Tarompet
Tarompet , terompet ( Sundanese ), also ( Indonesian ) selompret ( selomprèt, seromprèt, somprèt ), saronen ( serunèn ) and tètèt ( tètèpret ), is a wooden conical double-reed instrument that is used as the leading melody voice in some small ensembles in Java and the Indonesian islands of Java Madura is played. The best known is the tarompet of the Sunda region in West Java, which is used together with gongs and drums in festive outdoor processions. On Madura, ensembles with sarons accompany ritual bull races, among other things. In central and eastern Java the name selompret is common, but today it mostly denotes a clairon . On the island of Lombok the preret is played, which is also called prereret on Bali . The name of the similarly related serunai on Sumatra and the Malay Peninsula indicates that it belongs to the cone oboes of the oriental surnai type that are widespread in Asia .
Origin and Distribution
The conical double reed instruments found in folk music in large parts of Asia are traced back to models in Persian - Arabic music , which in the Orient are called surnai or similar ( zurna , surna or zirna in Turkish music ). Characteristic of this type of wind instrument is the interaction with drums (from the Balkans to India tapan , dohol and naqqara ) in ensembles that play music outdoors at festivals and processions. Even if the existence of double reed instruments in India can be traced back to ancient Indian times on the basis of illustrations and the etymology of the word mohori , the Indian shehnai are in by name with the oriental surnai and the culture of the Muslim immigrants from around the 10th century North India connected. In the 14th century the word sannayi occurs in the South Indian language Telugu .
The cone oboes of oriental origin with a related name that can be found further east include the Burmese hne or nhai with a metal bell attached. Your name possibly goes through sanoy in the Middle Mon language of the 15th and 16th centuries. Century and saneyi or shehnai in Indian languages back to surnai . The province of Aceh played in northern Sumatra srune, the sarune ( sarune, also sarunei ) of Batak in the province of North Sumatra , the serunai the Minangkabau in the province of West Sumatra and the Dayaks in Borneo and the Javanese double reed are of the Oriental surnai family the cone oboes with a large bell attached and forms modified with a small double reed. They have a slim, cylindrical wooden or bamboo tube, a small wooden bell and a small double reed that the player puts completely into his mouth.
The cylindrical double-reed instruments without bell and with a large double-reed, which produce a soft, noisy sound, are clearly different from the two mentioned, rather shrill-sounding variants. These include the Armenian duduk , the Turkish mey , the Chinese guan , the Japanese hichiriki , the Cambodian pey ar (also beyaw ) and the Korean piri . The Korean taepyeongso , the Chinese suona , the Vietnamese kèn bầu and the only 19 centimeters long Thai pi chanai , on the other hand, are among the typical oriental cone oboes.
A fourth type with a short double-reed, both from relatives, the surnai and the duduk form different and one piece of one, bulged in the middle wooden circular tube is the Cambodia sralai ( sralay ) and the Thai pi nai ( pi denotes a group of different Thai double reed instruments). The Thai pi chawa is 27 centimeters longer than the pi chanai and its name ( Chawa corresponds to Java ) comes from Java.
The name saronen comes from surnai . Regardless of the type of instrument, tarompet is derived from Dutch trumpet , this from French trompette, from this also German trumpet . The names prereret, pleret, gempret and gemret have been handed down from the Hindu-Javanese period (up to the 15th century). Already at this time the cone oboes who came with Muslim immigrants can also be found in non-Muslim societies in Java, Bali and among the Batak in Sumatra. Likewise, the spiked fiddle rebab , which originated in the Islamic Orient, found its way into court music in Java and Bali, while the plucked gambus and the frame drum rebana , for example, have remained specific to the music of Muslims. This also applies to the up to 80 centimeters long silver natural trumpet nafiri , which was previously used in the Riau Archipelago off the east coast of Sumatra and is still one of the court orchestras ( naubat ) of the Malay sultanates.
The most common wind instruments in Indonesia are flutes ( suling ). Conical double reed instruments are less common in informal light music ensembles. They are played from Sumatra via Java to Sumbawa and in the south of Sulawesi , on other islands only occasionally to accompany a martial arts event ( pencak silat ) or in traditional music at the court of a sultanate. Regionally in Indonesia there is a greater variety of single- reed instruments made of wood, bamboo or a reed stalk , which, in contrast to double-reed instruments, are mainly played solo. Among them is the sarune na met-met in the ensemble gondang hasapi with the Toba-Batak and the puwi-puwi with a conical wooden tube that is used in the prajurit music (military music) at the Sultan's court of Yogyakarta in Java . With rare exceptions, reed instruments do not belong to the classic large ensembles, gamelan .
