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Weber-Studien. Vol. 1 by Gerhard Allroggen; Joachim Veit Review by: Michael C. Tusa Notes, Second Series, Vol. 52, No. 2 (Dec., 1995), pp. 468-471 Published by: Music Library Association Stable URL: http://www.jstor.org/stable/899053 . Accessed: 14/06/2014 06:40 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes. http://www.jstor.org This content downloaded from 91.229.229.129 on Sat, 14 Jun 2014 06:40:45 AM All use subject to JSTOR Terms and Conditions

Weber-Studien. Vol. 1by Gerhard Allroggen; Joachim Veit

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Page 1: Weber-Studien. Vol. 1by Gerhard Allroggen; Joachim Veit

Weber-Studien. Vol. 1 by Gerhard Allroggen; Joachim VeitReview by: Michael C. TusaNotes, Second Series, Vol. 52, No. 2 (Dec., 1995), pp. 468-471Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/899053 .

Accessed: 14/06/2014 06:40

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes.

http://www.jstor.org

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Page 2: Weber-Studien. Vol. 1by Gerhard Allroggen; Joachim Veit

NOTES, December 1995 NOTES, December 1995

reproduced by a half-tone process that makes important notations hard to read. Although this is admittedly a highly spe- cialized study, it is one that should not be neglected by musical historians, or by pi- anists who are interested in improving their understanding of the music of the past.

NICHOLAS TEMPERLEY University of Illinois at Urbana-Champaign

Weber-Studien. Vol. 1. Edited by Ger- hard Allroggen and Joachim Veit. Mainz: Schott, 1993. [283 p. ISBN 3-7957-0280-1.]

Carl Maria von Weber's ambiguous his- toriographical status has long been evident in the apparent imbalance between his high reputation and the meager scholarly attention afforded him. While textbooks consistently single out Weber as the car- dinal figure in the development of Ger- man opera in the first quarter of the nine- teenth century and acknowledge the breadth of his accomplishments as a con- ductor, composer, pianist, and critic, little has been done since Georg Kaiser's critical edition of Weber's collected writings in 1908 to put the study of his activities on a solid scholarly basis. An aborted complete edition was launched in the 1920s, destined to reach only a few volumes devoted to the early operas before the Depression and the turbulent politics of the 1930s and 1940s put an end to such an ambitious under- taking. No complete edition of Weber's extensive correspondence has ever been made, and the fastidious diary that he kept from 1810 until his death in 1826 is gen- erally known only through the secondhand citations in the thematic catalogue of Friedrich Wilhelm Jahns and the standard biographies of Max Maria von Weber and John Warrack. The present volume is thus a very welcome addition to the literature on Weber inasmuch as it inaugurates a series of scholarly studies arising from the recently begun Carl-Maria-von-Weber- Gesamtausgabe, a projected complete edi- tion of the musical works, letters, writings, and diaries under the leadership of Ger- hard Allroggen. Volume 1 of Weber- Studien, a collection of essays from senior and younger Weber scholars, brings a re- freshing focus on sources to a field that has

reproduced by a half-tone process that makes important notations hard to read. Although this is admittedly a highly spe- cialized study, it is one that should not be neglected by musical historians, or by pi- anists who are interested in improving their understanding of the music of the past.

NICHOLAS TEMPERLEY University of Illinois at Urbana-Champaign

Weber-Studien. Vol. 1. Edited by Ger- hard Allroggen and Joachim Veit. Mainz: Schott, 1993. [283 p. ISBN 3-7957-0280-1.]

