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ABSENT CADENCES

Published online by Cambridge University Press:  30 July 2012

DANUTA MIRKA
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Abstract

The slow movement of Symphony No. 64 in A major, ‘Tempora mutantur’, has long intrigued Haydn scholars on account of its absent cadences and enigmatic form. The Latin title of the symphony is thought to be derived from the epigram by John Owen, a near-contemporary of Shakespeare, and it was used by Elaine Sisman to support her hypothesis that the slow movement formed part of Haydn's incidental music for Shakespeare's Hamlet. The enigma can be explained through an analysis informed by concepts native to eighteenth-century music theory. The absent cadences create instances of ellipsis, a rhetorical figure described by Johann Adolph Scheibe and Johann Nikolaus Forkel, and the form plays with a familiar template codified by Heinrich Christoph Koch. This analysis leads to a different interpretation. Rather than suggesting the protagonist of Shakespeare's tragedy, the movement stages a fictive composer in an act of musical comedy not dissimilar to that in Symphony No. 60, ‘Il Distratto’. The title comes not from Owen but from a Latin adage that was incorporated by Owen into his epigram. This adage had been popular in Germany since the Reformation and was then applied by one eighteenth-century music theorist to describe changes of musical conventions.

Type
Research Article
Information
Eighteenth-Century Music , Volume 9 , Issue 2 , September 2012 , pp. 213 - 235
Copyright
Copyright © Cambridge University Press 2012

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References

1 James Webster, ‘Joseph Haydn: Climax of the “Sturm und Drang” (c.1772)’, programme notes accompanying the recording of Haydn's complete symphonies by The Academy of Ancient Music, conducted by Christopher Hogwood, volume 7 (Decca/L'Oiseau-Lyre CD 443 777–2, 1996), 24.

2 Webster, ‘Climax of the “Sturm und Drang”’, 25.

3 Sutcliffe, W. Dean, ‘Expressive Ambivalence in Haydn's Symphonic Slow Movements of the 1770s’, The Journal of Musicology 27/1 (2010), 110CrossRefGoogle Scholar.

4 For the concept of musical punctuation and its role in eighteenth-century performance practice see Vial, Stephanie, The Art of Musical Phrasing in the Eighteenth Century: Punctuating the Classical ‘Period’ (Rochester: University of Rochester Press, 2008)Google Scholar.

5 Haydn, Joseph, Critical Edition of the Complete Symphonies, ed. Landon, H. C. Robbins, volume 6 (Vienna: Universal Edition, 1967), xivGoogle Scholar.

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7 Atkins, James, letter to the editor, The Haydn Yearbook 11 (1980), 196–198Google Scholar.

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9 Sisman, ‘Haydn's Theater Symphonies’, 325.

10 Sisman, ‘Haydn's Theater Symphonies’, 321–322.

11 Sisman, ‘Haydn's Theater Symphonies’, 326. As she notes, this couplet was singled out by the protagonist of Johann Wolfgang Goethe's Wilhelm Meisters theatralische Sendung as the key to Hamlet's entire behaviour.

12 Sisman, ‘Haydn's Theater Symphonies’, 327.

13 Edwards, George, ‘Papa Doc's Recap Caper: Haydn and Temporal Dyslexia’, in Haydn Studies, ed. Sutcliffe, Dean (Cambridge: Cambridge University Press, 1998), 293Google Scholar, observes that ‘Haydn has tremendous confidence in the willingness of the listener to supply mentally events which are not physically present’, but he refers to bars 98–108. In bars 4 and 8 the effect of filling in the blanks is even more pronounced.

14 Throughout this article I follow Koch's terminology. His theory of musical punctuation is included in the second volume of Versuch einer Anleitung zur Composition (Leipzig: Böhme, 1787)Google Scholar. English translation by Baker, Nancy Kovaleff in Introductory Essay on Composition (New Haven: Yale University Press, 1983)Google Scholar.

15 Atkins (letter to the editor, 197) points out that the expected resolution of G♯ to A does take place in the melody, yet it is not accompanied by the harmonic resolution of the dominant to the tonic.

16 This rule is ubiquitous in eighteenth-century music theory. For detailed discussion see Mirka, Danuta, Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791 (New York: Oxford University Press, 2009), 74–82CrossRefGoogle Scholar.

