“ Peek From mannerism £4, to new aesthetics levels of adaptation in the ‘classicization’ of Asian music: Ramon P. Santos nthe history of art music, the confrontation be- tweenithe East and West has never been more dramatically underscored than itis today. The development of more sophisticated techniques of composition and their proliferation outside the ‘West on ohe hand, and the growth of much deeper knowledgé of Eastern cultural traditions on the other, have brought about a new trend in creative writing that is shared by Asians and non-Asians alike ‘This historic phenomenon which one could consider as one phase of Western art music, has indoed created a new breed of music. a new cultural milieu of composers, and a midstream direction of musical thought. It has of the orlental world, mostly acquired from the accounts and material spoils of colonial and trade expeditions, was expressed in various art forms. Attempts at the musical portrayal of the East were made mostly as proi {impressions ofan exotic yet savage environent. To this 6a highly simplified manner of artical pressions was manifested through the use of melisraate find chromalicizd melodie configurations, percussive and repetitive rhythms and a minimum application of chromatic harmony. A highly synthetic compositional approach has been shared by a good nuniber of Western composers from Mozart to Mahler. although rendered perhaps with different degrees of technical sophistica- tion as material resources for music making developed and expanded through years of stylistic change. The contributions of the nationalist schools from eastern European countries added a new dimension to“) the ‘Basternization’ of Westem music. The works ofBela_) Bartok and Leos Jandcél stand out as having success- fully asserted a strong Easter identity. they having ,-/ | spawned a bad of Merature characterized by diferent | degrees of@neretiemtuston)and(oybrdization i con- / cepts ana staierarat eRReNG from tre distinct sical | traditions, Its abundance and variety are significant enough to merit attention as to Its implications for the future directions of art music, especially in the Asian Ti would indeed be interesting to trace in great detail the seminal stages and later growth of the interest in Eastern culture in the history of Western art musie: from the works:of the eighteenth century Classicists, the ‘Romantic and Post-Romantic nationalist schools to the avant-garde movements in Europe and the U.S., and the ‘overwhelming response of a continuously expanding community of Asian mocierntst composers within the last three decattes of this century. While material data exists inabundatice, itwill require a great deal of work in order to presenta truly comprehensive, diachronic picture of derived important structural elements of their music , from the basic parameters of language. ‘The case of Debussy, and later Messtaen whose works demonstrated a much more profound level of perception 7 of Asian music, marks a significant milestone in the West's exploration of Eastern musical thought. It is Important to note that unlike their predecessors from an. earlier era, these two composers experienced a much more direct contact with oriental musie culture - the live performance of a Javanese Gamelan ensemble and the written theory of Indian classical music. While their snitial interests lay in the structural parameters of Asian the East-West encounter in art musle literature. ‘This paper does not attempt such an undertaking but merely essays a semi-analytical observation on the ‘etism and adaptation between Bastern and king into consideration cultural and ial and distinctions between maner- Isis and aesthetic essence in these works. ‘thin the general time frame of the devel- \ A ] ‘epment of ast music from the European Clas- ‘sical periods to the present, various references to Asian rlusic and Asian culture have matertalized. AS carly as the eighteenth century European classical music bore traces ofan interest in the East. A limited knowledge ‘music, the Impact of the latter was so profound that its influence transcended purely theoretical and symbolic boundaries. In Debussy. a different modal concept and the timbral and durational properties of tones in ~ Gamelan music prevailed in his musical thinking. Metric pulse became subordinate to rhythmic durations while tonal colours superseded the syntactic canons of tonal harmony, . Messiaen on the other hand may have gone a step further from the seml-intultive course of Debussy. Aller a painstaking study of the thirteenth century Salguita- Ramnakara by Carnageva on the 120 dect-talas of Hindu music, Messiaen assimilated not only the. theoretical {information butalso the religious and philosophical sym 18 CANZONA 1991as he _ Raton P. Santo. —$ polisms of the Indian tala system (Boucourechtiev, 1980), With his own sense of spirituality equally guiding his compositional instinets, Messiaen was able to com- municate a temporal cognition that reflects a non-West- > em