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What Wondrous Love Is This

Meter: 12.9.12.9 Appears in 205 hymnals First Line: What wondrous love is this, O my soul, O my soul Lyrics: 1 What wondrous love is this, O my soul, ... O my soul, what wondrous love is this, O my soul ... ! What wondrous love is this that caused the ... Topics: God Love and Grace of Scripture: 1 Corinthians 15:54-57 Used With Tune: WONDROUS LOVE Text Sources: American folk hymn
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Love Divine, All Loves Excelling

Author: Charles Wesley Meter: 8.7.8.7 D Appears in 1,634 hymnals Lyrics: 1. Love divine, all loves excelling, joy of heaven, to ... art all compassion, pure, unbounded love thou art; visit us with ... . 2. Breathe, O breathe thy loving Spirit into every troubled breast ... ceasing, glory in thy perfect love. 4. Finish, then, thy new ... Topics: Love Used With Tune: BEECHER
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Love Lifted Me

Author: James Rowe Meter: 7.6.7.6.7.6.7.4 with refrain Appears in 227 hymnals First Line: I was sinking deep in sin Refrain First Line: Love lifted me! Love lifted me! Lyrics: ... safe am I. Refrain: Love lifted me! Love lifted me! When nothing ... else could help, Love lifted me! Love lifted me! Love lifted me! When ... nothing else could help, Love lifted me! 2 All my ... soul's best songs; Faithful loving service, too, To Him belongs ... Topics: Christ Grace, Love and Mercy; Love God's Love Used With Tune: SAFETY

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WONDROUS LOVE

Composer: Paul J. Christiansen Meter: 12.9.12.9 Appears in 81 hymnals Tune Sources: USA folk hymn Tune Key: d minor Incipit: 11724 54211 72576 Used With Text: What Wondrous Love Is This
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ST. COLUMBA

Meter: 8.7.8.7 Appears in 127 hymnals Tune Sources: Irish melody; harm. from The English Hymnal, 1906 Tune Key: D Major Incipit: 12345 45321 12345 Used With Text: The King of Love My Shepherd Is
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GORDON

Composer: Adoniram J. Gordon Meter: 11.11.11.11 Appears in 292 hymnals Tune Key: F Major Incipit: 13443 21327 71134 Used With Text: My Jesus, I Love Thee

Instances

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Published text-tune combinations (hymns) from specific hymnals

Love, love, love, love, The gospel in a word is love

Hymnal: Let's just Praise the Lord (Music Edition) #4 (1978) Tune Title: [Love, love, love, love, The gospel in a word is love]

Love, Love, Love

Author: Herbert Brokering Hymnal: Sing and Rejoice! #68 (1979) First Line: Love, love, love! That's what it's all about! Topics: Love Languages: English Tune Title: [Love, love, love! That's waht it's all about]
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Love

Author: B. B. McK. Hymnal: The Modern Hymnal #450 (1926) First Line: Love led my Savior from glory-land Refrain First Line: Love, love, love, love Lyrics: ... love, love, love. Refrain: Love, love, love, love, Wonderful love so free, Love, love, love, love, Saved a poor sinner like me; Love, love, love, love ... Topics: Love Languages: English Tune Title: [Love led my Savior from glory-land]

People

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Authors, composers, editors, etc.

