Outputs

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'The paper’s authors are composers operating within the field of experimental music. Their music is created from the use of limited materials placed into repetitive structures involving cyclic pitch patterns and sustained tone textures. This reductive approach to composition provides a fertile area for discussions of temporality, as the music functions outside of standard teleological narrative structures thereby prompting more varied subjective temporal experiences for listeners. The paper will take as its starting point the experience of the listener, rather than the musical score, enhancing discussions from Thomas Clifton’s Music as Heard.1 This angle is particularly relevant when discussing minimal works, as the score does not (and is not intended to) give an indication to what the auditory experience will be, it simply acts as what pianist Philip Thomas describes as a ‘prescription for action’ for the performers.2 Drawing particularly upon work on the temporal experience by Merleau-Ponty (after Husserl), the paper discusses how phenomenological approaches can provide effective insight into the experience of sustained tone and repetitive music. By discussing notions of retention and protention, the two composers will explore how this permeates their compositional approach, particularly in relation to the use of repetition, examining the different types of musical materials used by the composers and how this affects the temporalities experienced upon performance. Points of similarity and variance between the two outlooks are explored in detail, providing an in-depth discussion as to how attitudes towards temporality can result in nuanced differences in output. Fundamental essences are clarified and discussed in relation to other composers’ work, and in particular American composer James Tenney’s work in applying a phenomenological model upon the listening experience is considered alongside the central discussion. The results of this investigation provide both clear artistic statements on the role of phenomenological thought in the creative process, and also tentative starting points for further discussion on experiential temporalities in minimal and experimental musics.', 'creators_id' => 'b.d.harrison@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '1729', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '22', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2013', 'status_changed_hour' => '16', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '7546' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => undef, 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Harrison', 'eprintid' => '7546', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Bryn', 'creators_id' => 'b.d.harrison@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '4', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => undef, 'date_type' => '', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2010', 'fileinfo' => '', 'status_changed_second' => '27', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'to be (an ever opening flower)', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => 'Music score', 'editors_name_lineage' => undef, 'dir' => 'disk0/00/00/75/46', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'none', 'lastmod_minute' => '49', 'refereed' => undef, 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '4', 'commentary' => undef, 'lastmod_day' => '30', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2010', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => undef, 'type' => 'composition', 'publication' => undef, 'lastmod_second' => '27', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '11', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Harrison', 'composition_type' => 'solo piano', 'producers_id' => undef, 'datestamp_second' => '3', 'note' => '3’. 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'datestamp_day' => '11', 'abstract' => 'The article considers the works that Aldo Clementi wrote for ensemble from the 1970s onward and discusses from a general, aesthetic standpoint the reflective aspects of this music and, in particular, its relationship to musical time. The text may be seen as an homage and ends with a brief description of my recent compositional work, serving to illustrate similarities and differences in musical approach to that of Clementi.', 'creators_id' => 'b.d.harrison@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '1743', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '17', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => '10.1080/07494467.2011.647280', 'volume' => '30', 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2011', 'status_changed_hour' => '11', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '2338' => { 'funders' => 'Stephen Bell', 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => undef, 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Harrison', 'eprintid' => '2338', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Bryn', 'creators_id' => 'b.d.harrison@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '10', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => undef, 'date_type' => 'published', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2008', 'fileinfo' => '', 'status_changed_second' => '49', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Low time patterns [#1-5] for 7 players (mixed ensemble)', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => 'Score', 'editors_name_lineage' => undef, 'dir' => 'disk0/00/00/23/38', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'none', 'lastmod_minute' => '12', 'refereed' => undef, 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '10', 'commentary' => undef, 'lastmod_day' => '21', 'publisher' => 'Contemporary Voices (BMIC)', 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2008', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => undef, 'type' => 'composition', 'publication' => undef, 'lastmod_second' => '49', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '8', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Harrison', 'composition_type' => 'Chamber ensemble', 'producers_id' => undef, 'datestamp_second' => '49', 'note' => 