17 The shifts of metric perception are related by Atkins to the symphony's title. For him, ‘Tempora mutantur’ refers to the ‘mutations of time’ which affect our sense of metre (letter to the editor, 198).

18 Stages of this perceptual process correspond to three stages of ‘embodied musical meaning’ distinguished by Meyer, Leonard B. in Emotion and Meaning in Music (Chicago: University of Chicago Press, 1956), 37–38Google Scholar. The hypothetical meaning, represented by the expectation of cadences, is frustrated during the general pauses. When the new phrases start with the chords which were expected to close the preceding phrases, the evident meaning is that the cadences are delayed. The determinate meaning arises when the phrases continue beyond the first chords, revealing that the cadences are absent.

19 For an excellent discussion of the expressive function of rhetorical figures see Vickers, Brian, In Defence of Rhetoric (Oxford: Oxford University Press, 1988), 294–339Google Scholar.

20 Mattheson, Johann, Kern melodischer Wissenschaft (Hamburg: Herold, 1737), 141Google Scholar.

21 Mattheson, Johann, Der vollkommene Capellmeister (Hamburg: Herold, 1739), 242Google Scholar. This treatise was one of the first books purchased by Haydn (Griesinger, Georg August, Biographische Notizen über Joseph Haydn (Leipzig: Breitkopf & Härtel, 1810), 10Google Scholar; Dies, Albert Christoph, Biographische Nachrichten von Joseph Haydn, ed. Seeger, Horst (Berlin: Henschel, 1976), 41–42Google Scholar; English translations in Gotwals, Vernon, Haydn: Two Contemporary Portraits (Madison: University of Wisconsin Press, 1968), 10, 96)Google Scholar. On Haydn's familiarity with rhetoric see Sisman, Elaine (Haydn and the Classical Variation (Cambridge, MA: Harvard University Press, 1993), 23–25Google Scholar, and ‘Rhetorical Truth in Haydn's Chamber Music: Genre, Tertiary Rhetoric, and the Opus 76 Quartets’, in Haydn and the Performance of Rhetoric, ed. Beghin, Tom and Goldberg, Sander M. (Chicago: University of Chicago Press, 2007), 282–289Google Scholar) and Beghin, Tom (‘Haydn as Orator: A Rhetorical Analysis of His Keyboard Sonata in D major, Hob. XVI:42’, in Haydn and His World, ed. Sisman, Elaine (Princeton: Princeton University Press, 1997), 205–208)Google Scholar. Both authors suggest that Haydn learned some rhetoric at the choir school of St Stephen's Cathedral in Vienna, but he could have absorbed rhetorical figures from everyday life. As emphasized in all handbooks of rhetoric, such figures were not artificial inventions but parts of ordinary language. As such, they were imitated in literature and theatre and found their way into operatic librettos. Indeed, opera might have been the school of rhetorical figures for Haydn.

22 Scheibe, Johann Adolph, Critischer Musicus (Leipzig: Breitkopf, 1745), 687–688. My translationGoogle Scholar.

23 Forkel, Johann Nikolaus, Allgemeine Geschichte der Musik, volume 1 (Leipzig: Schwickert, 1788), 56–57Google Scholar. My translation. Forkel illustrates the first type of ellipsis with an example from C. P. E. Bach and refers to Bach's miniature ‘L'irresoluë’ from Musikalisches Allerley (1761) in connection with dubitatio (58). Given Haydn's admiration for Bach (Griesinger, Biographische Notizen, 21–22; Dies, Biographische Nachrichten, 40; Gotwals, Two Portraits, 12–13, 95), Bach's keyboard music could be another source of Haydn's familiarity with rhetorical figures.

24 Marpurg, Friedrich Wilhelm, Kritische Briefe über die Tonkunst, volume 2 (Berlin: Birnstiel, 1763), 346Google Scholar.

25 Marpurg, Kritische Briefe, volume 2, 309–310. Marpurg's discussion of punctuation marks forms part of his ‘Unterricht vom Recitativ’ (Lessons on Recitative). He takes his examples of ellipsis and aposiopesis from operatic recitatives and goes on to show their settings by Hasse and Graun.

26 Sisman, ‘Haydn's Theater Symphonies’, 327.

27 In addition, the two notes are inverted so that the G♯, expected to occur in the top voice by analogy with D♯ in bar 11, is played by the second violins while the first violins play the D.