time concept, notwithstanding his tonal materials tat combined principles of tonal harmony, atonal, ‘The paths threaded by Bartok, Janacek, Debussy, and Messiaen are important signals in the realization of possible processes of communicating Asian aesthetics in the field of art music. Their individual Successes and insights also underscore the importance of intimacy and familiarity with Eastern culture and specific musical values. ‘A different level of adaptation may be found in the movement in the Unite sae nly sod ems Cowell and later led by gohn Cage/and Harry -arichand other West Coast-bred compisers, incliding WE tater generation of Terry Riley, Steve Reic 5 Jn Europe, the names of Paulie Oliveros, Cornelius Cardew, Karlheinz Stockhausen and Peter Michael Hamelare also identified with this school of thought. The physical contact with Asian music and Asian culture on the part of these composers was more intimate than those enjoyed by Debussy or Messiaen. As a conse quence, more shlosonhleal approach was assumed in their works. which were in effect expressions of extra ‘misical sentiments, political ina way, against European formals Jnnical dogmatism. In a sense, Asian pfifosophical thought provided this movement with a reason to explore new directions in composition without so much attention to the dialectics of Asian music itself, its echnical and theoretical properties, which in the case of Debussy and Messiaen provided a clear conduit to ‘Asian aesthetics. The unorthodox concept of music composition that this movement inspired has been per- ceived a9 artificlal realizations or symbole representa- / tons of Asian-related philosophies, while practically disregarding the traditional concept of music making in botli Western and Eastern cultures. Corollary to these dyniamic conditions occurring in the late nineteenth century and well into the twentieth centinry, Western art musi¢ was also gaining a foothold in Asia under different political and social climates. First Introduced by colonists, misslonaries, and travelling teachers, it was initially received by Asians either as a social ember that symbolized a higher mode of living or as a substitute for native practices that were tabooed by Wester religious edicts..The implanting of art musicon Aslan solls brought about 2 new concept of musical practice, new techniques of music making, new methods ‘of leaming, and an entirely new view of classicism in musical discourse. Mannerisms attached to this music ‘were learned in the way that one would leam the gram- mar, syniax, and idioms of a new language. Principles of and Philip Glass) metered time, contrast in dynamics and tonal colour. melodie infleclons and a tonal organization based on causal logic, and a cause-and-effect concept of thematic development, all combine to form its central apparatus. Whatis interesting, though. in this intgrcultural transfer / of a specific musical ideclogy. is that classical Western music did not only come in its physical and material form, but also brought along its concept of stylistic vari- ability, mannered views on aesthetics, and most signifi cantly, its traditions, prejudice and bias against Asian musical traditions as being exotic, primitive, static, and culturally infertor. Western art musie proliferated mostly m urban centres of population in Asian countries, where the Western political and economic presence were well in place, ts spread differed among countries and was assimilated according to,the extent of Westernization that the native cultures underwent. in the Paiippines, the learning of musical instruments like the organ. fute, violin and plano meant also the Iearningof thelr standard repertoires and performance mannerisms. This condl- tion was readily accepted by the natives as a modus vivend under a new cultural dispensation in which traditional forms of musical practice were virtually elimi- nated. In countries where no major change in culture occurred and where strong traditions of classfetsm ex- {sted, Wester instruments were instead assimilated into an existing musical repertoire. In China, the piano was adopted by early twentieth century Chinese composers Ho Lyuding and Jiang Wenye (Hsu, 1983) to play a music that could also be normally performed on other tradi- tional Chinese instruments like the yang-chin or the cheng, In South India the violin, which Was introduced some 200 years ago and first identified with the prom nent Camnatie musician Baluswammy Diksitar, is now considered part of Indian instrumentarium, not only serving as an effective medium for Carnatic music, but also assuming fis own unique style of playing (Nettle 1985). In the first half ofthe present century, the changing view of Asian musie in the West made its own Impact on ‘Aslan Western art music composers.Nationalisiitnd a quest fora cultural Mdentity provided the intermastimu: lus, while the West's Infectious interest in Oriental culture served as the external impetus for Asians to look {nto their own