{"id":2517,"date":"2026-09-10T00:58:59","date_gmt":"2026-09-10T00:58:59","guid":{"rendered":"https:\/\/legatto.space\/?p=2517"},"modified":"2026-09-10T01:59:20","modified_gmt":"2026-09-10T01:59:20","slug":"circle-singing","status":"publish","type":"post","link":"https:\/\/legatto.space\/en\/circle-singing\/","title":{"rendered":"Circle Singing: what it is and how to create music with other voices"},"content":{"rendered":"<!-- =========================================================\n     LEGATTO SPACE \u00b7 CIRCLE SINGING\n     Beaver Builder \u00b7 HTML Module\n     El H1 lo aporta el t\u00edtulo del post en WordPress\n     ========================================================= -->\n<style>\n\/* =========================================================\n   ROOT\n   ========================================================= *\/\n.legatto-circle-singing{\n    --cs-black:#141414;\n    --cs-dark:#212121;\n    --cs-sun:#f6c703;\n    --cs-white:#ffffff;\n    --cs-text:#282828;\n    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=========================================================\n   SOURCES\n   ========================================================= *\/\n.cs-sources{\n    background:var(--cs-black);\n    color:var(--cs-white);\n    padding:clamp(32px,5vw,50px);\n    margin:70px 0 0;\n}\n.cs-sources h3{\n    color:var(--cs-white);\n    margin-top:0;\n}\n.cs-sources p,\n.cs-sources li{\n    color:rgba(255,255,255,.66);\n    font-size:14px;\n}\n.cs-sources a{\n    color:var(--cs-sun);\n    font-weight:800;\n}\n.cs-sources ul{\n    padding-left:19px;\n    margin-bottom:0;\n}\n.cs-sources li{\n    margin:10px 0;\n}\n\/* =========================================================\n   CTA\n   ========================================================= *\/\n.cs-cta{\n    border:1px solid var(--cs-black);\n    padding:clamp(35px,6vw,65px);\n    margin:55px 0 20px;\n    display:grid;\n    grid-template-columns:1fr auto;\n    gap:40px;\n    align-items:center;\n}\n.cs-cta h3{\n    font-size:clamp(25px,3vw,35px);\n    margin:0 0 10px;\n}\n.cs-cta p{\n    margin:0;\n    max-width:700px;\n}\n.cs-cta a{\n    display:inline-block;\n    background:var(--cs-black);\n    color:var(--cs-white);\n    padding:15px 24px;\n    border:1px solid var(--cs-black);\n    text-decoration:none;\n    font-size:12px;\n    text-transform:uppercase;\n    letter-spacing:.1em;\n    font-weight:800;\n    white-space:nowrap;\n}\n.cs-cta a:hover{\n    background:var(--cs-sun);\n    border-color:var(--cs-sun);\n    color:var(--cs-black);\n}\n\/* =========================================================\n   RESPONSIVE\n   ========================================================= *\/\n@media(max-width:800px){\n    .cs-intro-grid{\n        grid-template-columns:1fr;\n        gap:20px;\n    }\n    .cs-loop-field{\n        min-height:300px;\n    }\n    .cs-layers{\n        grid-template-columns:1fr;\n    }\n    .cs-listen-grid{\n        grid-template-columns:1fr 1fr;\n    }\n    .cs-listen-item{\n        border-right:0;\n        border-bottom:1px solid rgba(255,255,255,.1);\n    }\n    .cs-instrument{\n        grid-template-columns:1fr 1fr;\n    }\n    .cs-gold-grid{\n        grid-template-columns:1fr;\n    }\n    .cs-cta{\n        grid-template-columns:1fr;\n    }\n}\n@media(max-width:520px){\n    .legatto-circle-singing{\n        font-size:16px;\n    }\n    .cs-intro{\n        padding:32px 25px;\n    }\n    .cs-loop-field{\n        transform:scale(.82);\n        margin:-15px 0;\n    }\n    .cs-listen-grid,\n    .cs-instrument{\n        grid-template-columns:1fr;\n    }\n    .cs-step{\n        grid-template-columns:1fr;\n        gap:5px;\n    }\n}\n@media(prefers-reduced-motion:reduce){\n    .cs-loop{\n        animation:none !important;\n    }\n}\n\/* =========================================================\n   EDITORIAL IMAGES\n   ========================================================= *\/\n.cs-editorial-image{\n    margin:55px 0;\n}\n.cs-editorial-image img{\n    display:block;\n    width:100%;\n    height:auto;\n    max-height:620px;\n    object-fit:cover;\n    filter:saturate(.82) contrast(1.04);\n}\n.cs-editorial-image figcaption{\n    margin-top:11px;\n    font-size:12px;\n    line-height:1.55;\n    color:var(--cs-muted);\n}\n.cs-editorial-image figcaption a{\n    font-weight:700;\n}\n<\/style>\n<article>\n<!