Design and style of play
The double reed instruments in this region are between 30 and 60 centimeters long and widen in the shape of a funnel to form a bell with a diameter of around 12 centimeters. The conical play tube and the bell are made of wood. The small double reed leaf is made from bamboo or palm leaf. The player completely encloses the reeds with his mouth and blows with circular breathing . A crescent-shaped lip support made of a coconut shell, a turtle shell, wood or metal on the mouthpiece serves as a lip support. At the ends it is designed like a pointed mustache (ornament and sign of masculinity) and its function is presumably similar to the Phorbeia on the antique double wind instrument aulos . While the player is blowing, the lip support should seal the connection between the mouth and the instrument. To reduce the amount of pressure required on the lip support, some players wear a bandage around their cheeks that is tied behind their heads. The play tube in the upper area and the funnel neck are usually decorated with turned grooves and notched patterns. The tones of the five-step slendro scale and the seven- step pelog scale can be produced by skillful finger positioning . The sound of the oboes is loud and shrill.
Tarompet
The West Javanese tarompet is about 50 centimeters long and has seven finger holes, including a thumb hole at the bottom. The tarompet is played in small ensembles for music in the open air, during ceremonies, festive processions and to accompany the fighting dance pencak silat.
The pencak silat seni ensemble in West Java essentially consists of one or two tarompets as melody instruments, one or two drum sets and a small gong . Seni, meaning "art form", is added when the battle dances are accompanied by music and the name kendang pencak of the music ensemble refers to the two-headed barrel drum kendang . Overall, a pencak silat ensemble can include a drum set kendang ibu ("mother drum") with two small barrel drums more accommodating , as well as a kendang anak ("children's drum") with also two accommodating , furthermore kenong (a high hump gong, the lying horizontally in a wooden frame), a hanging gong, ceng-ceng (small hand cymbals ) and a tarompet. The kendang ibu usually play a constant basic rhythm, while the kendang anak coordinate their beats with the dance movements. The hanging gong marks the repeating melodic cycles. The tarompet plays a constant sequence of notes, the intensity of which is matched to the actions of the performers and the reactions of the audience.
In Sundanese the martial art is called penca silat and the ensemble that goes with it is called kendang penca . With the Sundanese instrument names, the ensemble consists of two of the drum sets mentioned, each of which includes a kendang indung (Sundanese, “mother drum”) and one or two accommodating ones , as well as a small gong: either bende (single, small hanging humpback gong, the not used in gamelan ), kempul (slightly larger hanging humpback gong) or goong (even larger hanging humpback gong). The melodic material comes from the Sundanese songs and uses pelog or slendro tone scales. When selecting the song melodies played with the tarompet , the musicians generally take the context of the event into account and, for example, do not use melodies from songs with particularly worldly-sensual content, even if the lyrics cannot be heard at more Muslim events. The spiked fiddle rebab in the ensemble ketuk tilu has a corresponding melodic function like the tarompet in this ensemble, but it produces a completely different sound result. The ketuk tilu accompanies the entertainment dance of the same name ( tari ketuk tilu ). It is named after three (Sundanese tilu ) single horizontal humpback gongs ( ketuk ). The kendang drum set is responsible for the ostinate beat sequence, for a change of tempo and for the rhythmic design.
According to tradition, a rare archaic ensemble, the gamelan goong renteng, was played at the court of Pajajaran, the capital of the Hindu kingdom of Sunda (7th to 16th centuries) on the site of today's Bogor . In a few western Javanese villages this type of ensemble is preserved to this day. The instruments of the ensembles preserved are not entirely uniform. Typically, a single row bonang (humpback gongs mounted horizontally on strings, usually in two rows, renteng means "single row") and a rare gangsa (metallophone with sound bars on a wooden box), a beri (small hump-free gong), a barrel drum and two hanging gongs. Instead of the beri , a panglima (row of humpback gongs which, like kenong, rest on a cross over a box). A tarompet is also included in the village of Leuwiliang in the Bogor administrative district . The goong renteng ensembles, which are highly revered by the community , only have a limited repertoire, but this, like their sound, is unique.
