Spanish Propers

ronkrisman

@janet, my understanding is that the USCCB's Secretariat on the Liturgy has requested that Catholic bookstores and religious goods stores in the USA not sell the Mexican translation of Missale Romanum, editio tertia, because the USCCB is preparing its own edition and didn't want parishes wasting their money buying the Mexican edition and then having to replace it with the USA edition.

I have not served on the USCCB's Hispanic Liturgy Subcommittee for the past 12 years, so I don't know how "soon," @Earl_Grey, that USA edition is to being published. I also don't know if the propers in it will be based on those from Spain or from Mexico. It would make more sense if they were to resemble those of Spain, since the psalter translation from Spain (and not the one from Mexico) is what will be found in the USA's new Leccionario, the publication of which is also anyone's bet.

(Am I the only one who can't get the formatting tabs, such as bold and italic and underline, to work?)

janetgorbitz

I also am a bit reluctant to spend $110 on a missal that may be obsolete "soon". However, I really need access to the text for working on this project and am a bit stumped. There is one parish in my town that does regular Spanish liturgies... I plan to go over and ask if I can access their Missal.

I also had an email conv. with Adam Bartlett, who said he had gotten word that the Mexican text would almost certainly be used for the US version for the antiphons. He got this response from his contact at CDW:

"In any event, we're confident at this point that the antiphons will match those of the Misal from Mexico."

This whole process has taken such a long time that it has hampered the work of many who might have done more toward developing chant propers for our Spanish-speaking parishes.

(And I also am unable to get the formatting tabs to function).

Earl_Grey

The Midwest Theological Forum has the Mexican text in a daily hand missal for under $100.

Gustavo Zayas

Janet, I replied.

I spoke to a rep from the USCCB about two months ago. The Spanish translation of the Missal they proposed is in Rome pending approval. I was told it should be approved in about 2 years. Not really "soon".

eft94530

OCP Misal Del Día 2016
is an annual newsprint missallette
with Sunday (ANTÍFONA DE ENTRADA, ANTÍFONA DE LA COMUNIÓN)
Maybe you can borrow the missallette from a local parish?

chonak

I expect OCP is willing to sell a single copy too, if you can't find it locally.

janetgorbitz

I have the OCP Misal del Dia 2016 (2017 is not yet available). I have been using it for the antiphon texts for Year C. Unfortunately, there is no Offertory text available nor any psalm verses.

SteveOttomanyi

I was asking about this some time ago, and I think I was either speaking to @janetgorbitz or @M. Jackson Osborn, but somehow the conversations stopped.

Janet, I think you have some very good starts there. But I am going to guess you are not a native speaker. There are a number of places where the text does not flow the way it should and most of these are due to incorrect elision. I would offer examples, but I don't know what program you are using. Can you help me with that?

janetgorbitz

Exactly the type of feedback I'm hoping for, Steve. I'm using Meinrad fonts... but printed in pdf format so that even those without the font installed may see the chants. Please share any feedback -- I really appreciate it.

Gustavo Zayas

I'm with Steve. I'm a native speaker, and I will be happy to offer feedback about elisions. Should I post feedback here, so other Spanish speakers may weigh in?

janetgorbitz

Whichever is easiest for you!

janetgorbitz

Here is a Common of Saints, prepared using the Introit Laetabitur iustus and the Communion Proper from All Saints' Day. I also added the Psalm verse and a setting of the Gloria al Padre (thanks, Gustavo) to the Introit. Suggestions/ critique?

janetgorbitz

I have a couple of things I am trying out before posting on the other page where all the chants are consolidated... could you tell me if you think these additions are helpful? I am posting a revision of the booklet for 32OT with an additional Introit using a simple Mode III Psalm tone and the addition of the psalm verse as well. If these prove to be helpful, I'll begin working to revise the entire set to add this type of simple psalm version to the project.
To get to the webpage with the bulk of the work, visit here: SPANISH PROPERS PROJECT

Gustavo Zayas

Hi Janet.
1. I am not sure if it is happening for me alone, but it looks like the vowels do not line up perfectly under the neumes intended for them. I think that would help a lot if you could space out syllables and neumes so the vowel would be right over the first note of a group, unless it's just my reader.
2. When you use elisions, it would be very helpful if you could incorporate the little slur line under the two vowels. I Painted them in for the Advent antiphons. :)
3. I think "y", "al", etc. don't always need to be italicized and elided, sometimes it's ok to have the two vowels as separate syllables. It takes some experience to know when to do it. But when it's not done right, instead of sounding natural and speech-like, it sounds forced and rushed. I will PM a few examples of what I mean.

janetgorbitz

Thanks for the feedback, Gustavo. I look forward to getting your examples...

eft94530

I will PM a few examples of what I mean.