'UoA 67 (Music) Commissioned by the 2002 Huddersfield Contemporary Music Festival with funds provided by the Arts Council of Great Britain and Stephen Bell. Written for and first performed by Ensemble Recherche during the Huddersfield Contemporary Music Festival. Score published by bmic ‘Contemporary Voices’.', 'edit_lock_until' => undef, 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => undef, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '2338', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2008', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '10', 'event_dates' => undef, 'fulltimestamp' => '20020000', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '8', 'number' => undef, 'rev_number' => '9', 'edit_lock_user' => undef, 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Bryn', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'M1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '12', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '21', 'datestamp_day' => '21', 'abstract' => 'Details: low time patterns [#1-5] is scored for a chamber ensemble of bass flute, cor anglais, bass clarinet, percussion, violin, viola, cello. It has received four international performances, including Ensemble Recherche, Freiburg, Germany; Ensemble Antipodes, ISCM World Music Days, Lucerne, Switzerland; Klangforum Wien,Vienna, Austria; and has been broadcast on BBC Radio 3 Hear and Now. Context: The research questions addressed in this piece are concerned with the exploration of musical time and, in particular, the notions of a ‘linear’ and ‘vertical’ time as described in Jonathan D. Kramer’s book, The Time of Music – New Meanings, New Temporalities, New Listening Strategies (New York, 1988). The piece explores the dichotomy of a non-teleological versus teleological approach to musical perception by presenting the same material in, essentially, two different ways: movements II and IV utilise a more linear approach to musical time through the use of circular structures derived from contiguous note series travelling through an entire octave (outwardly projected motion), while movements I, III and V work within the confines of a speculative time-space in which stasis is created through the through the employment of a more limited choice of pitches (inwardly projected motion). Each movement is presented as a densely textural aggregate mass from which further manipulations of musical time are created by altering the levels of compression or attenuation of musical material from one moment to the next. The principles of ‘inwardly projected motion’ and ‘outwardly projected motion’ are described in more detail in the composer’s PhD thesis Cyclical Structures and the Organisation of Time (University of Huddersfield, 2007), while the opposition of static and mobile structures has been explored musically in much of the composer’s subsequent compositional output since 2002.', 'creators_id' => 'b.d.harrison@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '3494', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '12', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2002', 'status_changed_hour' => '8', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '7547' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => undef, 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Harrison', 'eprintid' => '7547', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Bryn', 'creators_id' => 'b.d.harrison@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '4', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => undef, 'date_type' => '', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2010', 'fileinfo' => '', 'status_changed_second' => '29', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Five Miniatures in Three Parts ', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => 'Music score', 'editors_name_lineage' => undef, 'dir' => 'disk0/00/00/75/47', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'none', 'lastmod_minute' => '51', 'refereed' => undef, 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '4', 'commentary' => undef, 'lastmod_day' => '30', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2010', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => undef, 'type' => 'composition', 'publication' => undef, 'lastmod_second' => '29', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '11', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Harrison', 'composition_type' => 'Flexible instrumentation (3 Players)', 'producers_id' => undef, 'datestamp_second' => '29', 'note' => '5’. Flexible instrumentation (3 Players). Commissioned by the asamisimasa duo (clnt & perc) and first performed by them with Mark Knoop (accordion), BMIC Cutting Edge, 13th November 2008 ', 'edit_lock_until' => undef, 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 11, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '7547', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2010', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '4', 'event_dates' => undef, 'fulltimestamp' => '20081100', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '11', 'number' => undef, 'rev_number' => '6', 'edit_lock_user' => undef, 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 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'creators_name_family' => 'Harrison', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '26', 'note' => 'Read a review of Exposure by Simon Cummings: http://5against4.com/2013/05/10/fearless-forays-into-choral-hinterlands-exaudi-exposure/', 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 5, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '17676', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2013', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '8', 'event_dates' => undef, 'fulltimestamp' => '20130500', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '6', 'number' => undef, 'rev_number' => '21', 'edit_lock_user' => '3494', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Bryn', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'M1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '10', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '30', 'datestamp_day' => '30', 'abstract' => '1. A painter of figures