Like the goong renteng , the ceremonial gamelan (goong) ajeng is very old and according to some experts goes back to the medieval kingdom of Mataram (8th to 10th centuries) in central Java. Ernst Heins (1977) suspects that the two gamelan could be the forerunners of the now extremely popular gamelan degung , which emerged in the course of the cultural delimitation of the Sunda region from central Java in the 17th century. The gamelan goong ajeng only differs from the goong renteng in that it has additional instruments . Both use a pelog tone scale. Jaap Kunst found gamelan ajeng in the 1930s with the following line-up: a renteng (single row bonang ) with 14 humpback gongs, a gambang gangsa (also saron, with 14 sound bars), two ketuk on a wooden case (these humpback gongs are usually only used individually), a barrel drum kendang, a large hanging goong gede and two other gongs. Because of its small repertoire, which is not suitable for accompanying dances, Kunst determined that the gamelan ajeng was no longer performed.
In sound recordings made by Philip Yampolsky in 1992 of one of the rare gamelan ajeng , a tarompet and a bonang form the leading melodic instruments. In addition to the tarompet, the ensemble of a village near the city of Karawang consists of a bonang , two saron (metallophone, gangsa ), one demung (metallophone, tuned an octave lower), one or two hanging gongs, a bendé (small holy gong, not in the usual gamelan ), kecrek (bundle of two or more small iron rods with which the dalang accompanies fighting scenes during shadow play) and kendang (drum). Another ajeng ensemble also has a xylophone ( gambang kayu ). The main purpose of gamelan ajeng has been to accompany shadow games in the Betawi dialect ( wayang kulit Betawi ) since around 1925 . Before that, this wayang kulit is said to have been accompanied by an ensemble with bamboo instruments. The main differences between today's and then gamelan ajeng are: At the beginning of the 20th century there was no tarompet , the bonang consisted of one instead of two rows of humpback gongs, and the repertoire has grown significantly (compared to 6 to 7 to at least 49 pieces increased according to the statement of the head of the ensemble recorded by Yampolsky). The gamelan ajeng at Karawang usually takes place during night-long outdoor ceremonies on a platform, continuously interrupted by a few pauses to entertain those present. The modal melodies ( patut ) are divided into two groups. The patut patbelas (“14 patut ”) use all seven tones of the pelog scale, while the patut sepuluh (“10 patut ”) use five tones. The corresponding number of humpback gongs must have the bonang used . The unique musical style and the instruments are a combination of elements from Sunda and Betawi music, the rapid changes in tempo probably come from Balinese music .
The tarompet takes on the melody lead in other ensembles. On the Malay Islands, ritual dances with hobby horses (Indonesian kuda lumping , "horse made of leather", ie a flat horse, or kuda kepang , "[made of bamboo] braided horse") have a tradition. On Java, traditional dances (with the adjective betul , “real”, “truthful”) lead the actors into a state of obsession with hobby horses . They claim that the spirit of the horse has penetrated them, which is why they start devouring rice stalks and pouring large amounts of water into them. When dancing, the possessed keep themselves largely upright and move - with a dummy horse tied in front of their upper body - stamping on the spot. The performances are accompanied by a tarompet and four dogdogs . These are conical, single-headed tubular drums of different sizes. The players beat the smallest and largest drums with a stick, and beat the two middle drums with their hands. A bètok ensemble mentioned by Jaap Kunst, consisting of two terbang (large frame drums ), two kendang (barrel drums) of different sizes , a tarompet and a kecrek (iron rod rattle ) and the gamelan renteng (at least in Indramayu on the north coast in the province of West Java ) accompanied in the 1930s also hobbyhorse obsession dances.
Angklung denotes in Indonesia a group of differently tuned bamboo rattles , each of which produces a sound and is operated by a player, and the ensembles in which they occur. The most widespread angklung ensemble in West Java is the angklung buncis , which consists of nine to twelve angklung , a tarompet , barrel drums ( kendang ) or four single- headed dogdogs and one or more gongs. In addition, there are high-pitched, melismatic singing voices in a call and response pattern. The drummers produce a polyrhythmic structurein harmony.