28 Quintilian, Institutio oratoria, book 9, section 3, paragraph 50, quoted by Vickers, In Defence of Rhetoric, 304.

29 Koch, , Versuch, volume 3 (Leipzig: Böhme, 1793), 206Google Scholar; Introductory Essay, 155. The ‘displaced dynamic accent’ is the change to forte in bar 11. Sisman's annotations (‘Haydn's Theater Symphonies’, 328, Example 8) suggest that this accent results in misplacement of two-bar incises, yet it does not seem to affect grouping. Rather, it creates syncopation against the two-bar hypermetre which corresponds to the composed 6/4 metre of this passage.

30 For a discussion of this phenomenon and the role of the ‘empty bar’ in its identification see Zenck, Claudia Maurer, Vom Takt: Untersuchungen zur Theorie und kompositorischen Praxis im ausgehenden 18. und beginnenden 19. Jahrhundert (Vienna: Böhlau, 2001), 43–44Google Scholar, and my Metric Manipulations, 217–232.

31 Koch, Versuch, volume 3, 39–152; Introductory Essay, 78–128. The term ‘small two-reprise form’ comes from Ratner, Leonard G., Classic Music: Expression, Form, and Style (New York: Schirmer, 1980)Google Scholar.

32 Koch, Versuch, volume 3, 84; Introductory Essay, 95.

33 Koch, Versuch, volume 3, 145–146; Introductory Essay, 125.

34 Koch, Versuch, volume 3, 147; Introductory Essay, 126, translation amended.

35 Koch, Versuch, volume 3, 76; Introductory Essay, 93.

36 The Fonte is defined and discussed along with two other gambits, Monte and Ponte, by Riepel, Joseph in Anfangsgründe zur musicalischen Setzkunst, volume 2: Grundregeln zur Tonordnung insgemein (Frankfurt and Leipzig, 1755), 44–48Google Scholar. For a concise summary of Riepel's discussion see Ratner, Classic Music, 213–214. A thorough discussion of the Fonte is offered by Gjerdingen, Robert O., Music in the Galant Style (New York: Oxford University Press, 2007), 61–71Google Scholar.

37 Sisman, ‘Haydn's Theater Symphonies’, 328, Example 8, points to this curtailment in an annotation: ‘not parallel in duration and accomp[animent]’.

38 Koch, Versuch, volume 3, 88; Introductory Essay, 98.

39 The formal templates suitable for slow movements of symphonies include sonata form with or without development, rondo and variation (Koch, Versuch, volume 3, 311–314; Introductory Essay, 201–202).

40 ‘Doubtful modulation’ (zweifelhafte Modulation) occurs in one of two types of dubitatio described by Forkel, Allgemeine Geschichte, volume 1, 58.

41 The conclusion of this movement is analysed in detail by Webster, , Haydn's ‘Farewell’ Symphony and the Idea of Classical Style (Cambridge: Cambridge University Press, 1991), 147, 150–152CrossRefGoogle Scholar.

42 This concept was revived by Karol Berger in ‘Toward a History of Hearing: The Classic Concerto, A Sample Case’, in Convention in Eighteenth- and Nineteenth-Century Music: Essays in Honor of Leonard G. Ratner, ed. Allanbrook, Wye J., Levy, Janet M. and Mahrt, William P. (Stuyvesant: Pendragon, 1992), 405–429Google Scholar, and ‘The First-Movement Punctuation Form in Mozart's Piano Concertos’, in Mozart's Piano Concertos: Text, Context, Interpretation, ed. Zaslaw, Neal (Ann Arbor: University of Michigan Press, 1996), 239–259Google Scholar.

43 Landon, H. C. Robbins, Haydn: Chronicle and Works, volume 2: Haydn at Eszterháza, 1766–1790 (London: Thames and Hudson, 1978), 307Google Scholar.

44 Sisman, ‘Haydn's Theater Symphonies’, 327.

45 Webster, ‘Climax of the “Sturm und Drang”’, 25.

46 Brown, A. Peter, The First Golden Age of the Viennese Symphony: Haydn, Mozart, Beethoven, and Schubert (Bloomington: Indiana University Press, 2002), 147Google Scholar. This analytical reading is clearly provoked by the cadential manipulation in bars 64–65. The stop on the dominant before the full cadence can be reinterpreted as an early arrival on a half-cadence. Standing on this dominant (bars 65–67) suggests that the faked thematic return (bar 68) is the beginning of the recapitulation.