-- =========================================================\n     INTRO\n     ========================================================= -->\n<section>\n                Voice \u00b7 improvisation \u00b7 collective listening\n            <h2>\n                What is Circle Singing?\n            <\/h2>\n            \n                Imagine someone singing a phrase of just three notes. Several people repeat it. Another voice joins in, playing a bass line. Someone adds rhythm with their mouth. Another person finds a harmony, and little by little, what was silence just seconds ago begins to transform into music.\n            \n                <strong>Circle Singing is a collective vocal improvisation practice in which a group builds music in real time through repeated phrases, rhythm, harmony, melody, listening, and response between voices.<\/strong>\n                a<br \/>song pulse harmony melody rhythm\n<\/section>\n\n    Unlike a pre-prepared choral performance, here the composition happens as we sing. Each participant can hold a small part of the whole until many simple ideas begin to behave as a single musical organism. There&#039;s no need to arrive with a memorized song, read a score, or know music theory. The material can emerge from a syllable, a breath, a word, two notes, a rhythm, or even silence.\n\n<figure>\n    <img decoding=\"async\" src=\"https:\/\/www.gwen-m.fr\/images\/photo-stage-circlesong-gael-aubrit.jpg\"\n        alt=\"Grupo participando en una sesi\u00f3n de Circle Singing e improvisaci\u00f3n vocal\"\n        loading=\"lazy\"\/>\n    <figcaption>\n        A vocal improvisation circle: musical ideas are transmitted through listening, repetition, and response. Image:\n        <a href=\"https:\/\/www.gwen-m.fr\/actualites\/improvisation-vocale\/\"\n           target=\"_blank\" rel=\"noopener noreferrer\">\n            Gwen M \u00b7 Improvisation Vocale\n        <\/a>.\n    <\/figcaption>\n<\/figure>\n\n    The contemporary term <em>circle singing<\/em> It is often associated especially with the vocal work of Bobby McFerrin, who developed his own style over decades. <em>Circlesongs<\/em> and helped popularize this language of choral improvisation. However, singing collectively, using call and response, repeating patterns, and collaboratively constructing music appear in multiple musical and cultural contexts. Therefore, it is more interesting to understand Circle Singing as a\n    <strong>contemporary way of organizing collective vocal play<\/strong>,connected to a much broader territory of community singing, improvisation, and oral learning. Projects such as\n    <strong><a href=\"https:\/\/makemusicday.org\/national-projects\/circle-singing\/\"\n    target=\"_blank\" rel=\"noopener noreferrer\">Make Music Day<\/a><\/strong>\n    They present it precisely as an experience of spontaneous creation where harmonies, rhythms and melodies appear without prior preparation.\n\n<!-- =========================================================\n     HOW IT WORKS\n     ========================================================= -->\n<h2>How a voice wheel works<\/h2>\n\n    A session can take many forms. Some are clearly guided by a facilitator; others distribute the initiative among the entire group. To understand its logic, we can start with a very simple version. 01\n            <strong>A cell appears<\/strong>\n            One person proposes a short phrase: perhaps three notes, a syllable, or a small rhythmic pattern. 02\n            <strong>It becomes a loop<\/strong>\n            A group repeats that idea. Repetition creates stability and leaves room to listen to what is happening around them. 03\n            <strong>Another layer arrives<\/strong>\n            A bass vocal, another rhythmic response, a sustained note, or a second phrase may appear. 04\n            <strong>The music starts to move<\/strong>\n            The layers shift, disappear, or give way to a free melody. The composition transforms as it unfolds. In a facilitated circle, one person can divide the circle into small sections and deliver a different pattern to each. Then they listen to the complete result: they might lower a layer, stop another, modify a rhythm, or open up space for someone to improvise. The interesting part emerges when we stop thinking solely about\n    <em>\u201cWhat am I singing?