traditional practices for resources for a ‘modern musical expression. The nationalist response by East European countries some fifty years previously towards a West European musical tradition is now being replicated in the Asian region, perhaps with greater variety and impact, With the Western concept of art music stl serving as a catalyst, a whole community of Asta-bound but Western trained composers (Asian and non-Asian alike) now face aommon ‘communicating Asian 1 sthet 7 CANZONA 1991 9¢.9, thythm appear to serve as basic determinant From mannerism to new aesthetics non-Asian medium with its built-in modernist presertp- tions. During the last thirty years, attempts at reconcil- ing Ideological polarities-have-resulted in an evolving process of @ross-cultural accommodation, The influ fences of elther musical tradition upon each other have effected significant changes not only in the musical systems themselves but in the musical thinking as well The rich variety of concepts and material properties of Asian muste cultures (court. religious, classical. and folk music practices) has contributed much towards the expansion ‘of canonical boundaries of an otherwise closed musical system In the West. On the other hand, Aslan music appears to have enteredaneweraand mode of classicization based on a music ideology and technol ogy moulded by Western musical thought. isparate views on, and perceptions of, the syncrelie Process between East and West have also ariset Tf some respects, many ofthe works appear as allenated versions or distant clones of what is, uly Asianmusle, whose fundamental essence resides in the different individual traditions and which possess their ow specific phases of development, concepts of old and new styles, aesthetics, theory, and philosophy. ‘Other works are perceived to be romanticizings of Asian musics, not unlike some of the attempts at portraying exotic Asia'in previous centuries in Europe, Others may ‘st in this historical ide a gradual transfer of aesthetic values and imsights, long tsolated and hidden from world ‘view but naw more broadly diffused through the variety of ways that Asian musical elements have been adopted ‘and infusetl in these works. Some of the prevailing techniques. include the quotation and grafting of pre- ‘exis ting materials, the adaptation of characteristic struc- tures suchas rhythms, intervals, scales, and the synthe- sis of sound objects made available by an almost inex- haustible repertory of instrumental and vocal timbres. ‘The proverbial five-tone scale, the principle of melodic ‘omamentation and repetitive rhythmic formulas, are some of the more basic elements that have been inte- {grated into formal and harmonic structures of Western ‘art music, It should be recalled that this approach also characterized the intial attemptsat depicting the East in ‘the works of Western Classical and Romantle composers. Iiurtherreflectsa viewofmusicwhere scale, melody rents provided a new dimension tothe eomposton of “Gr musie, The technica! ecullactesinvelved in playing these instruments, and Uheir characterise properties Which intuonee the nature of Une muslel sounds (urs: dion of tana, span and lmla\iond io pich somal rmerolonal structures, harmon postbiies) have been Combined with Ue formal and aruetal mannerisms of 18. CANZONA 1934 Western contemporary musical designs in dynamics, se- rialized tonalites, and texture. ‘Another kind of fusion 's demonstrated in directly quoting existing materials, altering them through elec- tonic means or re-articulating them in a quasi-susrea- listic process, Meanwhile, the replication of actual Astan sounds by Western instruments and other sound media. points to a similar stylistic framework. Improvisation, indeterminacy, and minimal proce ures represent yet another form of adaptation, in which performance mannerisms and techniques of realization endemic to Asian music have been utilized not so much to communicate musical ideas, but rather to stimuiste musically oriented experiential conditions. ‘An even mare sensitive form of adaptation is one that decodes and explores the theoretical parameters of Asian mustcal expression as well as the aesthetics and philoso phles they mirror and symbolize. This philosophical view serves as the Gestalt which generates the compositional design in concepi, content, and structural details. While these works also derive their structural materials and organizational principles from both twentieth century art music and Asian traditional musics, these materials are treated more as vehicles and a means of effecting specific aesthetic conditions relative to Asian culture. The idea of the primacy of the single tone in Chinese as weil as Korean. music has served as a fandamental concept for the compositions of Choy Wen Chung and Isang Yun ‘Feliciano, 1989), However, the central tone’s extra ‘musical reference to Confucian philosophy and Buddhist thought have been expressed through different musical dialectics which have been directly