561:
394:
180:
190:
158:
1769:
124:
505:
495:
193:
192:
197:
196:
191:
198:
411:, the result is a ratio of 19:16 or 297.51 cents (the nineteenth harmonic). The 12-TET minor third (300 cents) more closely approximates the nineteenth harmonic with only 2.49 cents error. M. Ergo mistakenly claimed that the nineteenth harmonic was the highest ever written, for the bass-trumpet in
195:
513:
562:
144:
395:
171:
132:
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145:
142:
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170:
133:
289:
The minor third is commonly used to express sadness in music, and research shows that this mirrors its use in speech, as a tone similar to a minor third is produced during sad speech. It is also a
130:
252:
spans an additional semitone. For example, the interval from A to C is a minor third, as the note C lies three semitones above A. Coincidentally, there are three staff positions from A to C.
169:
511:
512:
699:. "The minor third, however, does not appear in the harmonic series until the nineteenth harmonic. Your ear almost expects to hear the major third ( C
143:
172:
407:" produced by such scales is often within ten cents of a pure 6:5 ratio. If a minor third is tuned in accordance with the fundamental of the
131:
1490:
797:
705:), and when that is replaced with a more distantly related note, this makes the listener feel more 'unpleasant', 'tense', or 'sad'."
754:
260:
span the same number of staff positions, but consist of a different number of semitones (two and five). The minor third is a
651:
Curtis, M. E.; Bharucha, J. J. (June 2010). "The minor third communicates sadness in speech, mirroring its use in music".
833:
992:
738:
730:
696:
638:
100:
725:, p. 455. Dover Publications, New York, 1954. "16:19...The 19th harmonic, ex. 297.513 ". Later reprintings:
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1449:
826:
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588:
478:( C ) a minor third higher than the written pitch; therefore, to get the sounding pitch one must
417:
318:
283:
279:
371:, a ratio of 2:1 (about 1.189), or 300 cents, 15.64 cents narrower than the 6:5 ratio. In other
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1047:
380:
864:
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718:
479:
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25:
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8:
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433:(four octaves and major third above the fundamental) in the first horn part three times.
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1091:
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798:
A manual of harmony for use in music-schools and seminaries and for self-instruction
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294:
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73:
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with ratio 7:6 and the tridecimal minor third with ratio 13:11 in particular.
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1128:
1116:
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349:
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Notable examples of ascending minor thirds include the opening two notes of "
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too take their name from the presence of this interval built on the chord's
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963:
926:
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723:
On the
Sensations of Tone as a Physiological Basis for the Theory of Music
298:
1709:
1540:
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932:
555:
482:
the written pitch up a minor third. Instruments in A – most commonly the
341:
325:
302:
249:
244:). The minor third is one of two commonly occurring thirds. It is called
30:
282:
as the interval between the fifth and sixth harmonics, or from the 19th
1742:
1636:
1134:
792:
483:
1642:
1146:
666:
225:
157:
379:
it is very nearly the 6:5 ratio of just intonation; in more complex
1674:
1122:
870:
368:
229:
123:
63:
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305:
quintality. The minor third is also obtainable in reference to a
1680:
1668:
1654:
1073:
1018:
777:'s Extended Just Intonation – A Guide for Interpreters", p. 124,
548:
333:
328:
is so named because of the presence of this interval between its
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and is considered one of the most consonant intervals after the
387:, the "minor third" is often significantly flat (being close to
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907:
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573:
452:
448:
1110:
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811:
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Audio
Production Tips: Getting the Sound Right at the Source
650:
183:
Comparison, in cents, of intervals at or near a minor third
498:
Semiditone as two octaves minus three justly tuned fifths
313:, while the major third is obtainable as such from the
583:. It is narrower than a justly tuned minor third by a
486:, sound a minor third lower than the written pitch.
547:. The 32:27 Pythagorean minor third arises in the
236:represents the minor third as encompassing three
1783:
436:Other pitch ratios are given related names, the
359:, corresponds to a pitch ratio of 6:5 or 315.64
429:for 4 Horns and Orchestra (1849) features the
827:
783:, vol. 29, no. 2 (Summer 1991), pp. 106-137.
352:from the root is also present or implied).
1768:
834:
820:
554:between the 2nd and 4th degrees (in the C
489:
248:because it is the smaller of the two: the
503:
493:
367:tuning, a minor third is equal to three
278:The minor third may be derived from the
188:
178:
156:
140:
128:
122:
631:The Mathematical Theory of Tone Systems
293:(based on an ascendance of one or more
1784:
1192:
815:
755:In the Forecourts of Instrumentation"
641:. 19th harmonic, overtone minor tone.