47 Sutcliffe, ‘Expressive Ambivalence’, 110.

48 Sutcliffe, ‘Expressive Ambivalence’, 111.

49 Sutcliffe, ‘Expressive Ambivalence’, 111, note 46. Even if Sisman does not directly refer to Hamlet's melancholy to support her hypothesis, she mentions this affect in connection with Heufeld's adaptation (‘Haydn's Theater Symphonies’, 324) in order to dismiss Landon's speculations about Haydn's music to Hamlet having been incorporated into ‘the fiery minor-key symphonies’ Nos 44 or 52 (326). See Landon, Haydn at Eszterháza, volume 2, 279. Hamlet describes himself as melancholic at the end of Act 2 (Riverside Shakespeare, ed. G. Blakemore Evans (Boston: Houghton Mifflin, 1974), Scene 2, line 588).

50 Sulzer, Johann Georg, Allgemeine Theorie der schönen Künste, part 2, volume 1 (Biel: Heilmann, 1777), 121Google Scholar.

51 The debate about key characteristics is summarized by Steblin, Rita, A History of Key Characteristics in the Eighteenth and Early Nineteenth Centuries (Ann Arbor: University of Michigan Press, 1988)Google Scholar. The quotations from Cramer and Galeazzi are included in Appendix A, 238, 239.

52 See Ellison, Paul M., The Key to Beethoven: Connecting Tonality and Meaning in His Music (Hillsdale: Pendragon, 2012)Google Scholar. Although this side of the affective character of D major was not described in the eighteenth century, several examples occur in eighteenth-century music. My further discussion suggests that the slow movement of Symphony No. 64 is one of them.

53 Other flat minor keys associated with melancholy were G minor, F minor and E flat minor. On the sharp side, melancholy was sometimes related to E minor, B minor and F sharp minor. The only major key associated with this affect was A flat major (Steblin, A History of Key Characteristics, 242–244). The fundamental importance of key characteristics for the expression of melancholy is emphasized by Wald, Melanie, ‘Melancholie in Mozarts Instrumentalmusik: Biographische Legende oder ästhetische Praxis?’, Acta Mozartiana 54/1–2 (2007), 31–53Google Scholar, and the association of D minor with melancholy is acknowledged by Sisman, ‘Pathos and the Pathétique: Rhetorical Stance in Beethoven's C-minor Sonata, Op. 13’, Beethoven Forum 3 (1994), 99.

54 Mattheson, Der vollkommene Capellmeister, 16; English translation by Harris, Ernest C. in Johann Mattheson's Der vollkommene Capellmeister (Ann Arbor: University of Michigan Press, 1981), 105Google Scholar.

55 See Koch, Musikalisches Lexikon (Frankfurt am Main: August Hermann der Jüngere, 1802), column 1421. These and other musical characteristics of melancholy are mentioned by Ernst Herttrich (‘Studien zum Ausdruck des Melancholischen und seiner kompositionstechnischen Mittel in der Musik von W. A. Mozart’ (PhD dissertation, Julius-Maximilians-Universität zu Würzburg, 1969)), Braun, Werner (‘Melancholie als musikalisches Thema’, in Die Sprache der Musik: Festschrift Klaus Wolfgang Niemöller zum 60. Geburtstag, ed. Fricke, Jobst Peter (Regensburg: Bosse, 1989), 81–98)Google Scholar and Wald (‘Melancholie in Mozarts Instrumentalmusik’).

56 Gerstenberg's experiment is described in Helm, Eugene, ‘The “Hamlet” Fantasy and the Literary Element in C. P. E. Bach's Music’, The Musical Quarterly 58/2 (1972), 277–296CrossRefGoogle Scholar. On the relation between free fantasia and melancholy see Peter Schleuning, ‘Die freie Fantasie: Ein Beitrag zur Erforschung der klassischen Klaviermusik’ (PhD dissertation, Albert-Ludwigs-Universität zu Freiburg im Breisgau, 1973) and Richards, Annette, The Free Fantasia and the Musical Picturesque (Cambridge: Cambridge University Press, 2001)Google Scholar.