influericed by the distinctive idioms of either Chinese or Korean traditional musics. On the other hand, the relationship between drone and melody in a Southeast Asian village music is said to reflect a concept of time. In.the compositions of ‘Jose Maceda, the simple structures and highly sensitive and delicate tones of native instruments are used to project’ this idea. Its amplification by means of the communal playing of multiples of performers provides an acoustico-spatial dimension that is human-derived. Overall these trends and compositional approaches reveal @ condition in which highly individualized and diverse musical views oscillate within a wide marginal boundary. between mannerisms directly mustcal on the one hand, and aesthetic and philosophical ideologies which are conceptual and extra-musieal on the other While mannerism in this context may initially connote a process of adapting Asian musical elements from a purely technical stand-potnt, mannerism may be equally manifested in the application of modemist techniques introduced by the European and American avant-gard ‘schools. Thus, in this new repertoire of classicized Asian music (or Asianized contemporary muste - whichever is appropriate), processes of decontextualization as well as eyRaton P. Santos teeonlexuzaon occur. The original aethete and "Guvophie Weologes we sider diminished, eo Fenced or transmogred ange m neti. The presen mascal phenome ponnierelya pie minedyramisef cata! change, though oreo ear proportion cn ican, R faust, one struck by the fat that al of these KK ‘avlallons of one mutual concern: to preserve. create [Rbrealas vce athe n Asin atonal proidegeatereleenoyinteachingen ner onl Mav ofthe loge tht proctates Asta usieal expres srr: emcee ‘Scncan olla Ao su “maid nrecent esos cates mdeand ine wes generating ier own tnt musta concepts, raters, ‘and syntax, directly represent views Moatedynamis one scelaobip wid aerials ales scree and mciaphystal wor Iisitrest inglonote ate murie af Mosiacn tou crn extent Sonate a opel sensi in exploring some the modal and rhe enerpsefnan usta snc aeshete rea they auggeat an represent Pog in san must mpc ot ys herarchal LY ‘relationship of tones, but also systems and processes of musical realization. In Indian classical mysic. the crea- ton ofa ge undergoes a process starting om et tal eas emo, mental spat coomolg cal, etc,} to their translation into musical tones, their hi- Sri ordering imo sae forts and aly, the Sricaauon of te Hirrcle ede intoa meld eon guration othe raga Hoe Hs bull pes ths on be manne of teaung each nial toe ae 1980) The mica ein on he oer band wide highly inprovsatna! and prone. eal repel pccepscfperbmce tare fandae tally almedat preserving the essence and character of the ne ‘The patet in Indonesian music is conceived within a sunlurctramunical ont reece ofemotonal ad peyehongeal conan in relator toa tmporl aed pryscalenewonment fates serves pei ucts inves and suid acues Tented numberof Su pactaceed fom dwoned ngs araspety and laras slendro) belle the complexity of Its application in a inst conpostion The varity and ambi the aniplaon ef pinta ones, unin fone an “evemy’ ner Gnd, 1089) as wel a the sytem of Todulaungbewern ples nr indewd comple and a eflecting on this course of events in Asian £ hardly be explained or rationalized on purely theoretical terms, In performance, the individual improvisational techniques on the part of the pesinden together with the paraphrasing and ormamenting instruments (bonang, celempung, suling, genau) are combined with a precise colotomic system of group playing. Instead of beclouding the patet. this seeming opposition between improvisation and precision further reinforces its spiritual presence as they combine their musical energies tn underscoring the balungan in a dramatic but subile fashion. ‘An even more ambiguous and elusive musical modal theory that may be mentioned here is one that exists in the middle Eastern musics. The dastgah in Classical Persian music implies not only a purely musical concept but a aystemiffic concept as well. Each of the twelve dasigahs consists of an ordered collection of ‘tune units called gushes whose musical nature isnot limied to any specific number of tones but depends on the highly subjective and extemporancous rendition of an individ ual performer. The hierarchic relation of tones to one another partially determines a gushe as a musical unit. ‘As non-misical unit, the gushes are also identified by a variety of referential names, sometimes by concrete de- scription (large, small), by names of places (Zabol. Ra- vandl) or by names of people (Hoymaysun, Loyle. etc). (Zonis, 1980), The open-endedness of each theoretical tunitin Persian musie, as well as their cross-references to other musical or extra-musical entities, represent an ‘other musical thinking where the Identity of amode isnot separated from the music itself and its actual perform. ance, nor from non-musical allusions. ‘Aconcept of made may also be sald to exist