\u201d<\/em> and we started to listen\n    <strong>What does the music we are all building together need?<\/strong>.\n\n<!-- =========================================================\n     LISTENING\n     ========================================================= -->\n<section>\n    <h2>The magic isn&#039;t in singing &quot;perfectly&quot;\u201c<\/h2>\n    \n        Circle Singing works especially well when the group develops a less spectacular, but far more powerful skill: listening.\n            <strong>Listen before adding<\/strong>\n            \u21bb\n            <strong>Repeat with intention<\/strong>\n            \u00b7\u00b7\u00b7\n            <strong>Leave gaps<\/strong>\n            \u2248\n            <strong>Supporting other voices<\/strong>\n            \u219d\n            <strong>Transform the mistake<\/strong>\n<\/section>\n<figure>\n    <img decoding=\"async\" src=\"https:\/\/images.squarespace-cdn.com\/content\/v1\/5ad86fafe2ccd1757bccd81a\/1760027715624-4GPCVPT2YZT5S1BVZSX5\/384-VOCES8%2BMASS%2B2025%2BSMALL.jpg\"\n        alt=\"Personas explorando voz, expresi\u00f3n y canto colectivo en un taller\"\n        loading=\"lazy\"\/>\n    <figcaption>\n        Singing together can also be play, movement, experimentation, and listening. Image:\n        <a href=\"https:\/\/voces8.foundation\/summerschool\"\n           target=\"_blank\" rel=\"noopener noreferrer\">\n            VOCES8 Foundation\n        <\/a>.\n    <\/figcaption>\n<\/figure>\n\n    Singing more rarely creates more interesting music. A tiny phrase can be extraordinary when it finds the right place within the whole. One of the first skills to emerge is learning to\n    <strong>repeat without abandoning listening<\/strong>. While your voice maintains a steady figure, your attention remains open to the pulse, the collective breath, and the other layers. We also learn to create space. Perhaps the best contribution for a few seconds is simply to keep listening. And when someone enters early, accidentally changes a note, or loses the pattern, the event can become new material. Repeating an accidental variation can transform it into a musical idea. Listening to it allows us to decide whether we want to keep it, modify it, or let it go.\n\n<!-- =========================================================\n     RULES\n     ========================================================= -->\n<h2>A song without sheet music that does have rules<\/h2>\n\n    Improvising freely doesn&#039;t mean everything happens randomly. A piece can rely on a few very clear musical elements.\n\n<table>\n    <thead>\n        <tr>\n            <th>Element<\/th>\n            <th>Function<\/th>\n            <th>Simple example<\/th>\n        <\/tr>\n    <\/thead>\n    <tbody>\n        <tr>\n            <td>Pulse<\/td>\n            <td>It provides a common time reference.<\/td>\n            <td>Gently tap four pulses with your body.<\/td>\n        <\/tr>\n        <tr>\n            <td>Ostinato<\/td>\n            <td>Create a recognizable shape through repetition.<\/td>\n            <td>Sing \u201cdum \u2013 da-da \u2013 dum\u201d over and over again.<\/td>\n        <\/tr>\n        <tr>\n            <td>Harmony<\/td>\n            <td>It adds depth by combining different heights.<\/td>\n            <td>One group holds a note while another sings a phrase.<\/td>\n        <\/tr>\n        <tr>\n            <td>Texture<\/td>\n            <td>It changes the character of the collective sound.<\/td>\n            <td>Whispers, long vowels, consonants, air or vocal percussion.<\/td>\n        <\/tr>\n        <tr>\n            <td>Signal of change<\/td>\n            <td>It allows you to transform the piece without stopping it.<\/td>\n            <td>One gesture indicates repeat, lower volume, change, or end.<\/td>\n        <\/tr>\n        <tr>\n            <td>Silence<\/td>\n            <td>It creates contrast, breathing room, and anticipation.<\/td>\n            <td>The entire circle leaves one or more pulses completely empty.<\/td>\n        <\/tr>\n    <\/tbody>\n<\/table>\n\n    With these few ingredients, there is already enough vocabulary to construct a piece. Harmonic and rhythmic knowledge can greatly expand the possibilities, but the starting point remains accessible: <strong>listen, repeat, and respond<\/strong>.\n\n<!