The same ensemble with dogdog drums also accompanies the Sundanese reog dance theater ( Reog Sunda ). In the comedic performances, the actors often wear masks. In the story, the tiger monster matjan fights against the ultimately victorious magician patih . Another accompanying ensemble consists of two angklung, two kendang, two vertical gongs and a tarompet .
Up until the beginning of the 20th century, the Sundanese ujungan duel was fought with heavy rattan sticks 1.5 to 2 meters in length. Each fighter was protected on the body and around the head by thick wraps of cloth and plant fibers, while arms and legs were uncovered. They used the sticks to inflict bloody injuries on the uncovered areas. In ancient times, some fights ended fatally if they were fought as part of feuds. As an entertaining fight dance , ujungan is accompanied by a small ensemble with a tarompet, a kendang, a small gong and iron rattles.
Selompret
The selompret in central and eastern Java is about 45 centimeters long and has six finger holes and one thumb hole. Together with several kendang and gongs, it belongs to the ensemble accompanying the East Javanese version of the reog performances, Reog Ponorogo , named after its region of origin, the administrative district of Ponogoro in the province of East Java .
Reog Ponorogo has changed from a magical ritual to a popular theater. In the center is the heavy mask of Singa Barong . With singa ( "Lion", from Sanskrit Singha ) in East Java Tiger is meant barong is an animal mask in Bali it is a lion-like shape. In popular belief in the villages, the tiger was seen as the embodiment of the ancestral spirits, while at the Javanese courts it was regarded as the ruler's wild, uncontrollable counterpart. The story, similar to the one in the Sunda region, is about the power of the ruler and the antagonistic power of the jungle. The chief minister ( patih ) has the task of preparing the marriage between his king and the princess of another ruling seat. In the course of these actions he arouses the wrath of Singa Barong , who as the supreme tiger spirit protects the forest. At the end of the decisive battle the tiger is not killed, but lives on as a servant of the king and embodies in his person the aspect of savagery.
In the central Javanese administrative district of Banyumas (capital Purwokerto ) the corresponding wind instrument is called tetepret .
Sarons
Although the island of Madura belongs to the province of East Java, it has its own cultural tradition, which differs in many ways from that of the main island of Java. The saronen ( saronèn, serunèn ) is the only melody instrument in the gamelan saronen on Madura and - starting from there - in some rural regions in East Java. This gamelan also includes a large hanging gong, a kendang binè (barrel drum, "male"), a kendang lakè (slightly larger and deeper-sounding barrel drum, "female"), alternatively a ketipung (also penuntung , conical double-headed drum, smaller) as the kenang ), a ketuk binè (single horizontal humpback gong on a wooden case) and a ketuk lakè. Larger gamelan sarons have a row of humpback gongs bonang and two saron (metallophones).
On Madura, two sarons with four or more tarompets play together in a ngik-ngok ensemble. Ngik-ngok is an onomatopoeic term for Western music and in the narrower sense refers to the sound of a violin bowed with a bow. In the late 1950s it was part of anti-imperialist President Sukarno's policy to brand the cultural influences of the United States and Britain as colonial and capitalist. Sukarno took up this derogatory word and called Western pop music ngik-ngak-ngok because it struck him as a babbling noise. In a speech in 1965 he declared the enthusiasm for the Beatles , which had also reached Indonesia as Beatlemania , to a mental illness. The music denigrated as ngik-ngak-ngok was banned on Indonesian radio until Sukarno was ousted in 1965.
The tarompet used in the Madurese ngik-ngok ensemble is a hybrid new creation that was invented in 1912 by a musician in a village on Madura - inspired by Dutch brass bands during the colonial era. In this tarompet , the double reed adopted from traditional instruments is connected to a thin metal tube that has been bent into one or two loops and ends in a wide bell. Without finger holes, the tarompet does not produce clear pitches, which is why it is used rhythmically for ostinate tones corresponding to the recumbent humpback gongs in the Madurese kenong telo ensemble. Replicas of other western brass instruments, drums and iron rattles ( cekcek ) are also used as clocks.
The music of the ngik-ngok ensemble is Madurese, in contrast to the tanjidor wind orchestra , which was also formed in Jakarta during the colonial era and plays mainly European marching melodies . Another ensemble from colonial times that only occurs in the Jakarta region is the gambang kromong . Its traditional repertoire ( lagu lama ) of Chinese-Indonesian melodies is played, as was customary at the beginning of the 20th century, with several two-stringed tubular violins of the Chinese erhu type , some gongs and small Chinese percussion instruments. In some pieces, a Chinese double-reed instrument called a trumpet is added.