in musical practices in which the baste structural elements are less complex. In the singing of the badiw of the Ibalot from northern Luzon, and similarly the other vocal forms of various other Cordillera tribes, a fundamental hierarchy of tones is suggested by the different renditions of singers from diferent barangays, each having developed his or herown style of singing the choral melody (asbayat). The following example shows two melodic versions, one by singers from barrio Gusaran, and the other from Eddet, Both villages belong to the municipality of Kabayap. CANZONA 1991 19Except for the Bin the melodic frame of Part 2 of the Gusaran melody, the two versions outline the same melodic frames. Were one to set the tones intoa five tone seale, viz: the following hierarchic functions could be noted: (0 emphasis ts placed upon the principal tones of E and B by means of prolongation, serving as cadentlal end- ings, and frequency of recurrence: li) Fé and A are treated as secondary tones, serving as rest points between E and E; (i) Ge ts only used in the Gusaran asbayat and treated as a passing tone between E and B. Furthermore, the underscoring of tones E, B, F# and A, together with a style of performance in-which individual voice delays are heard, create a larger musical framework ofa drone based on the intervalsof the fifth and the fourth E-B: F#-B: E-Al. “The few illustrations cited here point to the fact that v ‘mode is not merely a musical unit, but also a concept. a Vv system of tones. The modal concept in Western music and its role in the shaping of any specific aesthetic response, however, has evolved along a different path. Its role in music composition is much less dominant and has little influence, ifat all, on the total concept of the music llself or its performance. in contemporary music, these views on the mode may not have been fully appreciated. Being a dominant fea~ ture of Asian musical thought, it offers indeed a much wider area to be explored, and a means for one to arrive at a deeper Asian sensitivity, and a process of musical perception that is Asian in spirit and concept. s mode and its various processes of realiza- A= in musical discourse speak of usages, affec- sons, tastes, and aesthetic conditions, so does the underlying oncept of timelin music reflect philo- sophical views about life, nature and the dynamic rela- Uonships of all elements in the universe. Many theories about time have been formulated from a universal as well as more specific and exclusive view- points, not only to explain time as both a cogattive and natural phenomenon, but more ‘importantly, as one having a profound influence not only on the conduct of societies and entire civilizations. but also on the nature ‘and distinctiveness of their achievements and contribu- tions to the fe and history of man. (One general view is contained in J-T. Fraser's philo- sophical thesis on time, as expressed in ‘five levels of temporality. They are arrayed according to a scale of temporal cognition ranging from an absence of time {atemporality} to a consciousness of Ume in concrete segments and active units (n@8-temporality!, Another view which is empirically supported by various ethnolog!- 20. CANZONA 1991 From mannerism to new aesthetics caland anthropological studies, is that each level of ter~ porality may be perceived independently of, or more sig nificantly than, another, such that this unique percep- tion creates the cultural boundaries that provide identity and aesthetic parUcularity to a cultural practice and its specific forms of expression. In music, a concept of time is expressed and expert enced in different structural properties, the quality and quantity of sound and sound events. and most impor (ly in the relaUlonships that allow interaction ang (os of these musical units. Concepts of un measured time, quantified me, linear and nop-linear | tume, “cyclic ume, Jevels Of perceived temporalilics representing vart Plows an ew thes pts rtp hells noms! seourse, nerfs he Slat nate vant of raul semen, fom he Sta ut te ttl orm ofa mone econ Sch ay nctate physi tion ae ue fps “pace. Tine duran cfsound yt pales and concep of ogsetonal hearse and Rene Gh al eres eves fine prepons. The eompement between Qo and roy In southeast hi sage must Hagia concep Tiny elertese and equim Oats, 1975) hortyman anc ature are ar separtedt eo va piel an opti beundase rfectaa mode Me ati anchored tea metaphysical univers, where causal log arly ess or mater hin tapers In thre ofmuste according eMacel, te urnonal cahsezoteund ated by th diferent ntrment o- Coding tr decay and Une pee ordering of ee Sounds wih nest cases cate npn con Arado pay aaticantsleinepresing emo tal concpl The ciferent sound quai and (he Surtonal varants emanating om eer tambao ml ict are shaped by he iret te miques ofmulfing stopping nd allowing he sounds o trong aXough ocean highly yen anne, the lrgrsrctral phenomenon becomes one at ‘mmetmurd, nmeere beens of eongewes beat “laonshi nde nea ne 1886 