E. O. Excell

1851 - 1921 Person Name: E. O. E. Arranger of "[There is a Name I love to hear]" in Triumphant Songs No.4 Edwin Othello Excell (December 13, 1851 – June 10, 1921), commonly known as E. O. Excell, was a prominent American publisher, composer, song leader, and singer of music for church, Sunday school, and evangelistic meetings during the late nineteenth and early twentieth centuries. Some of the significant collaborators in his vocal and publishing work included Sam P. Jones, William E. Biederwolf, Gipsy Smith, Charles Reign Scoville, J. Wilbur Chapman, W. E. M. Hackleman, Charles H. Gabriel and D. B. Towner. His 1909 stanza selection and arrangement of "Amazing Grace" became the most widely used and familiar setting of that hymn by the second half of the twentieth century. The influence of his sacred music on American popular culture through revival meetings, religious conventions, circuit chautauquas, and church hymnals was substantial enough by the 1920s to garner a satirical reference by Sinclair Lewis in the novel Elmer Gantry. Excell compiled or contributed to about ninety secular and sacred song books and is estimated to have written, composed, or arranged more than two thousand of the songs he published. The music publishing business he started in 1881 and that eventually bore his name was the highest volume producer of hymnbooks in America at the time of his death. Excell was the son of German Reformed minister and self-published author J. J. Excell. He was born in Uniontown, Stark County, Ohio and attended public schools in Ohio and Pennsylvania. After marrying in 1871 near Brady's Bend, Pennsylvania, he relocated to that state and supported his family for several years as a plasterer, bricklayer, and singing instructor. His focus was turned to sacred music through his experience leading songs at revivals and worship services of Methodist Episcopal churches, first in East Brady and then, starting in 1881, Oil City, Pennsylvania. Between 1877 and 1883 he studied music formally at the Normal Musical Institutes of George F. Root where he also received vocal training under Root's son, Frederick. He moved to Chicago, base of Root's operations, in 1883 to pursue music publishing in earnest. Excell was described as "a big, robust six-footer, with a six-in caliber voice" and extraordinary range that enabled him to solo as baritone or tenor. Publisher George H. Doran observed him leading songs at a revival and later noted that Excell "was a master of mass control; he might easily have become conductor of some mighty chorus". These talents fostered his early success as a rural singing teacher in Pennsylvania and helped secure a position as church choirmaster for the two years preceding his move to Illinois. Two important contacts made during his early years in Chicago were Benjamin F. Jacobs and John H. Vincent. Both men had been heavily involved with the uniform Sunday school lesson system established among many Protestant denominations during the early 1870s. Vincent was also co-founder of the original Chautauqua Assembly and involved with the burgeoning church youth movements of the era, such as Christian Endeavor and Epworth Leagues. Excell assisted with the music of their Sunday school work for at least two years and later served as music editor for correspondence courses Vincent established through the Chautauqua Press. He also performed as a vocalist for programs at the Chautauqua Institution. Insights gained from these associations were significant in that much of what Excell would later publish targeted Sunday school and youth program music needs. The Methodist Episcopal church of Excell's day was still divided into northern and southern denominations created by an antebellum split. Excell and Vincent were affiliated with the northern branch known as the Methodist Episcopal Church. In 1885 he met Sam P. Jones, a Georgia evangelist of the Methodist Episcopal Church, South, and was invited to join him as vocalist the following year, which included a campaign in Toronto during October, 1886. Jones' musical director at that time was Marcellus J. Maxwell of Oxford, Georgia. He was also a capable singer and songwriter, though more reserved than Excell. They became an effective musical team known informally as "Ex and Max". At some point prior to 1895, Excell became the principal song leader and vocalist Jones referred to as "this big-hearted, noble soul ..., my chorister, Brother Excell." The respect was mutual and good natured. In 1887 Excell wrote and published a spiritualized rendition of "one of the trite sayings of the Reverend Sam P. Jones" titled You Better Quit Your Meanness. It was dedicated to Jones by "his Co-Worker, E. O. Excell". They worked together throughout the United States and Canada until Jones' death in 1906. Though their twenty year