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Journal articles on the topic 'Kenyan music'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

Ekdale, Brian. "Reppin’ the nation, reppin’ themselves: Nation branding and personal branding in Kenya’s music video industry." Journal of African Media Studies 12, no. 1 (2020): 75–88. http://dx.doi.org/10.1386/jams_00012_1.

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This article explores the entanglement of nation branding and personal branding in the Kenyan music video industry. Although self-commodification and labouring on behalf of the nation are both indicative of neo-liberal governmentality, Kenyan music video directors build personal brands to wrestle creative control from their clients during the production process and they invoke their experiences representing Kenya abroad to elevate their professional status at home. Thus, branding in the Kenyan music video industry illustrates the complexities and contradictions of neo-liberal governmentality i

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2

Floyd, Malcolm. "Music Makers: cultural perspectives in textbook development in Kenya, 1985–1995." British Journal of Music Education 20, no. 3 (2003): 291–306. http://dx.doi.org/10.1017/s026505170300545x.

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This article draws on my other writings about developments in the teaching of music in Kenya, and on the decision to promote traditional musics and to make music one of the compulsory examinable subjects at the end of primary school. It considers two textbooks published by Oxford University Press in Nairobi: Music Makers for Standards 7 and 8, by Brian Hocking and me, was issued in 1985, and Music Makers for Standards 5 and 6, this time with George Mutura as co-author, was published in 1989. The music education syllabus was revised in 1993, and both books were adapted to adjust the placing and

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3

Eisenberg, Andrew J. "HIP-HOP AND CULTURAL CITIZENSHIP ON KENYA'S ‘SWAHILI COAST’." Africa 82, no. 4 (2012): 556–78. http://dx.doi.org/10.1017/s0001972012000502.

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ABSTRACTThe Muslim-dominated ‘Swahili coast’ has always served as a conceptual as well as physical periphery for post-colonial Kenya. This article takes Kenyan youth music under the influence of global hip-hop as an ethnographic entry into the dynamics of identity and citizenship in this region. Kenyan youth music borrows from global hip-hop culture the idea that an artist must ‘represent the real’. The ways in which these regional artists construct their public personae thus provide rich data on ‘cultural citizenship’, in Aihwa Ong's (1996) sense of citizenship as subjectification. I focus he

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4

Floyd, Malcolm. "Modeling Music Education: Britain and Kenya." International Journal of Music Education os-40, no. 1 (2003): 59–80. http://dx.doi.org/10.1177/025576140304000106.

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The problem with models is that they almost always break. At some point, new information or new theoretical perspectives arrive and the model is rejected, or at best put aside and referred to occasionally for its historical interest. This article looks at my perceptions of music education in Britain and Kenya over the past 30 years or so using a range of models, precisely because it is in their “breaking” that one learns what is most significant. I have taught in both countries, at all levels of education, and part of the reason for writing this is to unpick my own agendas. Models drawn from t

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5

Wanjala, Henry, and Charles Kebaya. "Popular music and identity formation among Kenyan youth." Muziki 13, no. 2 (2016): 20–35. http://dx.doi.org/10.1080/18125980.2016.1249159.

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6

Ekdale, Brian. "Global frictions and the production of locality in Kenya’s music video industry." Media, Culture & Society 40, no. 2 (2017): 211–27. http://dx.doi.org/10.1177/0163443717707340.

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This article explores the relationship between global imaginaries, frictions, and the production of locality through an examination of the Kenyan music video industry. Localities are constructed, in part, through the constitutive work of the imagination. Friction occurs when divergent constructions of the global imaginary become entangled with each other. Through an examination of the production, distribution, and reception of Kenyan music videos, this study identifies three types of friction that occur in cultural production: collaborative frictions, in which collectivities work across differ

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7

Nyairo, J. "Popular music, popular politics: Unbwogable and the idioms of freedom in Kenyan popular music." African Affairs 104, no. 415 (2005): 225–49. http://dx.doi.org/10.1093/afraf/adi012.