in rooms (2012), Aaron Cassidy (b.1976) 2. Nakedness (2012), James Weeks (b.1978) 3. eight voices (2011), Bryn Harrison (b.1969) 4. – 9. from Jandl Songs (2007-), Stephen Chase (b.1973) 10. Harmonizing (Artificial Environment no.7) (2011-12), Joanna Bailie (b.1973) 11. Corradiation (2010), Richard Glover (b.1981) 12. lorem ipsum (2007), Claudia Molitor (b.1974) EXAUDI ensemble There is no more revealing a medium in music than the human voice. Coming from deep inside the body, carried on the breath, acquiring resonance in the head, shaped and channeled through the same mouth and lips through which we speak and with which we kiss – this sound, not filtered through wood, metal or gut, cannot be separated from the human being that made it. By the time it leaves the body, it is intrinsically, inextricably personal.', 'creators_id' => 'b.d.harrison@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '3494', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '10', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2013', 'status_changed_hour' => '8', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '16282' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1381484797', 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Harrison', 'eprintid' => '16282', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Bryn', 'creators_id' => 'b.d.harrison@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '12', 'editors_name_honourific' => undef, 'admin_note' => 'Emailed author copy of score? 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This paper reports part of a larger project in which three newly commissioned works for solo piano have been studied from the moment that the performer received them, through a period of preparation and rehearsal, to their first public performance. The data consist of interview and diary data, audio recordings, and MIDI data taken from the piano at rehearsals and the public premiere. The paper is a collaboration between one of the composers (Bryn Harrison), the performer (Philip Thomas), and two analysts (Nicholas Cook and Eric Clarke). The paper demonstrates the stability of the performer’s approach to this complex music from a very early stage in the rehearsal process; some interesting attributes of his approach to rhythm and tempo; the function of notation as a “prompt for action” rather than as a recipe for, or representation of, sound; and the concealed social character of solo performance and apparently solitary composition. The paper concludes with a discussion and critique of the “communication” model of performance that prevails in psychological studies of performance.', 'creators_id' => 'b.d.harrison@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '3494', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '27', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => '9', 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2005', 'status_changed_hour' => '9', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '2342' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => undef, 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Harrison', 'eprintid' => '2342', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Bryn', 'creators_id' => 'b.d.harrison@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '10', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => undef, 'date_type' => 'published', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2008', 'fileinfo' => '', 'status_changed_second' => '29', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Shifting Light (7 minutes)', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => 'Score', 'editors_name_lineage' => undef, 'dir' => 'disk0/00/00/23/42', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'none', 'lastmod_minute' => '23', 'refereed' => undef, 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '10', 'commentary' => undef, 'lastmod_day' => '21', 'publisher' => 'Contemporary Voices (BMIC)', 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2008', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => undef, 'type' => 'composition', 'publication' => undef, 'lastmod_second' => '29', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '8', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Harrison', 'composition_type' => 'Chamber ensemble', 'producers_id' => undef, 'datestamp_second' => '29', 'note' => 'UoA 67 (Music) Commissioned by the London Symphony Orchestra in partnership with UBS; premiered by the London Symphony Orchestra, conducted by Sir Colin Davis, at the Barbican, London, 2006.Score published by bmic ‘Contemporary Voices’.', 'edit_lock_until' => undef, 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => undef, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '2342', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2008', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '10', 'event_dates' => undef, 'fulltimestamp' => '20060000', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '8', 'number' => undef, 'rev_number' => '4', 'edit_lock_user' => undef, 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Bryn', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'M1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '23', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '21', 'datestamp_day' => '21', 'abstract' => 'Details: Shifting Light, for full orchestra, was commissioned for and premiered by the London Symphony Orchestra, as part of the London Symphony Orchestra’s Sound Adventures scheme. Context: The research questions posed in this work manifest themselves through the exploration of a musical gestalt and the direct phenomenology of sound. The work considers how perception of time is altered when the levels of residual change from one moment to the next are dramatically reduced. This follows earlier research into the nature of time and in particular the use of compositional processes that allow a piece to change gradually over a prolonged period of time (see Rise (2002) and I–V (2004)). Shifting Light adheres to a strict compositional process whereby a single pitch is removed every 30 seconds, leading to a situation in which it is only possible to perceive what has changed in the music some time after its occurrence. The