Carl Maria von Weber's ambiguous his- toriographical status has long been evident in the apparent imbalance between his high reputation and the meager scholarly attention afforded him. While textbooks consistently single out Weber as the car- dinal figure in the development of Ger- man opera in the first quarter of the nine- teenth century and acknowledge the breadth of his accomplishments as a con- ductor, composer, pianist, and critic, little has been done since Georg Kaiser's critical edition of Weber's collected writings in 1908 to put the study of his activities on a solid scholarly basis. An aborted complete edition was launched in the 1920s, destined to reach only a few volumes devoted to the early operas before the Depression and the turbulent politics of the 1930s and 1940s put an end to such an ambitious under- taking. No complete edition of Weber's extensive correspondence has ever been made, and the fastidious diary that he kept from 1810 until his death in 1826 is gen- erally known only through the secondhand citations in the thematic catalogue of Friedrich Wilhelm Jahns and the standard biographies of Max Maria von Weber and John Warrack. The present volume is thus a very welcome addition to the literature on Weber inasmuch as it inaugurates a series of scholarly studies arising from the recently begun Carl-Maria-von-Weber- Gesamtausgabe, a projected complete edi- tion of the musical works, letters, writings, and diaries under the leadership of Ger- hard Allroggen. Volume 1 of Weber- Studien, a collection of essays from senior and younger Weber scholars, brings a re- freshing focus on sources to a field that has

all too often been content to rely on the bibliographic and biographic work of the nineteenth century; moreover, the variety of topics covered by the contributors illuminate a number of areas of Weber's multifaceted career.

Several of the contributions focus on bio- graphical issues. Eveline Bartlitz discusses the editorial practices of the projected complete edition of Weber's letters and presents as sample cases critical editions of fourteen autograph letters acquired since 1991 by the State Library in Berlin. These letters, drawn from the years 1814 to 1826, shed no startling new light on Weber (sev- eral of them have already appeared in ear- lier editions), but instead reflect the variety of personal and professional concerns en- countered in Weber's extensive correspon- dence. Essays by Christine Heyter-Rauland and Gertrud Schenck deal, respectively, with the contents and fragile physical con- dition of forty unpublished Weber family documents rescued from the bombing of Dresden in 1945-not without extensive damage, however. The most interesting of these are two documents pertaining to the composer's shadowy periods of employ- ment in Breslau and Ludwigsburg. Robert Munster fleshes out the composer's stay in Munich from 6 June to 5 September 1815, his last visit to the Bavarian capital. Weber's attempts to win royal support for a public concert in the court theater and his pre- viously undocumented ties to Eugene de Beauharnais, the former Viceroy of Italy, point up the importance of noble patron- age for the young composer-pianist. Mun- ster also presents a detailed discussion of the theatrical life that Weber encountered in Munich, supplementing Weber's own re- corded comments about performers and repertory with contemporary reports from the press.

Three essays in the collection focus on Weber's Masses, a largely neglected part of his output. Joachim Veit evaluates a newly discovered manuscript of Weber's so-called "Jugendmesse" from the Schwarzenberg family archives in Cesky Krumlov. In his published dissertation Veit had earlier disputed the authenticity of this allegedly early work, known at that time only through a relatively late copy in Salzburg; now he is able to report that the Cesky Krumlov copy has an autograph dedication

all too often been content to rely on the bibliographic and biographic work of the nineteenth century; moreover, the variety of topics covered by the contributors illuminate a number of areas of Weber's multifaceted career.

Several of the contributions focus on bio- graphical issues. Eveline Bartlitz discusses the editorial practices of the projected complete edition of Weber's letters and presents as sample cases critical editions of fourteen autograph letters acquired since 1991 by the State Library in Berlin. These letters, drawn from the years 1814 to 1826, shed no startling new light on Weber (sev- eral of them have already appeared in ear- lier editions), but instead reflect the variety of personal and professional concerns en- countered in Weber's extensive correspon- dence. Essays by Christine Heyter-Rauland and Gertrud Schenck deal, respectively, with the contents and fragile physical con- dition of forty unpublished Weber family documents rescued from the bombing of Dresden in 1945-not without extensive damage, however. The most interesting of these are two documents pertaining to the composer's shadowy periods of employ- ment in Breslau and Ludwigsburg. Robert Munster fleshes out the composer's stay in Munich from 6 June to 5 September 1815, his last visit to the Bavarian capital. Weber's attempts to win royal support for a public concert in the court theater and his pre- viously undocumented ties to Eugene de Beauharnais, the former Viceroy of Italy, point up the importance of noble patron- age for the young composer-pianist. Mun- ster also presents a detailed discussion of the theatrical life that Weber encountered in Munich, supplementing Weber's own re- corded comments about performers and repertory with contemporary reports from the press.