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8

Floyd, Malcolm. "Individual: Community: Nation a Case Study in Maasai Music and Kenyan Education." International Journal of Music Education os-38, no. 1 (2001): 13–28. http://dx.doi.org/10.1177/025576140103800103.

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9

Wa Mungai, Mbugua. "‘Made in Riverwood’: (dis)locating identities and power through Kenyan pop music." Journal of African Cultural Studies 20, no. 1 (2008): 57–70. http://dx.doi.org/10.1080/13696810802159263.

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10

Nyairo, Joyce. "‘Reading the referents’: the ghost of America in contemporary Kenyan popular music." Scrutiny2 9, no. 1 (2004): 39–55. http://dx.doi.org/10.1080/18125440408566016.

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11

Ochola, Elizabeth Auma. "Gender Differences in the Perception of the Levels and Potential Effects of Violence in Popular Music." International Journal for Innovation Education and Research 4, no. 10 (2016): 81–90. http://dx.doi.org/10.31686/ijier.vol4.iss10.600.

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The effect of popular music on the behavior and emotions of youth is of significant concern to policy makers in government and the general public. Lyrics have become more explicit in their references to drugs, sex, and violence over the years. Notably, rap music is characterized by sexually explicit language in its lyrics as well as messages of violence, racism, drugs, homophobia, and hatred toward women. These depictions of violence and deviance are likely to have negative influence on the behavior and moral values of the youth who listen to such music with far reaching impact of risky behavi

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12

Wanyama, Mellitus Nyongesa. "Researching on Kenyan Traditional Music and Dance Today: Methodology and Ethical Issues Revisited." Muziki 9, no. 2 (2012): 1–8. http://dx.doi.org/10.1080/18125980.2012.742231.

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13

Mboya, T. Michael. "Ethnicity and the brokerage of Kenyan popular music: categorizing ‘Riziki’ by Ja-Mnazi Afrika." Journal of African Cultural Studies 27, no. 2 (2015): 205–15. http://dx.doi.org/10.1080/13696815.2015.1010637.

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14

Lamont, Mark. "Lip-synch Gospel: Christian Music and the Ethnopoetics of Identity in Kenya." Africa 80, no. 3 (2010): 473–96. http://dx.doi.org/10.3366/afr.2010.0306.

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In recent years there has been an outpouring of Kenyan scholarship on the ways popular musicians engage with politics in the public sphere. With respect to the rise in the 1990s and 2000s of gospel music – whose politics are more pietistic than activist – this article challenges how to ‘understand’ the politics of gospel music taken from a small speech community, in this case the Meru. In observing street performances of a new style of preaching, ‘lip-synch’ gospel, I offer ethnographic readings of song lyrics to show that Meru's gospel singers can address moral debates not readily aired in ma

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15

Peck, RaShelle R. "Love, Struggle, and Compromises: The Political Seriousness of Nairobi Underground Hip Hop." African Studies Review 61, no. 2 (2018): 111–33. http://dx.doi.org/10.1017/asr.2017.143.

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Abstract:This article explores the characteristics of Nairobi underground hip hop that fit under a common theme of what I term as the music’s “political seriousness,” which is the common notion that the music must be substantive, thought-provoking, socially critical, and never vacuous. This political seriousness is composed of four characteristics: Mau Mau gendered legacies, political love, a reliance on neoliberalism, and a critique of the state. Hip hop’s goal is to make a political space that both proves its worth and remedies Kenya’s flawed polity. This is an imperfect endeavor, as its dep

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16

Bethke, Andrew-John. "Music in Kenyan Christianity: Logooli Religious Song. Jean Ngoya Kidula. 2013. Bloomington: Indiana University Press. 17 bw illus., 53 music exs, index, 312pp." African Music: Journal of the International Library of African Music 9 (2014): 149–51. http://dx.doi.org/10.21504/amj.v9i4.1892.