piece also explores musical time though the use of high levels of repetition (presented as a series of dense canons), drawing on the Deleuzian pretext (as outlined by Hume) that repetition changes nothing in the object itself but does change something in the mind that contemplates it. Near repetition and exact repetition operate in close proximity throughout the piece and provide points of orientation and disorientation for the listener. The use of a highly reductive palette also draws on a continuing interest in visual art and in particular the monochrome paintings of the American abstract painter Brice Marden, the light sculptures of James Turrell and the work of Northumbrian painter James Hugonin. The research aspect of this interest is illustrated by the extensive collaborative work the composer has undertaken with painter and print-maker Mike Walker, culminating in a multimedia installation during the tEXt festival, Exeter, 2005.', 'creators_id' => 'b.d.harrison@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '3494', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '23', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2006', 'status_changed_hour' => '8', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '18951' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => '1383047665', 'creatorlist' => { '1' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Harrison', 'eprintid' => '18951', 'creators_name_honourific' => '', 'pos' => '1', 'creators_name_given' => 'Bryn', 'creators_id' => 'b.d.harrison@hud.ac.uk' }, '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Glover', 'eprintid' => '18951', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Richard', 'creators_id' => 'r.glover@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '10', 'editors_name_honourific' => undef, 'admin_note' => 'Author restricted 23/10/13', 'event_title' => 'Time and Trace: 15th Triennial Conference of the International Society for the Study of Time', 'date_type' => undef, 'pres_type' => 'paper', 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2013', 'fileinfo' => '/style/images/fileicons/application_pdf.png;/18951/1/Memory_and_trace_in_minimal_experimental_music.pdf', 'status_changed_second' => '30', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'Memory and trace in minimal experimental music', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => undef, 'editors_name_lineage' => undef, 'dir' => 'disk0/00/01/89/51', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'unpub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'restricted', 'lastmod_minute' => '4', 'refereed' => undef, 'contact_email' => 'r.glover@hud.ac.uk', 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => 'http://www.studyoftime.org/ContentPage.aspx?ID=18', 'succeeds' => undef, 'datestamp_month' => '10', 'commentary' => undef, 'lastmod_day' => '29', 'publisher' => undef, 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2013', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => 'Orthodox Academy of Crete, Greece', 'type' => 'conference_item', 'publication' => undef, 'lastmod_second' => '30', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '12', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Harrison', 'composition_type' => undef, 'producers_id' => undef, 'datestamp_second' => '30', 'note' => undef, 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 6, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '18951', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2013', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '10', 'event_dates' => '30 June - 6 July 2013', 'fulltimestamp' => '20130600', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '12', 'number' => undef, 'rev_number' => '10', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Bryn', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'M1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '4', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'conference', 'importid' => undef, 'status_changed_day' => '29', 'datestamp_day' => '29', 'abstract' => 'This paper will discuss notions of memory and trace in minimal experimental music, where the lack of clear auditory reference points results in musical experience which is far less differentiated or segregated than other musics. This conflicts with traditional concepts of ‘linearity’, and provides a fertile area for exploration and discussion in terms of memory retention, and how this affects the temporal experience. The American music theorist Jonathan Kramer employed the term ‘vertical music’ in his 1988 book ‘The Time of Music’ to describe this music which is ‘necessarily unchanging in most of its dimensions’. Vertical music ‘results in a single present stretched out into an enormous duration, a potentially infinite ‘now’ that nevertheless feels like an instant’, and therefore generates an undifferentiated memory-stream. The paper will present audio examples of repetitive and sustained music, both of which can give rise to what Kramer terms an ‘extended present’. The paper argues that there are in fact myriad avenues of temporal experience resulting from this music, due to the smaller-scale surface fluctuations audible within it upon deeper listening. Memory and trace are not meaningless terms in this scenario, but have a significant role to play in the experience of this music due to these fluctuations; we experience memory in a manner alternative to more traditional gestural musical languages, one suggesting a more lateral network of similar yet differentiated experiences. Husserl’s usage of the term abschattungen, a shadow, nuance or afterimage, provides the framework in which these ideas are discussed, and issues of retention relating to memory and traced are fully explored. The results of this investigation provide both tentative starting points for further discussion on experiential temporalities in minimal and experimental musics, and possible avenues for further work in the creation of new music and other temporal arts. 