Three essays in the collection focus on Weber's Masses, a largely neglected part of his output. Joachim Veit evaluates a newly discovered manuscript of Weber's so-called "Jugendmesse" from the Schwarzenberg family archives in Cesky Krumlov. In his published dissertation Veit had earlier disputed the authenticity of this allegedly early work, known at that time only through a relatively late copy in Salzburg; now he is able to report that the Cesky Krumlov copy has an autograph dedication

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Page 3: Weber-Studien. Vol. 1by Gerhard Allroggen; Joachim Veit

Book Reviews

to Prince Ernst von Schwarzenberg dated 1802. Inconsistencies in the text-music re- lationships and extraneous word repeti- tions suggest that much of the music originated independently of the liturgical Mass text, in some cases perhaps as instru- mental music. The Mass thus presents a paradox: although the source reveals the work to be "authentic," the Mass is never- theless a "Machwerk," compiled from pre- existing music, perhaps not all of which was by Weber. Allroggen provides an over- view of the history, reception, and trans- mission of Weber's two Dresden Masses from which three points of particular in- terest emerge: (1) Weber's Mass in El Ma- jor was not literally "commissioned" by the Saxon King but instead undertaken by the composer in 1818 as part of a tacit un- derstanding that a Royal Saxon Kapell- meister was obliged to demonstrate his worth to the court in this manner; (2) the fact that the Masses became the property of the court chapel limited their dissemi- nation to manuscript copies prepared with the court's approval; and (3) whereas the first Mass was well received by the court, the second Mass, of which Weber seems to have been particularly fond, was not; We- ber's disappointment with its cold reception henceforth disinclined him to pursue this kind of voluntary offering to the King. Matthias Viertel's general assessment of Weber's sacred music offers the thesis that it turns away from traditional liturgical norms for style and genre in order to ex- press a newer, more personalized theology through nonliturgical genres and styles not traditionally associated with sacred music; a cantata attributed to "Carl Maria von We- ber a Dresden" in three nineteenth-century manuscript copies (but not included in Jahns's thematic catalogue) exemplifies the newer trends in Weber's music.

Source studies provide the focus for three essays dealing with other categories of Weber's musical output. Wolfgang Goldhan gives a preliminary discussion of editorial problems encountered in nine chamber and orchestral works for solo wind instrument with accompaniment. In the only contribution in English, Kirsteen McCue writes about the genesis and pub- lication history of Weber's settings of ten Scottish folk melodies for the Edinburgh publisher George Thomson, who had ear-

ler commissioned similar arrangements from a number of other composers, in- cluding Joseph Haydn and Ludwig van Beethoven. Interesting in this essay is the discussion of Thomson's own practices. For instance, he usually sent his composers only two lines of poetry along with the melodies so as to give them a sense for the pre- dominant affect but preclude at the same time theft of the finished songs by other publishers; in some instances, in fact, Thomson would not choose the definitive lyric until the musical arrangement had been completed. The German texts found in Probst's edition of these settings are thus not translations of the texts in the Scottish editions, but rather new poems inspired by the two-line cues that Thomson had orig- inally sent to Weber. Oliver Huck presents a very intelligent study of the so-called "guitar songs," a group of songs whose number and significance has been variously represented in the older Weber litera- ture. By rigorous consideration of pri- mary sources (autographs, authentic edi- tions, Weber's diaries, and correspon- dence), Huck delineates a corpus of eigh- teen songs that Weber conceived either initially or primarily with guitar accompa- niments, including one unpublished song, "Jetzt sei nit so sprodig," that is not listed in Jahns's thematic catalogue. Contrary to received opinion, these "guitar songs" are not confined to Weber's earliest songs nor are they particularly folklike. Instead, We- ber's use of the guitar reflects the opinion that the instrument, though inadequate for concert use, was an ideal backdrop for cer- tain kinds of declamatory song.