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17

Nyairo, Joyce, and James Ogude. "Specificities: Popular Music and the Negotiation of Contemporary Kenyan Identity: The Example of Nairobi City Ensemble." Social Identities 9, no. 3 (2003): 383–400. http://dx.doi.org/10.1080/1350463032000129993.

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18

Park, Jeong Kyung, James Nyachae Michira, and Seo Young Yun. "African hip hop as a rhizomic art form articulating urban youth identity and resistance with reference to Kenyan genge and Ghanaian hiplife." Journal of the Musical Arts in Africa 16, no. 1-2 (2019): 99–118. http://dx.doi.org/10.2989/18121004.2019.1686225.

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19

Nyairo, Joyce. "Kenyan gospel sountracks: crossing boundaries, mapping audiences." Journal of African Cultural Studies 20, no. 1 (2008): 71–83. http://dx.doi.org/10.1080/13696810802159289.

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20

van Klinken, Adriaan. "Citizenship of Love: The Politics, Ethics and Aesthetics of Sexual Citizenship in a Kenyan Gay Music Video." Citizenship Studies 22, no. 6 (2018): 650–65. http://dx.doi.org/10.1080/13621025.2018.1494901.

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21

Parsitau, Damaris Seleina. "“Then Sings My Soul”: Gospel Music as Popular Culture in the Spiritual lives of Kenyan Pentecostal/Charismatic Christians." Journal of Religion and Popular Culture 14, no. 1 (2006): 3. http://dx.doi.org/10.3138/jrpc.14.1.003.

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22

Kenneth, Rono Kiplangat, and Christopher Omusula. "Youth Radicalization in Africa: A Comparative Analysis of Radicalized Groups." Scholedge International Journal of Multidisciplinary & Allied Studies ISSN 2394-336X 3, no. 9 (2016): 185. http://dx.doi.org/10.19085/journal.sijmas030902.

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A lot of efforts are being exerted by world’s governments and other stakeholders to achieve higher rates of Accessibility to Education. Militia groups the world over have recruited and radicalized the potential school going children into their militant outfits to either fight in battlefields, or use them as spies or suicide bombers denying them opportunities of accessing education that would have been very valuable in their development. These groups abduct torture and kill victims, cause untold sufferings of their captives. In Africa, BokoHaramu in Nigeria opposes modern formal education and h

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23

Ligaga, Dina. "Mapping emerging constructions of good time girls in Kenyan popular media." Journal of African Cultural Studies 26, no. 3 (2014): 249–61. http://dx.doi.org/10.1080/13696815.2014.927324.

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24

AKOMBO, DAVID O. "Music in Kenyan Christianity: Logooli Religious Song by Jean Ngoya Kidula Bloomington, IN: Indiana University Press, 2013. Pp. 312. £19·99 (pbk)." Journal of Modern African Studies 53, no. 1 (2015): 137–38. http://dx.doi.org/10.1017/s0022278x15000099.

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25

Quet, Mathieu. "Fakeness, Human-Object Fluidity and Ethnic Suspicion on the Kenyan Pharmaceutical Market." Journal of African Cultural Studies 33, no. 3 (2021): 359–63. http://dx.doi.org/10.1080/13696815.2021.1886057.

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26

Ngeno, Beatrice, Maureen Mweru, and Teresa Mwoma. "Availability of Physical Infrastructure in Implementation of the Competence-Based Curriculum in Public Primary Schools in Kericho County." East African Journal of Education Studies 3, no. 1 (2021): 130–46. http://dx.doi.org/10.37284/eajes.3.1.344.