Gustavo, I would appreciate your input on this,
and I am sure many other spanish-is-second-language Forum readers too.
I hope you will post these examples to this Discussion.

Gustavo Zayas

OK, I can do that. Pardon for the length of the post. :)

We are practicing all the Advent Propers using only the simplest versions.
In some instances it's ok to separate the two vowels into separate syllables.
1. In Advent 3, Communio: "He aquí" feels like it needs to be separated into three notes, perhaps sol-sol-la. Currently it comes out sooool la. You can't really speed up "He" because it's not the unaccented part of any word, it has its own accent. When two vowels are elided at the beginning of a word/phrase, the tendency is to put the accent on the second vowel. What happens is we end up skipping "He" and put an accent on the beginning of "aquí", which causes uncertainty in starting the phrase. Just a suggestion.
2. In Advent 4, Introit: "el rocío" should really be "el ro-cí-o".
3. In Advent 4, Introit: "y haga (germinar)" should be "y ha-ga". You could still elide, but in this case, "y" is unaccented and "ha" is accented, so I wonder if it would be better to have the note under "ha" instead of the "y" and just use the elision slur.
4. In Advent 4, Communio: "He aquí" same situation as above.
5. In Advent 4, Communio: "dará a luz" should have three notes for "da-rá a". Currently, with the dotted punctum on "rá" it comes out as simply "dará luz".
6. In Advent 4, Communio: "Emmanuel" - In Spanish the name would be pronounced with the accent on the "el", but in the Latin (and Hebrew too, I guess?), and in the musical phrase the accent seems to be on the "ma" (in the simplest versions at least). Here it depends on how you want the name pronounced. If you leave "nuel" on one note, it will certainly be pronounced as in Spanish. I would separate "Em-ma-nu-el" as fa-te-sol-sol, but this is just my personal preference. To me when it sounds more like the original it sounds better.

janetgorbitz

Here are the resulting chants for Advent 3 and 4 based on Gustavo's input...

Gustavo Zayas

Janet, I'm going to make some more suggestions. Previously I was just using the simplest antiphons of the chants and no GP. But now I started looking at the more advanced antiphons and the GP. It occurred to me that fitting Spanish texts onto Gregorian melodies is going to sound as weird as it does in English. The majority of Spanish-speakers are simply not ready for the concept of the jubilus on an unaccented syllable and psalm tones which force syllabic cadences that often sound unnatural (even though some "tradicional" Spanish hymns force rhythms onto lyrics and sacrifice the spoken cadence in favor of the musical). Those who "get it" are very likely already into chant in Latin. I think these are more of a tool to introduce chant to the uninitiated. So I will offer suggestions which may slightly modify the melodies to make them perhaps more accessible. I encourage other Spanish speaker musicians to really try these out, sing them for a while and savor how they sound and come across to others, and share your observations. I'm happy to offer whatever help I can. So now, IN DEPTH.

Advent 1, INTROIT i: "Se-ñor" doesn't seem to need a liquiscent, just a regular podatus will do. On "burlen de mí", "de" doesn't seem to need a tristropha, a punctum will do, but if the melody must be preserved, why not have a punctum on "de" and two dotted punctums on "mí" (do sol)? On "esperan en ti", don't need a liquiscent, just punctum.
At the Psalm: "Muéstrame", you shouldn't split "Mués" into 2 syllables, it should be "Mués-tra-me". It should fit the intonation of psalm tone a bit better now.
At the GP: At "Gloria al" it seems unnecessary to elide "a" to "al", just leave "a" for sol and "al" for do. It's a subtle distinction, but if you really try to elide without distinction, it sounds like "Glorial". If you put in even the slightest distinction, it comes out as I described before. At "ahora y siempre" it is very hard to see which vowels are intended for each podatus and punctum because of the spacing. I would separate them like this, "a-ho-ra_y siem-pre" ("ra_y" on the single punctum). "per" should be "por". For "siglos de los siglos" I would re-write it like this, "de" (do do ti) "los" (sol la) "si" (do) "glos" (ti).
All versions of the COMMUNIO flow very well. I'll look over Advent 2 tomorrow perhaps.