57 Landon (Haydn, Complete Symphonies, volume 6, xiv) compares it to a hymn.

58 For concise descriptions of the sarabande topic see Ratner, Classic Music, 11–12, and Allanbrook, Wye Jamison, Rhythmic Gesture in Mozart: ‘Le nozze di Figaro’ and ‘Don Giovanni’ (Chicago: University of Chicago Press, 1983), 37–38Google Scholar.

59 Apart from textural and dynamic contrasts, such scenes feature slow tempo, ostinato, repeated notes, pedal points and bold harmonic progressions including diminished-seventh, Neapolitan and augmented-sixth chords. The most typical keys are C minor and D minor. See McClelland, Clive, Ombra: Supernatural Music in the Eighteenth Century (Lanham: Lexington Books, 2012)Google Scholar.

60 Sisman, ‘Haydn's Theater Symphonies’, 327.

61 Changes of mode from major to minor are related to melancholy by Herttrich (‘Studien zum Ausdruck des Melancholischen’, 36–43), but the tradition of ombra scenes suggests that the dramatic turns from D major to D minor in Haydn's slow movement can be interpreted as shifts of mood from calm to terror.

62 Quintilian, Institutio oratoria, book 9, section 3, paragraph 60, 28–29, quoted by Vickers, In Defence of Rhetoric, 317, 318.

63 George Puttenham, The Arte of English Poesie (1589), 166–167, quoted by Vickers, In Defence of Rhetoric, 333.

64 Vickers, In Defence of Rhetoric, 307.

65 Vickers, In Defence of Rhetoric, 336. Hamlet quotations from the Riverside Shakespeare.

66 Vickers, In Defence of Rhetoric, 335.

67 Sisman, ‘Haydn's Theater Symphonies’, 320.

68 Sisman, ‘Haydn's Theater Symphonies’, 312.

69 Preßburger Zeitung, 23 July 1774, quoted by Wheelock, Gretchen, Haydn's Ingenious Jesting with Art: Contexts of Musical Wit and Humor (New York: Schirmer, 1992), 170Google Scholar. My italics.

70 Those earlier authors are Schering, Arnold, ‘Bemerkungen zu J. Haydns Programmsinfonien’, Jahrbuch der Musikbibliothek Peters 46 (1939), 9–27Google Scholar, Angermüller, Rudolph, ‘Haydns “Der Zerstreute” in Salzburg (1776)’, Haydn-Studien 4/2 (1978), 85–93Google Scholar, and Green, Robert A., ‘Haydn's and Regnard's “Il Distratto”: A Reexamination’, The Haydn Yearbook 11 (1980), 183–195Google Scholar.

71 Winkler, Gerhard J., ‘“Orchesterpantomime” in den Esterházy-Sinfonien Joseph Haydns’, in Das symphonische Werk Joseph Haydns: Referate des internationalen musikwissenschaftlichen Symposions Eisenstadt, 13.–15. September 1995, ed. Winkler, Gerhard J. (Eisenstadt: Burgenländische Landesmuseen, 2000), 103–116Google Scholar.

72 Winkler, ‘Orchesterpantomime’, 106. My translation. Winkler compares the fictive persona of the composer to the narrator of a literary text and refers to the work of Booth, Wayne, Die Rhetorik der Erzählkunst, trans. Polzin, Alexander, two volumes (Heildelberg: Quelle und Meyer, 1974)Google Scholar. More recent literary theory draws a distinction between the ‘real author’ and the ‘implied author’ by analogy to the ‘real reader’ and the ‘implied reader’ (Cobley, Paul, Narrative (London: Routledge, 2001), 139Google Scholar). The concept of ‘implied reader’, proposed by Iser, Wolfgang (The Implied Reader: Patterns of Communication in Prose Fiction from Bunyan to Beckett (Baltimore: Johns Hopkins University Press, 1974)Google Scholar), was adopted for music and turned into the ‘implicated listener’ by Wheelock, Haydn's Ingenious Jesting, 193–206.