The remaining essays move from phil- ological issues to other aspects of Weber. The one analytical essay in the volume, by Mariko Teramoto on the tonal structure of Oberon, fails on methodological grounds to make a persuasive case for the tonal symbolism that the author suggests. Two studies on the reception history of Der Frei- schiitz are much more illuminating and open up an area-the nineteenth century's image of Weber-that could profitably be explored more fully in the future. Axel Beer comments on selected correspon- dence between Louis Spohr and his pub- lisher Carl Friedrich Peters, the subtext for which is the recent, spectacular success of Der Freischiitz. Unimpressed with Weber's

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Page 4: Weber-Studien. Vol. 1by Gerhard Allroggen; Joachim Veit

NOTES, December 1995

compositional accomplishments, Spohr was nevertheless quite envious of the popular- ity that his contemporary had enjoyed with Der Freischiitz. In the correspondence with his publisher Spohr initially defended the relative lack of popularity of his Faust and Jessonda by appealing to an elitist aesthetic of opera and musical taste; in contrast Pe- ters, the practical businessman, gently en- couraged Spohr not to disdain popular approval and to include some concessions to popular taste in his next opera, Der Berggeist. Spohr's eventual decision to in- clude some more crowd-pleasing items in Der Berggeist seems to reflect some soften- ing of his distrust of the masses (though one must note with some irony that these concessions did nothing to prevent the ut- ter failure of Der Berggeist at the box office). Frank Heidlberger's essay on French re- ception of Der Freischutz explores sources heretofore untouched in Weber research, the livrets de mise en scene (production books) used at the Theatre de l'Odeon for Castil- Blaze's adaptation of the opera as Robin des bois (1824 and 1835) and those used at the Opera for the 1841 production of Le Frei- schiitz. In general, the production books for Robin des bois attest the conversion of the opera into a piece of popular theater, em- phasizing comedy and special theatrical ef- fects, whereas the production at the Opera, outwardly much more faithful to the letter of Weber's score and Kind's libretto, nev- ertheless also reinterpreted the work, in this case as grand opgra, by expanding the number of dancers and choristers on stage, by replacing the original spoken dialogue with recitative that Hector Berlioz had composed, and through supplementary ballet music. The version at the Opera fur- ther downplayed the demonic elements of the extraordinary Wolf's Glen scene by al- legorizing the supernatural appearances; in so doing, it distanced itself from popular theater but also ignored the close coordi- nation of musical gesture and scenic event that Weber carefully calculated.

The volume concludes with two essays calling for critical reappraisals of the two authors of Der Freischiitz. Joachim Reiber's reassessment of the poet Friedrich Kind argues that Kind might best be considered as representative not of the Romantic movement or even of a Pseudo-Romantik (as he had been characterized by Hermann

Anders Kriiger), but rather as an arche- typal figure of "Biedermeier" sensibilities. On this view, Biedermeier is less a decadent form of Romanticism than it is a revival of Enlightenment outlooks under the changed social and cultural circumstances of the early nineteenth century, and Kind's versatility, rationalism, pedanticism, and moralizing proclivities point back to the eighteenth century, as does also the strongly social nature of much of his ac- tivity. Martin Wehnert offers a similar, much needed-and much more provoca- tive-reevaluation of Weber's status as a Romantic in the lengthy concluding essay. Wehnert's goal is to challenge the long- standing dogma that Weber and his famous contemporary, the painter Caspar David Friedrich, are the two great representatives of a movement characterized in earlier lit- erature on Weber as "Dresden Romanti- cism." To be sure, Friedrich's art and artistic-philosophical outlook link him closely to the core Weltanschauungen of the early Romantic critics and writers like Lud- wig Tieck, Wilhelm Heinrich Wacken- roder, the brothers Schlegel, and E. T. A. Hoffmann. His haunting paintings, filled with metaphysical and religious symbolism, and his recorded comments on his art show him to have approached painting as a means to transcendent experience. Weber's work and writings, on the other hand, give no evidence of this kind of metaphysical sensibility; the superficial fact that Weber uses "romantic" (in the broad sense of "anti-classical") topics in his operas does not make him a "Romantic" in the narrow sense of the term defined by artistic phi- losophy. On Wehnert's view, the compos- er's experience and portrayal of nature, for instance, are rooted in physical existence and temporality, and his operatic music in general seems too closely bound to the "re- ality" of words and images to suggest any kinship with the metaphysical aspirations of early Romanticism. This interpretation will give music historians much to digest, challenging as it does the traditional char- acterization of Weber as a leading figure in early nineteenth-century musical Roman- ticism.