206:introducing a cycle of minor thirds
13:
14:
1808:
443:The minor third is classed as an
348:(provided that the interval of a
1767:
509:
167:
786:
764:
744:
708:
681:
644:
623:
1:
841:
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572:It can be thought of as two
543:). It is the minor third in
539:32:27 (approximately 294.13
375:tunings it is wider, and in
301:interval, as opposed to the
7:
1389:septimal chromatic semitone
594:
10:
1813:
1395:septimal diatonic semitone
1183:(Numbers in brackets refer
759:The Monthly Musical Record
606:List of meantone intervals
1765:
1723:
1690:
1579:
1549:
1519:
1476:
1467:
1440:
1367:
1350:
1185:to fractional semitones.)
1178:24-tone equal temperament
1175:
1164:
1101:
1046:
991:
954:
917:
882:
849:
780:Perspectives of New Music
109:
101:12-Tone equal temperament
99:
92:
82:
72:
62:
57:
49:
41:
36:
24:
552:justly tuned major scale
161:19th harmonic (19:16), E
1773:List of pitch intervals
1511:Subminor and supermajor
1450:minor diatonic semitone
1360:refer to pitch ratios.)
687:Dowsett, Peter (2015).
589:Pythagorean major sixth
533:Pythagorean minor third
508:Semiditone (32:27) on C
490:Pythagorean minor third
418:Der Ring des Nibelungen
381:schismatic temperaments
319:Otonality and Utonality
224:that encompasses three
1571:Undecimal quarter tone
518:
499:
207:
202:Jazz and rock bassist
184:
176:
152:
150:
138:
1566:Septimal quarter tone
1377:septimal quarter tone
805:, trans. G. Schirmer.
753:(December 1, 1908). "
629:Haluska, Jan (2003).
587:. Its inversion is a
507:
497:
421:(1848 to 1874), when
201:
182:
160:
148:
136:
126:
1753:Incomposite interval
1506:Pythagorean interval
1358:(Numbers in brackets
866:(Numbers in brackets
611:Pythagorean interval
558:, between D and F).
445:imperfect consonance
438:septimal minor third
385:53 equal temperament
377:19 equal temperament
204:Joseph Patrick Moore
1536:Pythagorean apotome
1383:septimal third tone
468:sopranino saxophone
21:
1649:Septimal semicomma
715:Alexander J. Ellis
545:Pythagorean tuning
519:
500:
431:twentieth harmonic
403:)), although the "
389:Pythagorean tuning
355:A minor third, in
208:
185:
177:
153:
151:
139:
19:
1779:
1778:
1761:
1760:
1591:Pythagorean comma
1531:Pythagorean limma
1463:
1462:
1459:
1458:
1425:supermajor fourth
1401:supermajor second
1346:
1345:
1160:
1159:
1156:
1155:
868:are the number of
719:Hermann Helmholtz
691:, p. 3.6.3. CRC.
515:
199:
173:
146:
134:
119:
118:
88:6:5, 19:16, 32:27
1804:
1771:
1770:
1661:Septimal kleisma
1474:
1473:
1431:subminor seventh
1413:supermajor third
1365:
1364:
1353:Just intonations
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405:augmented second
402:
401:
400:
398:
311:undertone series
307:fundamental note
258:augmented thirds
222:musical interval
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175:
174:
166:
165:
147:
135:
22:
18:
16:Musical interval
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1807:
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1792:Minor intervals
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1781:
1780:
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1757:
1719:
1686:
1629:Septimal diesis
1575:
1545:
1515:
1469:
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913:
874:
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751:Prout, Ebenezer
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423:Robert Schumann
409:overtone series
396:
393:
392:
357:just intonation
315:overtone series
295:perfect fourths
280:harmonic series
242:interval number
238:staff positions
210:
209:
189:
168:
163:
162:
155:
154:
141:
129:
111:Just intonation
17:
12:
11:
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1797:Thirds (music)
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1623:Greater diesis
1620:
1613:
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1609:Septimal comma
1606:
1603:Holdrian comma
1600:
1597:Syntonic comma
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1419:subminor fifth
1416:
1410:
1407:subminor third
1404:
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1373:
1371:
1362:
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1120:
1114:
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1083:
1077:
1071:
1065:
1059:
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1043:
1041:
1040:
1034:
1028:
1022:
1016:
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1004:
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988:
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985:
979:
973:
967:
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952:
951:
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923:
921:
915:
914:
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905:
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859:
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846:
839:
838:
831:
824:
816:
808:
807:
803:Theodore Baker
785:
763:
743:
707:
680:
661:(3): 335–348.