The kenong telo ensemble, popular in Madura, is the model of the ngik-ngok ensemble. It is played with two sarons, drums and several different humpback gongs as rhythm instruments in processions and ceremonial events. A special event that is also advertised as a tourist is the Madurese bull race kerapan sapi (also karapan sapi ), which is held in many villages from July to October, especially in the east of the island. All districts participate in the main annual event. Two buffalo carry a frame consisting of two bamboo poles on a yoke on which the handlebar of the team stands. The oxen grind the frame over a distance of 80 to 130 meters. Before the race on a fenced in grass field, the cops march through the streets in a procession, brightly decorated with strips of fabric, bells and flowers. In the processional ensemble , the two sarons play the melody in unison or alternate with melodic decorations, while the hand-held small gongs provide a melodic-rhythmic accompaniment. The presentation of the decorated bulls, accompanied by music by a saron gong orchestra, is known as the sapi sono festival. The bull race has replaced the much less well-known Madurese bull duel ( aduan sapi ), which only Maduresen in East Java now organize.
Preret
In the music of Lombok , the preret is played at a few temple festivals in the traditional ensembles gamelan Sasak . The preret is played as a soloist, to accompany vocals or in an ensemble with the flute suling , the frame drum jedur , the barrel drum kendang and various cymbals. Balinese in the west of Lombok accompany the barong dance drama and the perisian fighting dance with the ensemble called gamelan barong tengkok .
The prereret or preret in Bali, which is played by Muslim immigrants from Lombok, East Java and Sulawesi (especially Bugis ), is about 40 centimeters long and has seven finger holes and one thumb hole. In the western province of Jembrana, the prereret is part of the accompaniment of the sewo gati theater.
literature
- Ernst Heins, Margaret J. Kartomi, Andrew C. McGraw: Selompret . In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments. Vol. 4, Oxford University Press, Oxford / New York 2014, pp. 465f
- Jaap Art : Music in Java. Its History, its Theory and its Technique . 3rd edition edited by Ernst L. Heins. Volume 1. Martinus Nijhoff, The Hague 1973
Web links
- Seni jurus tepak tilu. Youtube video ( tarompet and several kendang drum sets during a Pencak Silat dance)
- Lengkingan trumpet reyog ponorogo. Youtube video ( selompret , kendang barrel drumand gongs at a Reog Ponorogo performance)
Individual evidence
- ↑ Nazir A. Jairazbhoy: The South Asian Double Reed aerophones Reconsidered. In: Ethnomusicology , Vol. 24, No. 1, January 1980, pp. 147-156, here p. 153
- ↑ Johk Okell: The Burmese Double Reed "Nhai". In: Asian Music, Volume 2, No. 1, 1971, pp. 25–31, here p. 26
- ^ Curt Sachs : The musical instruments of India and Indonesia. At the same time an introduction to instrument science. Georg Reimer, Berlin 1915, p. 155
- ↑ Terry E. Miller: Thailand . In: Terry E. Miller, Sean Williams (Eds.): Garland Encyclopedia of World Music. Volume 4: Southeast Asia. Routledge, London 1998, p. 237
- ↑ Jaap Kunst, 1973, p. 238; Margaret J. Kartomi ( Performance, Music and Meaning of Réyog Ponorogo. In: Indonesia, No. 22 (Southeast Asia Program Publications at Cornell University), October 1976, pp. 84–130, here p. 99), on the other hand, means the cone oboes may have come to Java from South India after the Hindu-Javanese period.
- ^ Philip Yampolsky: Indonesia. I. 3. Instruments. (iii) Aerophones. In: Stanley Sadie (ed.): The New Grove Dictionary of Music and Musicians , 2001
- ^ Paul H. Mason: Pencak Silat Seni in West Java, Indonesia . In: Uwe H. Paetzold, Paul H. Mason (Eds.): The Fighting Art of Pencak Silat and its Music. From Southeast Asian Village to Global Movement. Brill, Leiden 2016, p. 244 f.