ronkrisman

I have viewed the various attempts to replace the Latin texts of melismatic Gregorian chants with vernacular ones - beginning with the Englished "verna canto" chants of the mid-1960's - as unsuccessful. They just don't "work" for me, even the more recent offerings of composers working with English, and now Janet working with Spanish. Accordingly I have not participated in discussions on the Forum dealing with such vernacularizations.

Nevertheless, if composers want to expend time and energy in this pursuit, have at it. But, as far as I know, the Apostolic See has never encouraged composers to vernacularize Gregorian chants. Perhaps the conference on music at the Vatican next spring will address this issue, as it pertains to Mass propers.

At times I have engaged in discussions of liturgical issues and some issues about the Spanish language, of which I know a little bit. Pertinent to Janet's work, I wonder where she is getting her psalm texts. Yes, the USA's Leccionario uses the translation of the psalms from Spain. But it edits those texts to replace Castilianisms with forms commonly used by Spanish-speakers in the USA. "Destilad," "estad," "os," and "vengáis" are used by Janet in her settings for Advent 3 and 4. They are not forms used by most Latinos in the USA, and they certainly are not used in the USA's Leccionario (either the present one or, as far as I have been informed, the one awaiting publication).

I echo most of Gustavo's suggestions about textual issues. But I would also add that I think it is absolutely wrong to set "gloria" as "glo-ri-a." Plain and simple, the word is "glo-ria" (two syllables, the second containing a diphthong) and the elision of that word with an "a" or "al" still produces but two syllables: "Glo-ria_a" or "Glo-ria_al"

On the question of elisions, Spaniards wouldn't elide words ending with a vowel to words beginning with an "h," because "h" is a consonant, although silent. So they would not elide "y_ha-ga" But Spanish-speakers outside Spain are not averse to breaking that convention at times (or, perhaps, often), but they would not crunch the three-syllable "a-ho-ra" (notice that "h"!) into a two-syllable "a_ho-ra."

janetgorbitz

The texts for the antiphons are straight out of the OCP Misal del Dia. As discussed earlier, it is quite difficult to come by a Misal at this point, so I have been trusting the texts published by OCP. I do wish there was a more direct online source for this material.

Thanks very much for your inputs on the GP. I have revised all the eight settings to follow your suggestion about Gloria... Does this more closely match what you would recommend?

ronkrisman

Janet, you are correct. Those are the texts from the Misal del Día. They are from Spain's Misal Romano. The antiphons from Mexico's Misal Romano are somewhat different.

As I stated previously, there has never been a USA edition of the complete Spanish Misal Romano. One is on the horizon but until it is published we in the USA are free to use in the liturgy ANY approved and confirmed edition of the Misal Romano, be it from Mexico, Spain, Colombia, Chile, Argentina, etc. But we in the USA must use the Ordinario de la Misa which WAS approved by the NCCB in 1987 or so (I have not looked up the exact date). So recently published editions of the Misal Romano (Mexico, Colombia, Argentina, Spain), based on the Missale Romanum editio typica tertia, may contain some changes in the Ordinario de la Misa that have not been approved by the USCCB. That's what makes those recent editions being used in the liturgy in the USA problematic.

So, yes, those antiphons from Spain's Misal Romano that are published in OCP's Misal del Día are texts permitted for use in the liturgy in the USA (since they have nothing to do with the Ordinario de la Misa). I would be interested in knowing how long OCP's Misal del Día has been using them, instead of the ones from Mexico's Misal Romano. I can only imagine that OCP made the decision years ago to use Spain instead of Mexico because many of the texts of the propers are from the psalms, and the bishops of this country prefer Spain's translation of the psalms (with the necessary editing to replace Castilianisms) to Mexico's.