73 Winkler, ‘Orchesterpantomime’, 103. My translation.

74 Diergarten, Felix, ‘“At times even Homer nods off”: Heinrich Christoph Koch's Polemic against Joseph Haydn’, Music Theory Online 14/1 (2008)Google Scholar, suggests that Symphony No. 60, ‘Il Distratto’, was the clandestine object of criticism directed against musical representation of an absent-minded person in the second volume of Koch's Versuch and uses this as part of his argument against the relevance of Koch's theory for Haydn's compositional practice. One can imagine that Koch's opinion about Symphony No. 64 would have been no less critical than about No. 60, but this does not undermine the explanatory power of his theory in relation to the enigmatic form of the slow movement. The relevance of eighteenth-century music theory for the analysis of eighteenth-century music requires more nuanced discussion. With this article I aim to contribute to it.

75 Sisman, ‘Haydn's Theater Symphonies’, 330.

76 Sisman, ‘Haydn's Theater Symphonies’, 331.

77 Theatrical gestures in Haydn's keyboard sonatas were elucidated by Wheelock, Haydn's Ingenious Jesting, 173–176, and Tom Beghin, ‘“Delivery, Delivery, Delivery!” Crowning the Rhetorical Process of Haydn's Keyboard Sonatas’, in Haydn and the Performance of Rhetoric, 131–171). The ensemble pantomime in the finale of the String Quartet Op. 33 No. 2, ‘The Joke’, is discussed by Wheelock, Haydn's Ingenious Jesting, 10–13, and Winkler, , ‘Opus 33/2: Zur Anatomie eines Schlußeffekts’, Haydn-Studien 4/4 (1994), 288–297Google Scholar. Other instances of pantomime in the string quartets Op. 50 No. 2/i, Op. 55 No. 1/i and Op. 55 No. 2/iv are elucidated in Mirka, Metric Manipulations, 254–274, 275–294, 214–217. See also my general discussion (298–301).

78 Another interpretation of the title was proposed by Tolley, Thomas, Painting the Cannon's Roar: Music, the Visual Arts and the Rise of an Attentive Public in the Age of Haydn, c. 1750 to c. 1810 (Aldershot: Ashgate, 2001), 88Google Scholar. This author associates the theme of changing times with political issues of the day, such as the Partition of Poland, in which Austria participated in 1772–1773.

79 Foster, ‘The Tempora Mutantur Symphony’, 328.

80 Sisman, ‘Haydn's Theater Symphonies’, 326.

81 Sisman, ‘Haydn's Theater Symphonies’, 327.

82 Foster, ‘The Tempora Mutantur Symphony’, 328.

83 Foster, ‘The Tempora Mutantur Symphony’, 329, note 4.

84 Harrison, William, The Description of England: The Classic Contemporary Account of Tudor Social Life, ed. Edelen, Georges (Mineola: Dover, 1994), 170Google Scholar; Lyly, John, Euphues: The Anatomy of Wyt (London: Cawood, 1578), 276Google Scholar. The popularity of this line in England is further testified to by the title of a caricature, ‘Tempora mutantur’, mentioned by Tolley in connection with his hypothesis summarized in note 78.

85 Caspar Huberinus, Postilla Deudsch (Frankfurt, 1554), f. 354.

86 Johannes Nas, Das Antipapistisch eins vnd hundert ([Ingolstadt,] 1565), f. 83.

87 Delitiae Poetarum Germanorum huius superiorisque aevi illustrium, volume 1 (Frankfurt, 1612), 685. Foster's incorrect attribution of this couplet to its dedicatee, Emperor Lothar I, comes from Büchmann, Georg, Geflügelte Worte: Der Citatenschatz des deutschen Volkes (Berlin: Haude and Spener, 1898), 506Google Scholar.

88 ‘Everything is changed, nothing perishes’ (book 15, line 165).

89 Quoted in Apperson, George Latimer and Manser, Martin, Dictionary of Proverbs (Ware: Wordsworth, 2006), 582Google Scholar.

90 Sententiae were ‘inserted into the speech at the conclusion of individual paragraphs’ (Sisman, Haydn and the Classical Variation, 33, note 67).

91 Mattheson, Johann, Das Neu-Eröffnete Orchestre (Hamburg: Benjamin Schillers Witwe, 1713), 111Google Scholar.

92 For instance, sunt bona mixta malis, nihil sine causa and sed hoc inter nos. See Wyn Jones, David, ‘Becoming a Complete Kapellmeister: Haydn and Mattheson's Der vollkommene Capellmeister’, Studia Musicologica 51/1 (2010), 32Google Scholar.