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'event_dates' => undef, 'fulltimestamp' => '20080100', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '12', 'number' => undef, 'rev_number' => '7', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Bryn', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'M1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '3', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '13', 'datestamp_day' => '13', 'abstract' => 'Flexible instrumentation (3 players). Commissioned by asamisimasa duo (with mark Knoop). First performed, BMIC Cutting Edhe, 13.11.08', 'creators_id' => 'b.d.harrison@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '1743', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '3', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2008', 'status_changed_hour' => '12', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '2341' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => undef, 'lyricists_name_lineage' => undef, 'lyricists_id' => undef, 'edit_lock_since' => undef, 'creatorlist' => { '0' => { 'creators_name_lineage' => '', 'creators_name_family' => 'Harrison', 'eprintid' => '2341', 'creators_name_honourific' => '', 'pos' => '0', 'creators_name_given' => 'Bryn', 'creators_id' => 'b.d.harrison@hud.ac.uk' } }, 'exhibitors_id' => undef, 'latitude' => undef, 'replacedby' => undef, 'status_changed_month' => '10', 'editors_name_honourific' => undef, 'admin_note' => undef, 'event_title' => undef, 'date_type' => 'published', 'pres_type' => undef, 'longitude' => undef, 'creators_name_honourific' => '', 'include_in_hebci' => 'no', 'producers_name_honourific' => undef, 'scopus_citation_count' => undef, 'datestamp_year' => '2008', 'fileinfo' => '', 'status_changed_second' => '48', 'exhibitors_name_honourific' => undef, 'editors_id' => undef, 'title' => 'four cycles for large ensemble (15 players)', 'corp_creators' => undef, 'contributors_name_given' => undef, 'alt_title' => undef, 'contributors_name_family' => undef, 'sponsors' => undef, 'output_media' => 'Score', 'editors_name_lineage' => undef, 'dir' => 'disk0/00/00/23/41', 'overlay_journal_id' => undef, 'gscholar_datestamp_year' => undef, 'ispublished' => 'pub', 'item_issues_count' => '0', 'conductors_name_given' => undef, 'sword_depositor' => undef, 'full_text_status' => 'none', 'lastmod_minute' => '23', 'refereed' => undef, 'contact_email' => undef, 'copyright_holders' => undef, 'date_day' => undef, 'gscholar_impact' => undef, 'official_url' => undef, 'succeeds' => undef, 'datestamp_month' => '10', 'commentary' => undef, 'lastmod_day' => '21', 'publisher' => 'Contemporary Voices (BMIC)', 'pagerange' => undef, 'include_in_pedagogical' => 'no', 'task_purpose' => undef, 'status_changed_year' => '2008', 'book_title' => undef, 'thesis_name' => undef, 'event_location' => undef, 'type' => 'composition', 'publication' => undef, 'lastmod_second' => '48', 'place_of_pub' => undef, 'contributors_name_honourific' => undef, 'gscholar_datestamp_day' => undef, 'issn' => undef, 'datestamp_hour' => '8', 'exhibitors_name_given' => undef, 'creators_name_family' => 'Harrison', 'composition_type' => 'Chamber ensemble', 'producers_id' => undef, 'datestamp_second' => '48', 'note' => 'UoA 67 (Music) Written for and premiered by the London Sinfonietta, conducted by Zjolt Nagy, 2006; with funding provided by the Gulbenkian Foundation, PRS Foundation and Michael Vyner Trust. Score published by bmic ‘Contemporary Voices’.', 'edit_lock_until' => undef, 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => undef, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '2341', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2008', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '10', 'event_dates' => undef, 'fulltimestamp' => '20060000', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '8', 'number' => undef, 'rev_number' => '4', 'edit_lock_user' => undef, 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Bryn', 'exhibitors_name_lineage' => undef, 'divisions' => 'mh', 'institution' => undef, 'subjects' => 'M1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '23', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '21', 'datestamp_day' => '21', 'abstract' => 'Details: four cycles, for large ensemble (15 players), was composed during participation in the London Sinfonietta’s Blue Touch Paper scheme. Written for and premiered by the London Sinfonietta, it was subsequently broadcast on BBC Radio 3, Hear and Now. Context: This work is empirical in nature, being written over a four-year period of experimentation with members of the London Sinfonietta under the guidance of mentor Simon Holt. The research questions posed manifest themselves in the work’s largely didactic approach, which is presented as an ongoing investigation into the study of musical time – exploring different levels of rhythmic activity and different rates of harmonic change. Part of the investigation was to examine what happens when the level of rhythmic activity is increased but the rates of harmonic change slowed down. To investigate these concerns, systematic processes were devised, which governed both the length of the pitch cycles and the rates of rhythmic activity within an underlying grid structure. The work is essentially monodic in conception, treating the whole ensemble as one large instrument and exploring the ways in which harmonic resonance, for example, might be used to prolong pitches, merge harmonies or create aggregate textural results. The work is presented as four movements, which each adopt a different organisational principle to a single melodic trajectory. The second movement draws on the writings and phenomenological experiments into Shepard tones by American composer James Tenney. Similarly, in this piece, the movement emerges from plotting pitches against a single upward trajectory. The grid structure adopted in this movement derives from research into the work of British painter Bridget Riley and the employment of curvilinear grids. As the title suggests, the piece makes extensive use of circular structures, which operate on both a micro and macro level throughout the four movements.', 'creators_id' => 'b.d.harrison@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '3494', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '23', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2006', 'status_changed_hour' => '8', 'gscholar_cluster' => undef, 'producers_name_family' => undef } };