But the bishops of the USA have also approved Mexico's translation of the Bible (except for the psalter) as the basic text used in their upcoming Leccionario. I can only imagine that in the USA's upcoming Misal Romano proper texts that are scriptural but not from the psalms will be based on the text of Mexico's Biblia, while proper texts from the psalms will be from Spain's Salterio (though edited for Castilianisms).

janetgorbitz

With all this confusion, I completely understand why no one more qualified has started this project. My hope is that (however flawed the initial work is), this gets a momentum started so that our Spanish-speaking fellow Catholics have an abundance of options in the years to come.

ronkrisman

Not so much confusing as technical and unknown to many persons.

And could it perhaps be that "those more qualified" in Spain, Mexico, Argentina, et al., have not started such a project of Spanish-izing Latin Gregorian chants because they, like me, don't think it will work?

chonak

FWIW, Midwest Theological is selling a daily missal for Mexico, with readings, at
http://www.theologicalforum.org/ProductInformation.aspx?BrowseBy=Category&CategoryId=112&ProductId=530

janetgorbitz

Were you able to figure out which edition that one is?

chonak

I don't know much about the variations.
Here's a PDF sample:
http://www.theologicalforum.org/Books/530/pages/530.pdf
The appendix contains propers for several countries, including the US.

Gustavo Zayas

ronkrisman, thanks for pointing out the issue with the Gloria. I pronounce it with either 2 or 3 syllables; I don't find it to be a big deal. But for clarity, my suggestion for the GP above may be read as "Glo-ria al".
I agree that re-setting Gregorian chants in the vernacular is not the greatest treatment of the Gregorian melodies or the vernacular language. But it is a necessary step for the development of Spanish sacred music. I agree with Janet that when this work is complete it will form a legitimate option for Spanish sacred music programs who want to promote true beauty and solemnity, but for whatever reason, can't or won't sing in Latin. It's not the end, to be sure, but I believe it will start to fill a wide, musical gap. We may see a rebirth of sacred polyphony in Spanish because of this work. We may even see composers inspired to develop original Spanish plainchant using a Spanish Psalter.
Janet, I know the first options for these antiphons are basically the original melodies. Where do the simpler second and third options come from?

janetgorbitz

@ronkrisman. According to the Misal del Dia, the antiphons are not from the Spanish Missal, but are from the Mexican Missal. Here is the citation in the front:

El Texto Único y los textos correspondientes a las antífonas de entrada y Comunión y oraciones (colecta, ofrendas y después de la Comunión) se toman del Misal Romano © 1975, Comisión Episcopal de Pastoral Litúrgia de la Conferencia del Episcopado Mexicano; los textos de las lecturas se toman del Leccionario, volúmenes I, II, III, © 1976, 1987, 1993, Comisión Episcopal de Pastoral Litúrgia de la Conferencia del Episcopado Mexicano.

janetgorbitz

Gustavo: If you are referring to the pdfs from Advent 3 and 4, the most simple settings added for the Advent chants (Introit and Communion) are just simple adaptations to the simple Psalm tones from the Liber, using the same mode as the other options for each proper.

The mid-level (or sometimes two mid-levels) is/are still from the melodies from the Gradual, but with much of the more melismatic parts removed, while trying to retain the basic melodic form of the original chant.

janetgorbitz

Gustavo: I have looked for a symbol such as the one used to show elisions at marello.org and do not find one available for use with the Meinrad font... I'm guessing it is something available on the Gregorio software. If you have another suggestion for how to make it more clear, I'd be happy to do it. Perhaps even just making the spacing less tight would help?

ronkrisman

Is Engraver Font Set available? It has the elision mark.

ronkrisman

Janet, you are correct about the texts you used for the antífonas de entrada for Advent 3 and Advent 4 being from the 1975 (and 1990) Misal Romano from Mexico. The texts from Spain are nearly, but not totally, identical.

I had thought the texts were from Spain because of the Castilianisms to which I had referred above. "Destilad," "estad," "os," and "vengáis" would sound strange to Mexicans and Mexican-Americans were those texts ever to be read at Mass. But, for the most part, they are not. I have presided at hundreds (thousands?) of Masses in Spanish and have never heard the antífona de entrada read.

It should be noted that the 2013 Mexican missal removes the Castilianisms:

Advent 3: Estén siempre alegres en el Señor: les repito, estén alegres. El Señor está cerca.

Advent 4: Cielos, destilen el rocío; nubes, lluevan la salvación; que la tierra se abra, y germinar el Salvador.