With essays such as those by Veit, Huck, Heidlberger, and Wehnert, the first vol- ume of Weber-Studien portends a new era in Weber scholarship, one in which careful

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Page 5: Weber-Studien. Vol. 1by Gerhard Allroggen; Joachim Veit

Book Reviews Book Reviews

evaluation of sources and thoughtful re- appraisal of the composer's life, works, and attitudes will at long last lead us to a more well-rounded and balanced assess- ment of Weber's accomplishments and sig- nificance for the cultural life of the nine- teenth century.

MICHAEL C. TUSA The University of Texas at Austin

Method for Cor Alto and Cor Basse. By Louis-Fran(ois Dauprat. Edited by Viola Roth. Bloomington, Ind.: Birdalone Music, 1994. [xix, 482 p. ISBN 0-929309-02-2. $150.00.]

Louis-Francois Dauprat's Method, written in 1824 and unavailable for one hundred and fifty years, is the most complete and valuable method ever written on how to learn the natural horn. Birdalone Music has given us a beautiful edition of this im- portant book, using a blue/black Japanese cloth for the binding, a heavy acid-free pa- per, a typeface that is large and easy to read, and facsimile reproductions of the music. The book is large and heavy, but it will lie open on a strong music stand at the desired page for playing exercises and etudes.

Viola Roth's introduction is thorough, erudite, and enthusiastic. Although several scholars and performers participated in this project and no one person is credited with the translation, the resulting text flows as if Dauprat had written in English. Yet the English follows the French text closely.

Dauprat, an experienced and renowned performer, composer, and teacher, wrote his book when the valved horn was just beginning to gain acceptance by some play- ers on the Continent, mostly in Germany. At the Paris Conservatory, where he taught, the faculty would continue to teach the valveless natural horn for the rest of the nineteenth century. Nevertheless, the technique of the instrument had already matured to its fullest by Dauprat's time.

The book describes in detail the instru- ments, the mouthpieces (including mea- surements of different mouthpieces), how to hold the horn, how to place the hand in the bell, where to place the mouthpiece on the lips, and how to breathe. It covers

evaluation of sources and thoughtful re- appraisal of the composer's life, works, and attitudes will at long last lead us to a more well-rounded and balanced assess- ment of Weber's accomplishments and sig- nificance for the cultural life of the nine- teenth century.

MICHAEL C. TUSA The University of Texas at Austin

Method for Cor Alto and Cor Basse. By Louis-Fran(ois Dauprat. Edited by Viola Roth. Bloomington, Ind.: Birdalone Music, 1994. [xix, 482 p. ISBN 0-929309-02-2. $150.00.]

Louis-Francois Dauprat's Method, written in 1824 and unavailable for one hundred and fifty years, is the most complete and valuable method ever written on how to learn the natural horn. Birdalone Music has given us a beautiful edition of this im- portant book, using a blue/black Japanese cloth for the binding, a heavy acid-free pa- per, a typeface that is large and easy to read, and facsimile reproductions of the music. The book is large and heavy, but it will lie open on a strong music stand at the desired page for playing exercises and etudes.

Viola Roth's introduction is thorough, erudite, and enthusiastic. Although several scholars and performers participated in this project and no one person is credited with the translation, the resulting text flows as if Dauprat had written in English. Yet the English follows the French text closely.