partnership was not exclusive, it was one of the most significant influences on Excell's career. While serving as Jones' chorister, Excell became adept at crafting large volunteer choirs out of recruits from multiple local churches that had never sung together before. These combined revival and evangelistic meeting choirs typically had fewer than 400 participants. However, William Shaw of Christian Endeavor listed Excell among Ira Sankey, Homer Rodeheaver, and other distinguished musicians who had led choirs in the range of one thousand to four thousand voices at their conventions. Excell assisted a number of other evangelists and religious conference leaders in various musical capacities. He worked as a vocalist for William E. Biederwolf, a Presbyterian minister active with the Winona Lake Bible Conference and its related chautauqua, with whom he also collaborated on a number of hymnbooks. During the final decade of his life he assisted with the music program of British evangelist Gipsy Smith. Excell compiled a collection of hymns and gospel songs around 1880 which was published as Sacred Echoes by John J. Hood of Philadelphia in 1881, the year he marked as his start in the business. Sing the Gospel, published around the time of the move to Chicago, was issued under the "E. O. Excell" imprint. Echoes of Eden followed two years later in 1884. An archetype of later "combined" song books was produced in 1885 when contents of Sing the Gospel, Echoes of Eden and limited new material were repackaged into The Gospel in Song, a hymnbook later advertised to contain the songs and solos sung by Excell at Sam Jones' Gospel meetings. The working relationship initiated with Jones in 1886 proved to be a pattern of the age. A contemporary writer explained that prominent evangelists always "had their leading singers, they were billed on the hoardings of the cities after the manner of theatrical companies -- Moody and Sankey; Sam Jones and Excell; Chapman and Alexander; Torrey and Towner; and so on." The promotional benefit for a sacred music publisher was enormous. Excell's books were used in Jones' revivals and the contents revised over time to suit changing preferences and the needs of the campaigns. Three song books aimed at different applications were published in 1886 and 1887. All three became series that ran through most of the years Excell was affiliated with Jones' ministry: Excell's Anthems (1886) for choirs was followed by volumes 2 through 6 and three combined editions of which Excell's Anthems, Vols. 5 & 6 Combined (1899) was the last. Excell's School Songs (1887) for school, class, and home use was followed by numbers 2 through 4 and two combined editions ending with Excell's School Songs, Nos. 3 & 4 Combined (1903). Triumphant Songs (1887) for Sunday schools and revivals was followed by numbers 2 through 5 and two combined editions (Nos. 1 & 2 and Nos. 3 & 4). The last book in this series was Triumphant Songs No. 5 (1896). Make His Praise Glorious, published in 1900 as the Triumphant Songs series was approaching its end, contained Excell's initial arrangement of Amazing Grace based upon the tune New Britain. He compiled and published at least another six song books with the E. O. Excell imprint during his final years with Jones. Excell and his song books received significant exposure in the majority of U.S. states and Canadian provinces of his day during the twenty years they worked together. Collaborations-- Only about seven new song books were published by Excell under his own imprint in the years following Jones' death, though the annual quantity of books sold still managed to more than double during that time. The business changed to involve a greater number of collaborations destined for other publishers and private label printing of denominational hymnals. Some of the most substantial were: Methodist Episcopal - Early collaborations were established through Excell's Methodist connections. Two hymnbooks were compiled for the Book Concerns of the Methodist Episcopal Church in 1897 and 1899. Unfortunately his relationships with the publishing authorities within this northern branch of American Methodism were irreconcilably damaged in 1900 by the aftermath of a book contract he allegedly negotiated directly with the General Secretary of the Epworth League. However, opportunites with the Methodist Episcopal Church, South were unaffected and at least four hymnbooks were produced between 1909 and 1918 with W. C. Everett, manager of the Methodist Publishing House in Dallas, Texas. Charles Reign Scoville - At least three hymnbooks were compiled with this evangelist of the Christian Church and director of the Winona Assembly and Summer School Association for his C. R. Scoville imprint between 1909 and about 1915. W. E. M. Hackleman - Five or more hymn collections were produced