2013

Glover, R. and Harrison, B. (2013) Overcoming Form: reflections on immersive listening . Huddersfield: University of Huddersfield Press. ISBN 978-1-86218-120-5

Glover, R. and Harrison, B. (2013) ‘Memory and trace in minimal experimental music’. In: Time and Trace: 15th Triennial Conference of the International Society for the Study of Time, 30 June - 6 July 2013, Orthodox Academy of Crete, Greece

Cassidy, A., Weeks, J., Harrison, B., Chase, S., Bailie, J., Glover, R. and Molitor, C. (2013) Exposure [Audio]

Glover, R. and Harrison, B. (2013) ‘Phenomenology and temporality in the composition of experimental minimal music ’. In: Philosophy and Music Conference: Time Theories and Music, 27-29 April 2012, Ionian University, Corfu, Greece

2012

Harrison, B (2012) ‘Scanning the Temporal SurfaceCeReNem journal (3).

Harrison, B (2012) Vessels for solo piano (76’) [Composition]

Harrison, B (2012) Eight Voices [Composition]

2011

Harrison, B (2011) ‘The Tempo of Enclosed Spaces: A short, personal reflection on the ensemble music of Aldo ClementiContemporary Music Review , 30 (3-4), pp. 269-274. ISSN 0749-4467

Harrison, B (2011) Five Distances (2011) 10’ Mezzo-soprano voice and piano [Composition]

2010

Bellamy, M., Harrison, B., Cassidy, A. and Lim, L. (2010) Transference [Audio]

Harrison, B (2010) M.C.E. (2010) 20’ Solo classical guitar [Composition]

2009

Harrison, B (2009) surface forms (repeating)(10'30'') [Composition]

Harrison, B (2009) ‘Bryn Harrison’. In: The Ashgate Research Companion to Experimental Music. London, UK: Ashgate. pp. 283-292. ISBN 9780754662822

Harrison, B (2009) Gently Rising [Composition]

Harrison, B (2009) an oblique [Audio]

2008

Harrison, B (2008) Quietly Rising (Piano piece December 2008)(4') [Composition]

Harrison, B (2008) Five Miniatures in Three Parts [Composition]

Harrison, B (2008) to be (an ever opening flower) [Composition]

Harrison, B (2008) Five Miniatures in Three Parts (2008) (8') [Composition]

Harrison, B (2008) an oblique [Composition]

Harrison, B (2008) Repetitions in Extended Time [Composition]

2007

Harrison, B (2007) a leaf falls on loneliness (2007) (15') [Composition]

Harrison, B (2007) Plane Image (2007) 8' [Composition]

2006

Harrison, B (2006) Shifting Light (7 minutes) [Composition]

Harrison, B (2006) four cycles for large ensemble (15 players) [Composition]

2005

Clarke, E., Cook, N., Harrison, B. and Thomas, P. (2005) ‘Interpretation and performance in Bryn Harrison’s être-tempsMusicae Scientiae: the journal of the European Society for the Cognitive Sciences of Music , 9 (1), pp. 31-74. ISSN 1029-8649

Harrison, B (2005) six symmetries for large ensemble (17 players) [Composition]

2002

Harrison, B (2002) Low time patterns [#1-5] for 7 players (mixed ensemble) [Composition]

Research Degree Supervision

  • Composition
  • British and American Experimental Music
  • Music and the Visual Arts
  • Issues of time in music & in particular musematic repetition
  • Notation as a carrier of content
Last updated Thursday 6 March 2014
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Needs improvement

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