643:
621:
620:
618:
615:
614:
613:
608:
603:
601:Musical tuning
596:
593:
585:syntonic comma
502:
501:
491:
488:
461:perfect fourth
413:Richard Wagner
365:equal tempered
336:(1st and 3rd)
234:Staff notation
187:
186:
137:equal tempered
121:
120:
117:
116:
113:
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74:Interval class
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9:
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3:
2:
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1734:
1731:
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1713:
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1701:
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1682:
1679:
1676:
1673:
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1666:
1662:
1659:
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1653:
1650:
1647:
1644:
1641:
1638:
1635:
1634:
1630:
1627:
1624:
1621:
1618:
1617:Lesser diesis
1615:
1614:
1610:
1607:
1604:
1601:
1598:
1595:
1592:
1589:
1588:
1586:
1584:
1583:
1578:
1572:
1569:
1567:
1564:
1562:
1559:
1558:
1556:
1554:
1553:
1552:Quarter tones
1548:
1542:
1539:
1537:
1534:
1532:
1529:
1528:
1526:
1524:
1523:
1518:
1512:
1509:
1507:
1504:
1502:
1501:Pseudo-octave
1499:
1497:
1494:
1492:
1489:
1487:
1484:
1483:
1481:
1479:
1475:
1472:
1466:
1451:
1448:
1447:
1445:
1443:
1439:
1432:
1429:
1426:
1423:
1420:
1417:
1414:
1411:
1408:
1405:
1402:
1399:
1396:
1393:
1390:
1387:
1384:
1381:
1378:
1375:
1374:
1372:
1370:
1366:
1363:
1361:
1355:
1354:
1349:
1324:
1321:
1304:
1301:
1284:
1281:
1264:
1261:
1244:
1241:
1224:
1221:
1208:
1205:
1204:
1202:
1197:
1191:
1188:
1186:
1180:
1179:
1174:
1171:
1163:
1148:
1145:
1142:
1139:
1136:
1133:
1130:
1127:
1124:
1121:
1118:
1115:
1112:
1109:
1108:
1106:
1104:
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1075:
1072:
1069:
1066:
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1057:
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1038:
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1023:
1020:
1017:
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1005:
1002:
999:
998:
996:
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983:
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977:
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965:
962:
961:
959:
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953:
946:
943:
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937:
934:
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916:
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823:
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800:
799:
794:
789:
782:
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776:
772:
771:John Fonville
767:
760:
756:
752:
747:
740:
739:1-143-49451-2
736:
732:
731:1-150-36602-8
728:
724:
720:
717:(translating
716:
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698:
697:9781317614203
694:
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684:
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664:
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639:0-8247-4714-3
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553:
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546:
542:
538:
534:
530:
526:
506:
496:
487:
485:
481:
477:
476:concert pitch
474:sound in the
473:
469:
464:
462:
458:
457:perfect fifth
454:
450:
446:
441:
439:
434:
432:
428:
424:
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419:
414:
410:
406:
399:
390:
386:
382:
378:
374:
370:
366:
362:
358:
353:
351:
350:perfect fifth
347:
343:
339:
338:scale degrees
335:
331:
327:
322:
320:
316:
312:
308:
304:
303:major third's
300:
296:
292:
287:
285:
281:
276:
274:
273:Light My Fire
270:
265:
264:melodically.
263:
259:
255:
251:
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243:
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223:
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159:
125:
115:316, 298, 294
114:
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104:
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98:
95:
91:
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85:
84:Just interval
81:
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61:
56:
52:
48:
44:
40:
35:
32:
29:
27:
23:
1724:
1691:
1677:(0.72 cents)
1671:(1.95 cents)
1651:(13.8 cents)
1645:(10.1 cents)
1639:(19.5 cents)
1631:(35.7 cents)
1625:(62.6 cents)
1619:(41.1 cents)
1611:(27.3 cents)
1605:(22.6 cents)
1599:(21.5 cents)
1593:(23.5 cents)
1580:
1561:Quarter tone
1551:
1550:
1521:
1520:
1477:
1442:Higher-limit
1357:
1351:
1263:major fourth
1207:quarter tone
1182:
1176:
969:
865:
796:
788:
778:
775:Ben Johnston
766:
758:
746:
722:
710:
688:
683:
658:
652:
646:
630:
625:
578:justly tuned
576:minus three
571:
532:
528:
525:music theory
522:
465:
442:
435:
427:Konzertstück
426:
416:
354:
342:Minor chords
323:
288:
277:
269:Greensleeves
266:
245:
217:
214:music theory
211:
50:Abbreviation
1710:Millioctave
1692:Measurement
1683:(0.4 cents)
1663:(7.7 cents)
1657:(8.1 cents)
1541:Major limma
1283:minor fifth
793:Paul, Oscar
633:, p. xxiv.