-- =========================================================\n     CIRCLE AS INSTRUMENT\n     ========================================================= -->\n<h2>The circle as an instrument<\/h2>\n\n    When several layers appear simultaneously, something curious happens: we stop hearing just a group of people singing and begin to perceive a collective instrument.\n\n<figure>\n    <img decoding=\"async\" src=\"https:\/\/images.squarespace-cdn.com\/content\/v1\/5e3884578235c42f2e4e0261\/190decd5-11c5-4867-b13d-475174de2126\/Outdoors%2Banthropos.jpg\"\n        alt=\"Gran c\u00edrculo de personas practicando canto e improvisaci\u00f3n vocal colectiva\"\n        loading=\"lazy\"\/>\n    <figcaption>\n        When we listen to the ensemble as a single unit, the circle itself begins to behave like an instrument. Image:\n        <a href=\"https:\/\/www.guillermorozenthuler.com\/vocal-improvisation\"\n           target=\"_blank\" rel=\"noopener noreferrer\">\n            Guillermo Rozenthuler \u00b7 The Singing Village\n        <\/a>.\n    <\/figcaption>\n<\/figure>\n    Drums, Bass, Chorus, Atmosphere, Soloist. Some voices can handle the rhythmic drive. Others build the bass line. A small group sustains chords or long notes. Someone can create ambient sounds, and another voice can move freely over that whole soundscape. The facilitator&#039;s role consists primarily of\n    <strong>take care of the architecture of listening<\/strong>: perceiving when an idea needs time, when the texture is too dense, when a section can change, and when it&#039;s best to let the group find its own way. There are also vocal improvisation formats where the leading role is distributed or disappears completely. Eeva Siljam\u00e4ki&#039;s research on\n    <strong><a href=\"https:\/\/journals.sagepub.com\/doi\/10.1177\/1321103X20985314\"\n    target=\"_blank\" rel=\"noopener noreferrer\">collaborative vocal improvisation in choral contexts<\/a><\/strong>\n    It precisely demonstrates the value of co-construction, play, and shared musical interaction, even among participants with very different musical backgrounds. From this perspective, facilitation means less \u201cdirecting a piece\u201d and more <strong>to create conditions for collective music to emerge<\/strong>.\n\n<!-- =========================================================\n     10 MINUTES\n     ========================================================= -->\n<section>\n    Practical experiment\n    <h2>How to try Circle Singing in 10 minutes<\/h2>\n    \n        You only need between <strong>3 and 8 people<\/strong>, A place where they can be heard, and ten minutes. No instruments are needed. MIN 0-1\n                <strong>Find a pulse.<\/strong>\n                \n                    Form a circle and mark a comfortable pulse with your knees, feet, or a small body movement. MIN 1-3\n                <strong>They create the first loop.<\/strong>\n                \n                    One person invents a phrase of two to five sounds. Everyone repeats it until they begin to feel stable. (3-5 minutes)\n                <strong>Add a second layer.<\/strong>\n                \n                    One part of the circle maintains the first phrase, while another part invents something much simpler: a low note, a long vowel, or a rhythmic response. MIN 5-7\n                <strong>Build texture.<\/strong>\n                \n                    Add soft clapping, consonants, percussive sounds, breaths, or a third phrase. Avoid filling every space. MIN 7-9\n                <strong>Open up some space.<\/strong>\n                \n                    Anyone can improvise a melody while the others maintain the structure. The solo is always optional. MIN 9-10\n                <strong>Let the song disappear.<\/strong>\n                \n                    Peel back layers one by one until you&#039;re left with a single voice. Then let the silence fall. Golden Rules: 1. A short phrase works better than a complicated idea. 2. Keep the volume at a moderate level so you can hear each other. 3. Listen to several takes before adding another layer. 4. No one is obligated to improvise alone.\n<\/section>\n<!-- =========================================================\n     WHY ALIVE\n     ========================================================= -->\n<h2>Why does it feel so alive?