ene thatthe mle onfiguratione ny vary unpre "Wh uve may bemeasuted by pul na crone may also be represented by pitches in a melody, eee tat hee pacer east drone are se yeguany ea pick osconne eg ween agin ary ote pulse ar cate 1988 tadarantseGamelan mui. asarconey ine imo clabotey expressed by the arouses 0 instruments, each having a characteristic timbre and | / resonance. On the basis of these sound events, cach “ instrumental group serves a specific musical as well as temporal function in the colotomic structure of the mu: sic. The balungan {nuclear theme) is stated by the clear spatial and durational ttme (Dahlhaus}? ov“ond brilliant tones of the saron, while the ornaments are gxeouted by the long vibrating gender and the non- metallic Instruments. The punctuating instruments \Gelincate phrase divisions with the relative duration of A heir resonance corresponding to the lengthsof their spe- cifle phrase divisions. In. compositions under the Gendhing Tengahan and the Gendhing Dhara the flat sound of the ketuk divides the kenongan into smaller periods, the larger kenong marks the medium-sized phrase, and the big gong ageng underlines the largest division, the gongan Datterotnemrigiay Ander Ghendnavereatar “4 Purtherevidence ofthe important consideration given to tonal duration in relation to the total flow of the music ts the absence of a ketuk stroke at the beginning of each Ketawang and Ladrarg gongan. 50s tallow acoustical space for the continued vibration of the gongagengin the previous gongan. os fost “Another level of temporality is represented by music in Far Eastern cultures in which events are related to each other in a linear fashion, not only organic and accumulative but also highly measured and predictive. ~ The historicity of Chinese civilization is one manifesta- tion ofthis temporal perception. Furthermore, the accu- fnulation of scientifle knowledge and the continuous evelution of matertal-ortented existence are even more concrete markers of a temporal view of the world as a quantifiable continuum. In the Nan Yin tradition of South China, a musical {dea is stated in an organic manner. While the ju, a self- contained musical idea (Lim, 1981), remains intact in each repetition or restatement, tundergoes some form of permutation either within tself(byrhythmicand melodic prolongation) or in its relationship with other jus. In the “lafger formal context, a suite of pleces is composed of a ‘source piece and its various restatements. Asin the case of the jus, each restatement assumes a new dimension, -either in terms of @ broadened temporal space, acceler- ated tempo, or rhythmic density. From another perspec- tive, the principle of organte time isalso Uustrated by the “treatment of single tones. The various techniques of prolonging a tone, (by accelerating reiteration [chien yen }, by trill, glssando, ete) further underscore a linear view of time, even in the smallest unit of musical morphology. ‘These are but a few Insights into a contemporary musie phenomenon that seeks to establish a bond with the ethos of Asian musical thought. For indeed, amodern knowledge of ancient musical lore appears minute and infinitesimal in comparison with the great opulence and variety of music that has been in existence for many centuries all over Asia. While twentieth century Western art musie may have awakened a consciousness and serious regard for Asian music and has initiated a long process of assimilation and cross-breeding through dif ferent stages and levels of adaptation, It is perhaps time to transcend pure mannerism and pursue our search for fa truly Asian musical expression in {ts aesthetic and philosophical realms. Bibliography ee eg ste ey, ee sony ote ten it Roig acai rie ety is oti Ee Et Sr ntl Ct nef se aati An cand oh te tga Prune Oban ea tel an tanga et St The nf ee Goren sree lite rae ee tc tree, oe tty ofp Pane an, Net on he pean se ee anes onan: ype pry oii ni, ie set erlang shat ont ae Pera sna aif in en an Y= Fe a ee Can Gace Eee mame na Mae ia nconepte tine pel ous: at rately re sc sn Sui anal Tega wt of Seen a Ae og ne a he a Moye, ara, Mie, rts ord Has Chics, ‘University of Cnicago Pres. en, bs A rms Le eae. ne Seen En Ne ee, ea bilieee boca tas N rong, ee Gre Dray often Mesias ane ‘Sats, Ramen. Pray Reger op the Voc} Msc he ol een “Ranga Unpubtehed maniauip 1987 Sonal Worst,‘ teen to Garey. Unpublished reset ‘oe Ran Soe i of nn Creu Mune far Cl zon ly Casal naan Mane, Mase fang Ctr. Bessey, Ue ‘icf Caleta Poe 1000 Footnotes EM sem na ae corats os praca 2 Alectury en Phippine Ings muss and rararens est he Canser ‘Sino aie the Urry ote Pippin by Nortsto Ronnie ‘Ror ets wat ony pea cancsty amend te fey. but als ening erin gy en year em mee 4 Dung te reg of Warf the Mr Dye, the est eyboar nr, elie seater wae noe yincura yaa Sao weal part mavanene gael mse (ef eagle, Tir cert mC oe et ea oT 7s pate n characent othe Stake ae be Sura 1888 teasers fe vl thi hunaton of to perenpton nul fal weer ex ‘Epo ies CANZONA 1991 21