- ^ Henry Spiller: Sundanese Penca Silat and Dance Drumming. In: Uwe H. Paetzold, Paul H. Mason (eds.): The Fighting Art of Pencak Silat and its Music, 2016, p. 320 f., 326
- ↑ Jaap Kunst, 1973, p. 156
- ^ Henry Spiller: Focus: Gamelan Music of Indonesia. Routledge, New York 2008, pp. 114f
- ↑ Ernst Heins: Goong renteng: Aspects of orchestral music in a Sundanese village. (Dissertation) Universiteit van Amsterdam, 1977
- ↑ R. Swindells: Klasik, Kawih, Kreasi: Musical transformation and the Gamelan Degung of Bandung, West Java, Indonesia . (Dissertation) City University, London 2004, p. 15
- ↑ Jaap Kunst, 1973, p. 387: "... has gone into disuse." Nevertheless, the appendix, pp. 546, 548, mentions the existence of 69 for Buitenzorg (today Bogor ) and of 42 gamelan ajeng for Karawang .
- ^ Philip Yampolsky: Booklet (PDF) for the CD: Betawi & Sundanese Music of the North Coast of Java. Topeng Betawi, Tanjidor, Ajeng. (Music of Indonesia 5) Smithsonian / Folkways, 1994
- ^ Kathy Foley: The Dancer and the Danced: Trance Dance and Theatrical Performance in West Java. In: Asian Theater Journal , Vol. 2, No. 1, Spring 1985, pp. 28-49, here p. 34
- ↑ Reak Kuda Lumping mekar panggugah uyud . Youtube video (obsessed man with a hobby horse, a musician with a tarompet and several with dogdog drums )
- ↑ Jaap Kunst, 1973, p. 368
- ↑ Jaap Kunst, 1973, p. 380
- ↑ Margaret J. Kartomi, R. Anderson Sutton, Endo Suanda, Sean Williams, David Harnish: Indonesia . In: Terry E. Miller, Sean Williams (Eds.): The Garland handbook of Southeast Asian music. Routledge, New York 2008, p. 376
- ^ Paul Collaer: Southeast Asia. Music history in pictures. Volume I: Ethnic Music. Delivery 3. Deutscher Verlag für Musik, Leipzig 1979, p. 104
- ↑ Jaap Kunst, 1973, p. 384
- ^ Robert Wessing: The Last Tiger in East Java: Symbolic Continuity in Ecological Change. In: Asian Folklore Studies , Vol. 54, No. 2, 1995, pp. 191-218, here pp. 195, 203
- ↑ Performing Arts: Indonesia. Sarons. Asia / Pacific Cultural Center for UNESCO
- ↑ Jaap Kunst, 1973, p. 283
- ^ Andrew N. Weintraub: Pop Goes Melayu: Melayu Popular Music in Indonesia, 1968-1975 . In: Bart Barendregt (Ed.): Sonic Modernities in the Malay World. A History of Popular Music, Social Distinction and Novel Lifestyles (1930s - 2000s). Brill, Leiden 2014, p. 169
- ↑ Heins, Kartomi, McGraw, 2014, p. 466
- ↑ See the CD: Music of Madura: Java, Indonesia . Produced by Jack Body and Yono Sukarno. ODE Recording Company, 1991 (ODE 1381)
- ^ Philip Yampolsky: Booklet of the CD: Music from the Outskirts of Jakarta. Gambang Kromong. (Music of Indonesia 3) Smithsonian / Folkways, 1991
- ^ Jill Forshee: Culture and Customs of Indonesia. Greenwood Publishing Group, Santa Barbara 2006, pp. 175f
- ↑ Final lomba kerapan sapi se - JATIM - Probolinggo. Youtube video ( kerapan sapi in Probolinggo , East Java, accompanied by kenong telo music)
- ↑ Sapi Sono Festival - Madura Island. Youtube video
- ↑ Huub de Jonge: Of Bulls and Men: The Madurese Aduan Sapi. In: Bijdragen tot de Taal-, Land- en Volkenkunde , Vol. 146, No. 4, 1990, pp. 423–447, here p. 424
- ↑ David Harnish: “Isn't This Nice? It's Just Like Being in Bali ”: Constructing Balinese Music Culture in Lombok. In: Ethnomusicology Forum, Vol. 14, No. 1, June 2005, pp. 3–24, here p. 13
- ↑ Heins, Kartomi, McGraw, 2014, p. 466