<\/h2>\n\n    Because the song doesn&#039;t exist yet. Every second holds a small question: Will it stay the same? Will another voice appear? Will the rhythm change? Will someone respond to that melody? That uncertainty keeps our attention in the present. The same phrase, repeated for a minute, can completely change its meaning when a new harmony appears beneath it.\n\n<figure>\n    <img decoding=\"async\" src=\"https:\/\/www.moma.org\/d\/assets\/W1siZiIsIjIwMjUvMDMvMTgvM2FmbG1nNjB2dF9fUzZBMTQzOV9GaW5hbF8wMDIzXzFfLmpwZyJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA4MCAtcmVzaXplIDE1NTB4MTA1MF4gLWdyYXZpdHkgQ2VudGVyIC1jcm9wIDE1NTB4MTA1MCswKzAiXV0\/_S6A1439_Final_0023%20%281%29.jpg?sha=6a9f213bedb6d22e\"\n        alt=\"Facilitador guiando una experiencia de canto improvisado en c\u00edrculo\"\n        loading=\"lazy\"\/>\n    <figcaption>\n        Facilitation can offer cues and structures while keeping the group&#039;s response open. Image:\n        <a href=\"https:\/\/www.moma.org\/calendar\/events\/10417\"\n           target=\"_blank\" rel=\"noopener noreferrer\">\n            MoMA \u00b7 CircleSing\n        <\/a>.\n    <\/figcaption>\n<\/figure>\n\n    There is also a particular experience of musical belonging. Our voice can be extremely simple and yet be essential for the other layers to function. An important idea\n    <strong>\n        Being involved in music doesn&#039;t always mean standing out. Sometimes it means holding something small with such presence that other people can build upon it.\n    <\/strong>\n\n    Studies on collaborative vocal improvisation have observed experiences of play, musical learning, agency, and shared construction among participants. This doesn&#039;t make Circle Singing a form of therapy, nor does it guarantee a specific effect for everyone. However, it does help us understand why an open and cooperative musical environment can generate experiences of attention, surprise, connection, and exploration. Recent educational research also studies\n    <strong><a href=\"https:\/\/ojs.pensamultimedia.it\/index.php\/sird\/article\/view\/8200\"\n    target=\"_blank\" rel=\"noopener noreferrer\">Circle Singing as an inclusive and interdisciplinary laboratory<\/a><\/strong>, Using repetition and collective vocal improvisation as learning tools. Essentially, the principle is very simple:\n    <strong>Each voice listens, proposes, and responds to a system that is constantly changing<\/strong>.\n\n<!-- =========================================================\n     FAQ\n     ========================================================= -->\n<h2>Frequently Asked Questions about Circle Singing<\/h2>\n        <h3>Do I need to know how to sing?<\/h3>\n        \n            You don&#039;t need vocal training or knowledge of music theory to get started. Being able to listen to a short phrase and try to repeat it is enough. An experienced group can work on much more complex harmonic and rhythmic structures, but the principle remains the same.\n        \n        <h3>How many people are needed?<\/h3>\n        \n            Three people can already create several layers. With six, eight, twelve, or more participants, many possibilities arise for dividing the circle into sections. The format can be adapted to small or very large groups.\n        \n        <h3>What is the difference between Circle Singing and a choir?<\/h3>\n        \n            A choir typically works with a repertoire, arrangements, or structures that have been previously defined and rehearsed. In Circle Singing, the musical material is created primarily during the experience itself. Both worlds can coexist: many choirs incorporate improvisation into their rehearsals, and there are ensembles specifically dedicated to vocal improvisation.\n        \n        <h3>Can it be done with children or beginners?<\/h3>\n        \n            Yes. In fact, short patterns, imitation, repetition, and call-response make it easy to adapt the experience. With beginners, it works especially well to limit each idea to just a few sounds and prioritize play over complexity.\n        \n        <h3>And what about with advanced musicians?<\/h3>\n        \n            Also. An experienced group can explore polyrhythms, irregular meters, modulations, improvised counterpoint, different scale systems, changes of key, extended textures, and much longer musical forms.