Of course, it's anyone's guess what will be in the USA's Misal Romano when it is eventually published.

chonak

The availability of a mark to represent elisions is a feature of the text font you choose, rather than the chant-notation font; so you may be able to select (or install) a font with the "undertie" punctuation mark.

In the example below, running gregorio on my home machine, I was able to specify "antykwa poltawskiego", a text font that does have support for the "undertie" character.

http://www.gust.org.pl/projects/e-foundry/poltawski
This font from Poland has been used for music publishing there, but it has rather a distinctive style, so I'd look for something that doesn't stand out so much.

The Gentium Plus font claims to support "undertie", so you might try to download and use that:
http://software.sil.org/gentium/download/

janetgorbitz

unicode is very cool... just figured it out... where you want the elision, type 035c followed by alt x . It seems to have a bit of trouble with spacing after certain letters (doesn't want to work properly with a word ending on "a"), but I'll fiddle with it and see what to do to get it to work.

Gustavo Zayas

Advent II, INTROIT i: "salvar" does not need a liquiscent note on "sal". On "majestad" the notes are bunched too closely, so that the dot on the first neume of "tad" is obscured. That quarter bar after "majestad", I would place it earlier between "oír" and "la" to preserve "the majesty of his voice". On the Psalm, I would rewrite "como a un rebaño" as "co" (re-mi-fa) "mo_a" (re) "un" (do) "re" (do) "ba" (la) "ño" (sol). At the GP, "per los siglos" needs to be "por los siglos".
COMMUNIO i: I would rewrite "Jerusalén" with "ru" (mi fa) and "sa" (la). "Contemples" does not need a liquiscent on "tem". On iii, "Jerusalén" feels like it needs a dotted punctum on "lén".

I have never tried using any chant notation software. I thank you for trying to find out about the undertie.

Gustavo Zayas

Advent III, INTROIT i: On "Estad" does not need a liquiscent not on "Es". *Not sure here: why is there a half bar after "os lo repito", instead of "alegres en el Señor;"? I would figure the bigger break would be after the semicolon.* On the Psalm, I would rewrite "cautivos de" as "cau" (la) "ti" (la do) "vos" (la) "de" (sol). At the GP, at "Gloria" I would omit the second note (la) on "ria". Again "per los siglos" needs to be "por los siglos". On iii, the last note of "repito" should have a dotted punctum.
COMMUNIO i: I would take out the temptation (quarter bar) to breath between "tengáis" and "miedo".

a_f_hawkins

It would be sensible to compare the effect of 203F (undertie) with 035C (ligature tie below)
If this works: ef‿fect (undertie) with ef͜fect (ligature tie below), in your chosen font.

Gustavo Zayas

Advent IV, INTROIT i: At "Destilad", on the "sti", not sure, does that mark above the middle note mean a lengthening of duration, not merely ictus? On your recording the note on "lad" is also lengthened a bit and you breathed. It sounded like that would be the place where the cantor finishes intoning and the schola comes in. This made me realize these antiphons are all missing asterisks. LOL Anyway, I would rewrite "sti" (re) "lad" (la te la). This has come up a few times with my choir members, at "rocío" would it be possible to place a natural at the ti? At "tierra se_abra", you can see it looks very difficult to read. In this case I would add a note to put "se" on (fa) and put "a" on the larger grouping (fa sol fa re). It might be beneficial to move "germinar" (or just "nar") down to the next line. At the Psalm, on "obra", I would rewrite as "o" (la do) "bra" (la). At the GP, on "Gloria", I would rewrite as "Glo" (fa) "ria" (sol) "al" (la). At "ahora y", I would rewrite as "a" (la) "ho" (la do) "ra_y" (la). And "per" to "por". On ii, that "y_haga" still looks so strange... What do you think about giving "y" its own note (fa) and simply not eliding? On iii, same thing, why not give "y" its own note and not elide it to "haga"? On "salvador" I would rewrite one of two ways: "sal" (sol) "va" (fa) "dor" (re), OR "sal" (sol fa) "va" (re) "dor" (re). On "obra" same recommendation as previous "obra".
COMMUNIO i: At "dará a luz" there should be a bit more space between "dará" and "a" (same on ii). This "Emmanuel" I would rewrite as "Em" (fa mi fa) "ma" (sol la te) "nu" (la sol) "el" (la sol). *Just an observation, "Dios-con-nosotros" happens where "Emmanuel" is found in the original Latin chant; fitting since one means the other.*

I will look at the Christmas chants as well. The choir seems to be picking it up, and this year 12/25 falls on a Sunday, so we will learn at least the Communio for Christmas Mass during the Day.

ronkrisman

The changes made in response to Gustavo’s comments improve the declamation of the text. But, for me, there remain some textually clunky moments.