between 1910 and 1914 with this Christian Church musician and published by the Christian Board of Publication or Hackleman Music Company. Hackleman also worked on another three collections credited to Excell that were published posthumously. William E. Biederwolf - Three hymn collections and a combined edition were developed with this Presbyterian evangelist between 1912 and 1917 for Glad Tidings Publishing Company. Excell had also been listed earlier as a special contributor on Hymns of His Praise No. 2 that Biederwolf compiled in 1906 with assistance from Homer Rodeheaver. One other hymn book, "Songs of the Evangelist" crediting both Biederwolf and Excell as contributors, was published posthumously in 1925. Hope Publishing Company - "Joy to the World" was compiled in 1915 for this publishing firm of another Chicago Methodist, Henry S. Date. While Excell continued to publish collections under his own imprint, he worked on another three Hope hymnbooks with Date's successors through 1919. Single song book collaborations - Excell worked on one-book projects with a diverse number of his contemporaries. Some of the more notable included: William Shaw - Treasurer of Christian Endeavor on Jubilant Praise (1900). J. Wilbur Chapman - Evangelist known for his work with singer Charles Alexander and moderator of the Presbyterian General Assembly on Winona Hymns (1906). D. B. Towner - Vocalist and musician with D. L. Moody's organization on Famous Gospel Hymns (1907). French E. Oliver - Presbyterian evangelist and protégé of Charles Alexander on Oliver's Songs of Deliverance (1910). Theodore M. Hammond - Congregational founder of Hammond Publishing of Milwaukee and regent of University of Wisconsin on The Very Best Songs for Sunday School (1911). Marion Lawrance - Congregational Sunday school superintendent (laity) and general secretary of the International Sunday School Association on Eternal Praise (1917). The portfolios of copyrights for contemporary songs and plates for classic hymns that Excell accumulated as a publisher and composer also led to printing work on denominational hymnals. He produced the 1909 edition of Spiritual Hymns of Brethren in Christ in which he held copyrights for about one third of the six hundred songs selected by the hymnal committee. Another example was the original edition of Great Songs of the Church which he produced for the Churches of Christ in 1921. Excell developed approximately fifty song books and contributed to at least another thirty-eight over his forty-year publishing career. By 1914, his company had produced close to 10 million books and was selling them at a rate of nearly a half million per year. Annual output had grown to more than a million books by 1921, though with margins at wholesale levels. Excell's only child, William Alonzo, participated in both the musical event and publishing businesses. At least one publication, Chorus Choir Selections (1918), bore the "E. O. Excell & Son" imprint. "E. O. Excell Company" was utilized on publications created after the founder's death. Excell's grandson, known as E. O. Excell, Jr, was also engaged in the family publishing business by 1927. Estimates of the number of songs authored, composed, or arranged by Excell range from two to three thousand. Two that remain well known are his 1909 arrangement of John Newton's Amazing Grace and the tune he composed for Johnson Oatman's Count Your Blessings. Excell fell ill while assisting Gipsy Smith with a revival in Louisville, Kentucky and returned to Chicago to be hospitalized. He died on June 10, 1921 after more than thirty weeks in Wesley Memorial Hospital. Colleagues at the International Sunday School Association, where he had served for thirty-six years, said the following of him at their next convention: “Mr. Excell will be remembered as the great song leader. Probably no man who ever lived, and certainly in this country, was more capable than he in directing great audiences in singing. He was large of body and happy in his disposition. He was never known to lose his temper or his smile in his endeavor to make the people sing.” —Herbert H. Smith, (ed.), Organized Sunday School Work in North America, 1918-1922 At least five books listing him as a contributor were published posthumously. One of these was The Excell Hymnal published by his company in 1925; it was completed by his long-time collaborators Hamp Sewell and W. E. M. Hackleman as "a fitting climax to its long line of illustrious predecessors". Heirs sold the large E. O. Excell Company copyright portfolio to the Hope Publishing Company in 1931 which they combined with their prior acquisition of a former Ira Sankey firm to create the Biglow-Main-Excell Company. The most popular Excell compositions at the time of the sale were "I'll Be a Sunbeam" and "Count Your Blessings." --en.wikipedia.org/