\n        \n        <h3>What does a facilitator do?<\/h3>\n        \n            Listen to the group as a whole, suggest initial structures, and help organize the voices. You can assign patterns, introduce changes, indicate silences, create spaces for improvisation, and guide a transition. A good facilitator also knows when to step back and allow the group to respond on its own.\n        \n<!-- =========================================================\n     CLOSING\n     ========================================================= -->\n<h2>A voice can be small and the music enormous.<\/h2>\n\n    Circle Singing reminds us of a basic idea of music:\n    <strong>A complex composition can emerge from very simple relationships.<\/strong>.One voice repeats. Another listens and responds. Someone finds a rhythm. Another discovers a note that fits between the previous ones. And at some point, we lose track of exactly who is accompanying whom. The entire circle becomes the song.\n\n<!-- =========================================================\n     CTA\n     ========================================================= -->\n<section>\n        <h3>Explore your voice as a musical instrument.<\/h3>\n        \n            At Vocal Alchemy we investigate listening, resonance, tuning, intervals, harmony and improvisation from the direct experience of singing.\n        \n        <a href=\"https:\/\/legatto.space\/en\/alquimia-vocal\/\">\n            Discover Vocal Alchemy\n        <\/a>\n<\/section>\n<!-- =========================================================\n     SOURCES\n     ========================================================= -->\n<section>\n    <h3>Sources and readings<\/h3>\n    <ul>\n        <li>\n            <a href=\"https:\/\/makemusicday.org\/national-projects\/circle-singing\/\"\n               target=\"_blank\" rel=\"noopener noreferrer\">\n                Make Music Day \u2013 Circle Singing\n            <\/a>\n            \u2022 Contemporary introduction to participatory practice.\n        <\/li>\n        <li>\n            <a href=\"https:\/\/ojs.pensamultimedia.it\/index.php\/sird\/article\/view\/8200\"\n               target=\"_blank\" rel=\"noopener noreferrer\">\n                Pantano &amp; Rizzo \u2013 Circle Singing as an Inclusive Interdisciplinary Practice\n            <\/a>\n            \u2022 Educational research on collective vocal improvisation.\n        <\/li>\n        <li>\n            <a href=\"https:\/\/journals.sagepub.com\/doi\/10.1177\/1321103X20985314\"\n               target=\"_blank\" rel=\"noopener noreferrer\">\n                Eeva Siljam\u00e4ki \u2013 Free improvisation in choral settings\n            <\/a>\n            \u2022 Research on collaborative vocal improvisation, learning, play, and social processes.\n        <\/li>\n        <li>\n            <a href=\"https:\/\/bobbymcferrin.com\/circlesongs\/\"\n               target=\"_blank\" rel=\"noopener noreferrer\">\n                Bobby McFerrin \u2013 Circlesongs\n            <\/a>\n            \u2022 History and approach to his vocal improvisation practice.\n        <\/li>\n        <li>\n            <a href=\"https:\/\/academic.oup.com\/edited-volume\/56491\/chapter\/454287035\"\n               target=\"_blank\" rel=\"noopener noreferrer\">\n                The Oxford Handbook of Community Singing\n            <\/a>\n            \u2022 Perspectives on community singing and musical participation.\n        <\/li>\n    <\/ul>\n<\/section>\n<\/article>","protected":false},"excerpt":{"rendered":"<p>Voice \u00b7 improvisation \u00b7 collective listening. What is Circle Singing? Imagine someone singing a phrase of just three notes. Several people repeat it. Another voice joins in, playing a bass line. Someone adds rhythm with their mouth. Another person finds a harmony, and little by little, what was silence just seconds ago begins to transform\u2026<\/p>","protected":false},"author":1,"featured_media":2538,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[21],"tags":[95,94,91,92,93],"class_list":["post-2517","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","tag-call-response","tag-circle","tag-circle-singing","tag-singing","tag-singing-circle"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Circle Singing: qu\u00e9 es y 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