I would attempt to avoid melismas on non-accented syllables as much as possible. Put them on accented syllables. A few examples from Advent 4:

“Destilad” is accented on the final syllable. The present setting effectively treats all three syllables the same; one cannot detect where the word is accented. I think this is a better solution: Des- (DO) ti- (RE) lad (RE LA SI LA). If the word is “destilen” (from the new Mexican Misal), then the accent is on the second syllable, and I would do it this way: Des- (DO RE) ti- (RE LA SI) len (LA).

“rocío” is three syllables with the accent on the second. That second syllable should get the melisma: el (LA) ro- (added LA) cí- (DO TI DO RE DO RE) o (dotted RE dotted DO).

“obra” is accented on the first syllable. I think this is better: la (LA) o- (LA DO) bra (LA). I would also set “gloria” the same way: la (LA) glo- (LA DO) ria (LA). By the way, having a (LA) on "la" and "o-" addresses the issue of whether or not to elide the "a" and "o" of la obra." It will sound somewhat as if it were elided, but there will be a lengthening and a slight separation between the vowels.

Note that Spanish hyphenation rules are very simple and very regular. The principal rules:

1. a single consonant between two vowels is grouped with the second of them: ha-ga, cie-lo, ma-nos

2a. with two consonants between vowels, the first is grouped with the preceding vowel and the second with the following vowel: des-ti-lad, des-ti-len, jus-to, ger-mi-nar, a- nun-cia

2b. but groups having “l” or “r” as the second consonant are considered a unit and join the following vowel only: pro-cla-ma, si-glos, o-bra, Pa-dre

3. “ch” “ll” “rr” are considered as single letters in Spanish and are never separated: es-cu-char, Ma-llor-ca, tie-rra, re-su-rrec-ción, a-chi-cha-rrar (to scorch)

4. with three consonants between two vowels, the first two join the first vowel, and the third joins the second vowel, except when the third consonant is “l” or “r”: trans-por-te, cons-tan-te, cons-ti-tu-ción; but: siem-pre, pon-drán, nom-bre

5. with four consonants (rather rare): cons-truc-ción

janetgorbitz

I am sooo appreciative of the time you have spent helping me, Fr. Krisman and Gustavo and afhawkins. I have taken all your tips and corrections and put them into place on the four weeks of Advent. I'm attaching a compiled version. Please excuse me if I missed anything you suggested.

janetgorbitz

I tried to implement the suggestions for the four Christmas Masses also. I've attached a compiled document here.

JonathanKK

It just occurred to me, or how to say it:

The tendency seems to be, when setting vernaculars, to want to respect the text / word accents more scrupulously than was the practice with the Latin.

Sometime I want to write up a little survey about this with respect to the Latin psalm tones.

janetgorbitz

Also Immaculate Conception options now are up:

Immaculate Conception

ronkrisman

@JonathanKK: Interesting observation about word accents not being in sync with rhythmic stresses. But I wonder if this is only a concern of modern vernacular languages. Imagine how Ambrose, Augustine, or Gregory the Great might have reacted to the way Latin word accents were treated in, say, twelfth century chants.

janetgorbitz

Our Lady of Guadalupe

donr

Janet, any updates for Easter Vigil? I will have a decent amount of Spanish Choristers and would like to include these.

janetgorbitz

I have been so busy, that I have not had time to work on these... I will try to make it a priority as soon as possible! I am so glad you will be using them. Any preferences? Do you like the more difficult versions or the simpler? Are the psalm tone versions of any use at all?

donr

Because I am trying to get our Spanish members more involved with the larger Feasts and Solemnities, I would prefer the easier settings. We will most likely only do the Communion Antiphon in Spanish, but we may also do the Entrance Antiphon if its available.

thank you

janetgorbitz

Thanks for the feedback, Don. I have been working to finish up Lent... and then will start on Holy Week and Easter. I have posted a pdf for the 3rd week of Lent and am nearly finished with the 4th week...

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