Thomas Tallis

1505 - 1585 Person Name: Thomas Tallis, c. 1505-1585 Composer of "TALLIS' CANON" in Singing Our Faith Thomas Tallis (c. 1505 – 23 November 1585) was an English composer. Tallis flourished as a church musician in 16th century Tudor England. He occupies a primary place in anthologies of English church music, and is considered one of England's greatest early composers. He is honoured for his original voice in English musicianship. No contemporary portrait of Tallis survives: the earliest, painted by Gerard van der Gucht, dates from 150 years after Tallis died, and there is no certainty that it is a likeness. Little is known about Tallis's early life, but there seems to be agreement that he was born in the early 16th century, toward the close of the reign of Henry VII. Little is known about Tallis's childhood and his significance with music at that age. However, there are suggestions that he was a child of the chapel royal St. James's palace, the same singing establishment which he later went to as a man. His first known appointment to a musical position was as organist of Dover Priory in 1530–31, a Benedictine priory at Dover (now Dover College) in 1532. His career took him to London, then (probably in the autumn of 1538) to the Augustinian abbey of Holy Cross at Waltham until the abbey was dissolved in 1540. Tallis acquired a volume at the dissolution of the monastery of Waltham Holy Cross and preserved it; one of the treatises in it was by Leonel Power, and the treatise itself prohibits consecutive unisons, fifths, and octaves. Tallis's next post was at Canterbury Cathedral. He was next sent to Court as Gentleman of the Chapel Royal in 1543 (which later became a Protestant establishment), where he composed and performed for Henry VIII, Edward VI (1547–1553), Queen Mary (1553–1558), and Queen Elizabeth I (1558 until Tallis died in 1585). Throughout his service to successive monarchs as organist and composer, Tallis avoided the religious controversies that raged around him, though, like William Byrd, he stayed an "unreformed Roman Catholic." Tallis was capable of switching the style of his compositions to suit the different monarchs' vastly different demands. Among other important composers of the time, including Christopher Tye and Robert White, Tallis stood out. Walker observes, "He had more versatility of style than either, and his general handling of his material was more consistently easy and certain." Tallis was also a teacher, not only of William Byrd, but also of Elway Bevin, an organist of Bristol Cathedral and gentleman of the Chapel Royal. Tallis married around 1552; his wife, Joan, outlived him by four years. They apparently had no children. Late in his life he lived in Greenwich, possibly close to the royal palace: a local tradition holds that he lived on Stockwell Street. Queen Mary granted Tallis a lease on a manor in Kent that provided a comfortable annual income. In 1575, Queen Elizabeth granted to him and William Byrd a 21-year monopoly for polyphonic music and a patent to print and publish music, which was one of the first arrangements of that type in the country. Tallis's monopoly covered 'set songe or songes in parts', and he composed in English, Latin, French, Italian, or other tongues as long as they served for music in the Church or chamber. Tallis had exclusive rights to print any music, in any language. He and William Byrd were the only ones allowed to use the paper that was used in printing music. Tallis and Byrd used their monopoly to produce Cantiones quae ab argumento sacrae vocantur but the piece did not sell well and they appealed to Queen Elizabeth for her support. People were naturally wary of their new publications, and it certainly did not help their case that they were both avowed Roman Catholics. Not only that, they were strictly forbidden to sell any imported music. "We straightly by the same forbid...to be brought out of any forren Realmes...any songe or songes made and printed in any foreen countrie." Also, Byrd and Tallis were not given "the rights to music type fonts, printing patents were not under their command, and they didn't actually own a printing press." Tallis retained respect during a succession of opposing religious movements and deflected the violence that claimed Catholics and Protestants alike. Thomas Tallis died peacefully in his house in Greenwich in November 1585. Most historians agree that he died on the twenty-third. He was buried in the chancel of the parish of St Alfege's Church in Greenwich. The earliest surviving works by Tallis, Salve intemerata virgo, Ave rosa sine spinis and Ave Dei patris filia are devotional antiphons to the Virgin Mary, which were used outside the liturgy and were cultivated in England until the fall of Cardinal Wolsey. Henry VIII's break with Roman Catholicism in 1534 and the rise of Thomas Cranmer noticeably influenced the style of music written. Texts became largely confined to the liturgy. The writing of Tallis and his contemporaries became less florid. Tallis's Mass for four voices is marked with tendencies toward a syllabic (which is a setting of text where each syllable is sung to one pitch) and chordal (consisting of or emphasising chords) style and a diminished use of melisma. Tallis provides a rhythmic variety and differentiation of moods depending on the meaning of his texts. Tallis helped found a relationship that was specific to the combining of words and music. He also wrote several excellent Lutheran chorales. The reformed Anglican liturgy was inaugurated during the short reign of Edward VI (1547–53), and Tallis was one of the first church musicians to write anthems set to English words, although Latin continued to be used. The Catholic Mary Tudor set about undoing the religious reforms of the preceding decades. Following her accession in 1553, the Roman Rite was restored and compositional style reverted to the elaborate writing prevalent early in the century. Two of Tallis's major works, Gaude gloriosa Dei Mater and the Christmas Mass Puer natus est nobis are believed to be from this period. Only Puer natus est nobis can be accurately dated to 1554. As was the prevailing practice, these pieces were intended to exalt the image of the Queen as well as to praise the Mother of God. Some of Tallis's works were compiled and printed in the Mulliner Book by Thomas Mulliner before Queen Elizabeth's reign, and may have been used by the Queen herself when she was younger. Elizabeth succeeded her half-sister in 1558, and the Act of Settlement in the following year abolished the Roman Liturgy and firmly established the Book of Common Prayer. Composers at court resumed writing English anthems, although the practice of setting Latin texts continued, growing more peripheral over time. The mood of the country in the beginning of Elizabeth's reign leant toward the puritan, which discouraged the liturgical polyphony. Tallis wrote nine psalm chant tunes for four voices for Archbishop Parker's Psalter, published in 1567. One of the nine tunes, the "Third Mode Melody", inspired the composition of Fantasia on a Theme of Thomas Tallis by Ralph Vaughan Williams in 1910. Tallis's better-known works from the Elizabethan years include his settings of the Lamentations (of Jeremiah the Prophet)for the Holy Week services and the unique motet Spem in alium written for eight five-voice choirs. Tallis is mostly remembered for his role in composing office hymns and this motet, Spem in alium. Too often we forget to look at his compositions for other monarchs; several of Tallis's anthems written in Edward's reign such as his "If ye love me," ought to be considered on the same level as his Elizabethan works. This is partially because we do not have all of his works from previous periods; eleven of eighteen Latin-texted pieces by Tallis from Elizabeth's reign were published, "which ensured their survival in a way not available to the earlier material." Toward the end of his life, Tallis resisted the musical development seen in his younger contemporaries such as William Byrd, who embraced compositional complexity and adopted texts built by combining disparate biblical extracts. Tallis's experiments during this time period were considered rather unusual. Tallis was content to draw his texts from the Liturgy and wrote for the worship services in the Chapel Royal. Tallis composed during a difficult period during the conflict between Catholicism and Protestantism, and his music often displays characteristics of the turmoil. --en.wikipedia.org (excerpts)