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A competency-based curriculum is a curriculum that allows students to develop prescribed competencies. In Kenya, the Competence-Based Curriculum implementation of 2-6-6-3 was adopted in January 2017. This education system replaces the 8-4-4 system of education and it aims to nurture the learners’ talents. School preparedness for the new curriculum change in Kenyan public primary schools is very important in the education policy framework. When curriculum changes take place in education, teachers as instructors and implementers should be supported to be competent in their work. The educators ha

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27

Omanga, Duncan Mainye. "‘Raid at Abbottabad’: editorial cartoons and the ‘terrorist almighty’ in the Kenyan press." Journal of African Cultural Studies 26, no. 1 (2013): 15–32. http://dx.doi.org/10.1080/13696815.2013.808991.

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28

Githiora, Christopher K. "Recreating discourse and performance in Kenyan urban space through Mũgithi, Hip Hop and Gĩcandĩ." Journal of African Cultural Studies 20, no. 1 (2008): 85–93. http://dx.doi.org/10.1080/13696810802159305.

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29

Moore, Henrietta L., and Constance Smith. "The Dotcom and the Digital." Public Culture 32, no. 3 (2020): 513–38. http://dx.doi.org/10.1215/08992363-8358698.

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In Kenya, the terms dotcom and digital have become popular descriptors for particular periods of change, as well as for modes of being. The two terms’ usage extends beyond reference to the age of the Internet or to encounters with new technologies. Rather, the dotcom and the digital—in different ways and in different decades—enable Kenyans to imagine with and through time. Using extensive ethnographic research and reflecting on pop music, TV advertising, and streetscapes, we explore how, for many Kenyans the dotcom and the digital are tools for making sense of the times in which they live. Dra

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30

Prof. Mellitus N. WANYAMA; Prof. Frederick B. J. A. NGALA, Joyce M. MOCHERE;. "The Relevance of University Music Curricula to the Requirements of Church Music Job Market in Kenya." Editon Consortium Journal of Curriculum and Educational Studies 2, no. 1 (2020): 250–74. http://dx.doi.org/10.51317/ecjces.v2i1.161.

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In the prevailing global church music job market, church worship ministers or music directors are on high demand as they play a crucial role in church liturgy and other church musical events. Globally, many universities offer programmes on music training and pastoral leadership. In Kenya, such training is predominantly in theological schools with few universities offering such programmes. Currently, there is a growing interest of church musicians in Kenya due to the need to spread the gospel beyond the church walls and to promote ecumenism. For example, churches participate in church crusades,

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31

Shitambasi, Sumba B. "Effect of Aural Tests on Choice of Music as a Study Subject by Muslim Students in Mombasa County, Kenya." European Journal of Education and Pedagogy 2, no. 3 (2021): 137–40. http://dx.doi.org/10.24018/ejedu.2021.2.3.134.

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Music education has a global acceptance as it helps improve and promote/ develop creativity and language skills among students. However, among the Muslim community, excessive instrumental music is not given prominence. This comes from the Hadiths by the prophet Muhammad that forbid music. In Kenya, the coastal region is mostly comprised of the Muslim community who hardly choose to pursue Music subject. This prompted this study that evaluated the effect of the inclusion of the aural tests in the curriculum on the choice of Music as a study subject by Muslim students in Mombasa County, Kenya. Th

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32

Prof. Frederick B. J. A. NGALA; Prof. Mellitus N. WANYAMA, Joyce M. MOCHERE;. "The Relevance of University Music Curricula to the Requirements of Music Production Job Market in Kenya." Editon Consortium Journal of Curriculum and Educational Studies 2, no. 1 (2020): 213–37. http://dx.doi.org/10.51317/ecjces.v2i1.160.

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Music production is one of the job markets that has gained popularity around the world, including Kenya. Universities have come up with music production programmes in order to prepare bachelor of music learners for this viable music job market opportunity. However, it is the observation of many studies that universities are not preparing job-ready graduates. With the advance of the digital era that is seamlessly permeating every sector of the music job market, attention needs to be given to the music production programs in Kenya. This study purposed to establish the relevance of university mus

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33

Mutongi, Kenda. "Thugs or Entrepreneurs? Perceptions of Matatu Operators in Nairobi, 1970 to the Present." Africa 76, no. 4 (2006): 549–68. http://dx.doi.org/10.3366/afr.2006.0072.