Dauprat, an experienced and renowned performer, composer, and teacher, wrote his book when the valved horn was just beginning to gain acceptance by some play- ers on the Continent, mostly in Germany. At the Paris Conservatory, where he taught, the faculty would continue to teach the valveless natural horn for the rest of the nineteenth century. Nevertheless, the technique of the instrument had already matured to its fullest by Dauprat's time.

The book describes in detail the instru- ments, the mouthpieces (including mea- surements of different mouthpieces), how to hold the horn, how to place the hand in the bell, where to place the mouthpiece on the lips, and how to breathe. It covers

musical questions such as intonation, or- namentation, sound, and writing cadenzas for the horn, as well as general issues, such as a horn player's training and life- style, how to practice, and how to overcome performance anxiety.

But this method is intended not only for horn players. Dauprat also wrote it for teachers and composers. Since the horns of the time were pitched in at least eight dif- ferent keys, it was essential for the com- poser to know about notation for the horn and to understand what sounds would re- sult from certain choices of keys and notes within those keys.

For libraries with a serious musical con- stituency, this should probably be one of the first books on wind playing to acquire, perhaps ranking second only to Johann Joachim Quantz's book on flute playing. Every student of the natural horn should own it, and every horn player should have access to it. It is more than worth its price, since it contains more information than one could acquire in the lessons the same money would buy. Even so, its price un- fortunately places it out of reach for many students, making it even more important for music libraries to have it.

Among horn players, this book is not only for those who specialize in natural horn. The early instrument revival of the last twenty-five years has seen a surge of interest among horn players in general, and some natural horn study is now com- monly recommended for all horn students. Because the instrument has no valves, the natural horn requires a different crook-a length of tubing inserted into the body of the horn-for each key. It can play only the notes of the natural harmonic series, but by stopping the bell of the horn with the hand, a player can obtain a full chromatic scale in the middle and upper range.

At least half the book is dedicated to horn exercises with their explanations. Part 1 includes thirty lessons that start imme- diately with hand-stopping in scale exer- cises and continue with tonguing, rhythmic exercises, duet playing for good intonation, trills, intervals, and scales in eighteen major and minor keys on each crook. Lesson fourteen teaches major and minor arpeg- gios on the tonic with various articulations, followed by major and minor broken chords in several keys. Lesson twenty-one

musical questions such as intonation, or- namentation, sound, and writing cadenzas for the horn, as well as general issues, such as a horn player's training and life- style, how to practice, and how to overcome performance anxiety.

But this method is intended not only for horn players. Dauprat also wrote it for teachers and composers. Since the horns of the time were pitched in at least eight dif- ferent keys, it was essential for the com- poser to know about notation for the horn and to understand what sounds would re- sult from certain choices of keys and notes within those keys.

For libraries with a serious musical con- stituency, this should probably be one of the first books on wind playing to acquire, perhaps ranking second only to Johann Joachim Quantz's book on flute playing. Every student of the natural horn should own it, and every horn player should have access to it. It is more than worth its price, since it contains more information than one could acquire in the lessons the same money would buy. Even so, its price un- fortunately places it out of reach for many students, making it even more important for music libraries to have it.

Among horn players, this book is not only for those who specialize in natural horn. The early instrument revival of the last twenty-five years has seen a surge of interest among horn players in general, and some natural horn study is now com- monly recommended for all horn students. Because the instrument has no valves, the natural horn requires a different crook-a length of tubing inserted into the body of the horn-for each key. It can play only the notes of the natural harmonic series, but by stopping the bell of the horn with the hand, a player can obtain a full chromatic scale in the middle and upper range.

At least half the book is dedicated to horn exercises with their explanations. Part 1 includes thirty lessons that start imme- diately with hand-stopping in scale exer- cises and continue with tonguing, rhythmic exercises, duet playing for good intonation, trills, intervals, and scales in eighteen major and minor keys on each crook. Lesson fourteen teaches major and minor arpeg- gios on the tonic with various articulations, followed by major and minor broken chords in several keys. Lesson twenty-one

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This content downloaded from 91.229.229.129 on Sat, 14 Jun 2014 06:40:45 AMAll use subject to JSTOR Terms and Conditions