Lorenzo Lyons

1807 - 1886 Person Name: Laiana, 19th century Translator (Hawaiian) of "Jesus Loves Me" in The New Century Hymnal Lorenzo Lyons also known as Makua Laiana, missionary to Hawaii. Dianne Shapiro

Hymnals

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Published hymn books and other collections

The Methodist Hymn-Book with Tunes

Publication Date: 1933 Publisher: Methodist Conference Office Publication Place: London

Small Church Music

Editors: Martin E. Leckebusch Description: The SmallChurchMusic site was commenced in 2006 grew out of the requests from those struggling to provide suitable music for their services and meetings. Rev. Clyde McLennan was ordained in mid 1960’s and was a pastor in many small Australian country areas, and therefore was acutely aware of this music problem. Having also been trained as a Pipe Organist, recordings on site (which are a subset of the smallchurchmusic.com site) are all actually played by Clyde, and also include piano and piano with organ versions. All recordings are in MP3 format. Churches all around the world use the recordings, with downloads averaging over 60,000 per month. The recordings normally have an introduction, several verses and a slowdown on the last verse. Users are encouraged to use software: Audacity (http://www.audacityteam.org) or Song Surgeon (http://songsurgeon.com) (see http://scm-audacity.weebly.com for more information) to adjust the MP3 number of verses, tempo and pitch to suit their local needs. Copyright notice: Rev. Clyde McLennan, performer in this collection, has assigned his performer rights in this collection to Hymnary.org. Non-commercial use of these recordings is permitted. For permission to use them for any other purposes, please contact manager@hymnary.org. Home/Music(smallchurchmusic.com) List SongsAlphabetically List Songsby Meter List Songs byTune Name About  
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Hymns of Faith and Love

Publication Date: 1897 Publisher: [s.n.] Publication Place: Toronto Editors: W. B.

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