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AbstractThis essay examines the changing perceptions of matatu crews from the 1970s to the present. In the early 1970s commuters and many Kenyans typically viewed the matatu operators as an important, enterprising group of people, contributing to the economic development of the new nation of Kenya. This perception changed drastically in the 1980s when commuters, and indeed many Kenyans of all ranks, increasingly saw the matatu operators as thugs engaging in excessive behaviour – using misogynistic language, rudely handling passengers, playing loud music and driving at dangerously high speeds.

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34

Akombo, David Otieno. "Reporting on Music Therapy in Kenya." Norsk Tidsskrift for Musikkterapi 9, no. 1 (2000): 60–63. http://dx.doi.org/10.1080/08098130009477987.

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35

Ramadina, Dini Dwi Dista, Rosyid Al Atok, and Didik Sukriono. "Menumbuhkan nasionalisme di kalangan remaja kelompok seni musik Patrol Perkusi Bendho Agung di Desa Gadungsari Kecamatan Tirtoyudo Kabupaten Malang." Jurnal Integrasi dan Harmoni Inovatif Ilmu-Ilmu Sosial 1, no. 2 (2021): 182–93. http://dx.doi.org/10.17977/um063v1i2p182-193.

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This study aims to describe how to grow an attitude of nationalism, the appearance of nationalism, obstacles in developing nationalism, and those efforts are made to overcome obstacles to developing nationalism among youths Bendho Agung Percussion Patrol Music Art Group. This study uses a qualitative approach with descriptive research type. Data collection was carried out by means of observation, interviews, and documentation study. Data analysis using interactive analysis. Checking the validity of the data using triangulation techniques. how to grow an attitude of nationalism among adolescent

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36

Pramudya, Nicolas Agung. "Penciptaan Karya Komposisi Musik Sebagai Sebuah Penyampaian Makna Pengalaman Empiris Menjadi Sebuah Mahakarya." Gelar : Jurnal Seni Budaya 17, no. 1 (2019): 14–23. http://dx.doi.org/10.33153/glr.v17i1.2597.

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ABSTRAK Komposisi Musik “Katur Ibu” adalah komposisi musik yang ide penggarapannya berangkat dari sebuah cinta, pengorbanan dan kasih sayang yang dikemas dengan format tradisi dan modern menghadirkan warna baru dalam komposisi penciptaan, yang membentuk sebuah karya musik yang utuh. Jenis karya seni tidak menata pada kejadian menurut alur yang sebenarnya akan tetapi lebih kepada suasana yang mendukung. Komposisi musik “Katur Ibu” terdiri dari 5 bentuk utama dengan menggunakan tempo Allegro, moderato, adagio, andante, dan vivance, yang dapat menggambarkan suasana tenang, sedih, gembira dan sema

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37

Mwangi, Evan. "Sex, Music, and the City in a Globalized East Africa." PMLA/Publications of the Modern Language Association of America 122, no. 1 (2007): 321–24. http://dx.doi.org/10.1632/pmla.2007.122.1.321.

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One of the first things i noticed on landing in my hometown of nairobi, kenya, for summer vacation this year was the continued proliferation of new-style music that undermines traditional ties with the solid rural identities seen previously as quintessential manifestations of patriotism and African racial pride. Radios in duty-free shops at the Jomo Kenyatta International Airport were tuned to various FM stations, which issued beats that were a cross between Western hip-hop and traditional village music. Notable were the songs' calls for dissolving the boundaries between East African countries

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38

MURPHY, REGINA, and MARTIN FAUTLEY. "Music Education in Africa." British Journal of Music Education 32, no. 3 (2015): 243–45. http://dx.doi.org/10.1017/s0265051715000388.