556:major scale
472:E♭ clarinet
326:minor scale
250:major third
218:minor third
127:Minor third
42:Other names
31:major sixth
20:Minor third
1786:Categories
1743:Semiditone
1637:Diaschisma
1452:(17-limit)
1143:(22 or 23)
1141:fourteenth
1137:(20 or 21)
1135:thirteenth
1131:(18 or 19)
1125:(17 or 18)
1119:(15 or 16)
1113:(13 or 14)
1048:Diminished
875:interval.)
856:(post-Bach
801:, p. 165.
617:References
529:semiditone
484:A clarinet
425:'s Op. 86
383:, such as
271:" and of "
254:Diminished
226:half steps
149:just (6:5)
45:sesquitone
1705:Centitone
1643:Semicomma
1522:Semitones
1486:Microtone
1470:intervals
1147:fifteenth
993:Augmented
871:semitones
843:Intervals
761:. p. 268.
535:) is the
480:transpose
369:semitones
309:from the
230:semitones
64:Semitones
1675:Breedsma
1123:eleventh
1103:Compound
858:Western)
853:semitone
795:(1885).
702:♯
675:20515223
595:See also
537:interval
373:meantone
363:. In an
317:. (See
284:harmonic
164:♭
1681:Ragisma
1669:Schisma
1655:Kleisma
1491:5-limit
1397:(15:14)
1391:(21:20)
1385:(28:27)
1379:(36:35)
1369:7-limit
1334:⁄
1323:seventh
1314:⁄
1294:⁄
1274:⁄
1254:⁄
1234:⁄
1214:⁄
1196:Neutral
1169:systems
1129:twelfth
1086:seventh
1037:seventh
982:seventh
945:seventh
883:Perfect
851:Twelve-
654:Emotion
574:octaves
549:5-limit
334:mediant
299:tertian
291:quartal
26:Inverse
1738:Ditone
1725:Others
1715:Savart
1582:Commas
1478:Groups
1427:(10:7)
1223:second
1167:tuning
1092:octave
1068:fourth
1056:second
1019:fourth
1007:second
1001:unison
964:second
927:second
908:octave
896:fourth
890:unison
873:in the
737:
729:
695:
673:
637:
581:fifths
459:, and
453:octave
449:unison
240:(see:
1748:Secor
1496:Comma
1468:Other
1433:(7:4)
1421:(7:5)
1415:(9:7)
1409:(7:6)
1403:(8:7)
1303:sixth
1243:third
1165:Other
1117:tenth
1111:ninth
1080:sixth
1074:fifth
1062:third
1031:sixth
1025:fifth
1013:third
976:sixth
970:third
956:Minor
939:sixth
933:third
919:Major
902:fifth
541:cents
361:cents
330:tonic
246:minor
228:, or
220:is a
94:Cents
1733:Wolf
1700:Cent
1149:(24)
1094:(11)
1039:(12)
1033:(10)
984:(10)
947:(11)
910:(12)
735:ISBN
727:ISBN
693:ISBN
671:PMID
635:ISBN
564:Play
531:(or
527:, a
470:and
466:The
397:play
346:root
332:and
324:The
262:skip
256:and
216:, a
58:Size
37:Name
1088:(9)
1082:(7)
1076:(6)
1070:(4)
1064:(2)
1058:(0)
1027:(8)
1021:(6)
1015:(5)
1009:(3)
1003:(1)
978:(8)
972:(3)
966:(1)
941:(9)
935:(4)
929:(2)
904:(7)
898:(5)
892:(0)
773:. "
733:or
721:):
663:doi
523:In
415:'s
321:.)
275:".
212:In
105:300
1788::
1327:10
757:,
669:.
659:10
657:.
591:.
463:.
455:,
451:,
340:.
297:)
286:.
232:.
53:m3
1339:)
1336:2
1332:1
1329:+
1325:(
1319:)
1316:2
1312:1
1309:+
1307:8
1305:(
1299:)
1296:2
1292:1
1289:+
1287:6
1285:(
1279:)
1276:2
1272:1
1269:+
1267:5
1265:(
1259:)
1256:2
1252:1
1249:+
1247:3
1245:(
1239:)
1236:2
1232:1
1229:+
1227:1
1225:(
1219:)
1216:2
1212:1
1209:(
835:e
828:t
821:v
741:.
677:.
665::
391:(
78:3
68:3
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