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Coming from Botswana, South Africa, Zimbabwe, Ghana and Kenya, the papers in this Special Issue on Music Education in Africa cannot portray a definitive story of music education in all 54 sovereign states in the Continent, but as a first step towards understanding what matters in this region of the world, the range of topics in this issue provides us with a focal point for dialogue.

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39

Collins, John. "The early history of West African highlife music." Popular Music 8, no. 3 (1989): 221–30. http://dx.doi.org/10.1017/s0261143000003524.

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Highlife is one of the myriad varieties of acculturated popular dance-music styles that have been emerging from Africa this century and which fuse African with Western (i.e. European and American) and islamic influences. Besides highlife, other examples include kwela, township jive and mbaqanga from South Africa, chimurenga from Zimbabwe, the benga beat from Kenya, taraab music from the East African coast, Congo jazz (soukous) from Central Africa, rai music from North Africa, juju and apala music from western Nigeria, makossa from the Cameroons and mbalax from Senegal.

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40

Akuno, Emily Achieng'. "The Singing Teacher's Role in Educating Children's Abilities, Sensibilities and Sensitivities." British Journal of Music Education 32, no. 3 (2015): 299–313. http://dx.doi.org/10.1017/s0265051715000364.

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In the Republic of Kenya, song is widely used to enhance the whole curriculum in lower primary classes. Song is used especially to aid recall and therefore teachers adapt tunes that children already know, inserting relevant words from the subject at hand. Despite this widespread practice, this form of singing in schools is not recognised by the same teachers as music training in the classroom, and so little, if any, effort is put into the actual music production. Teachers do not attend to the sound of the music, as the intention is to capture facts about various things, including the soil, the

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41

Fujie, Linda, and Virginia Kathlene Gorlinski. "The Kenyah of Kalimantan (Indonesia)." Yearbook for Traditional Music 28 (1996): 235. http://dx.doi.org/10.2307/767857.

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42

HARRIS, ELLEN T. "EDITORIAL." Eighteenth Century Music 13, no. 1 (2016): 5–9. http://dx.doi.org/10.1017/s1478570615000391.

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As is now generally agreed, so-called ‘authentic’ performances of baroque music are modern in conception and sound. The point was argued convincingly during the 1980s by Laurence Dreyfus, Richard Taruskin and others (Dreyfus, ‘Early Music Defended against Its Devotees: A Theory of Historical Performance in the Twentieth Century’, The Musical Quarterly 69/3 (1983), 297–322; Taruskin, Daniel Leech-Wilkinson, Nicholas Temperley and Robert Winter, ‘The Limits of Authenticity: A Discussion’, Early Music 12/1 (1984), 3–25; Nicholas Kenyon, ed., Authenticity and Early Music: A Symposium (Oxford: Oxfo

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43

Akombo, David O. "Teaching about music and musical instruments of Kenya." Korean Music Education Society 50, no. 2 (2021): 221–45. http://dx.doi.org/10.30775/kmes.50.2.221.

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44

Asriyani, Nur, and Abdul Rachman. "Enkulturasi Musik Keroncong oleh O.K Gema Kencana Melalui Konser Tahunan di Banyumas." Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik 1, no. 2 (2019): 74–86. http://dx.doi.org/10.24036/musikolastika.v1i2.27.

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Musik Keroncong pada perkembangannya mengalami kemunduran seiring dengan perkembangan ilmu pengetahuan dan teknologi. Salah satu Orkes Keroncong di Kabupaten Banyumas yaitu O.K Gema Kencana Banyumas berupaya untuk mempertahankan, mewariskan, dan meneruskan musik keroncong kepada generasi muda dan masyarakat agar tidak hilang ditelan perkembangan zaman. Penelitian ini bertujuan untuk mengetahui proses enkulturasi yang diberikan oleh O.K Gema Kencana Banyumas melalui konser tahunan musik keroncong. Metode penelitian yang digunakan adalah kualitatif. Teknik pengumpulan data menggunakan teknik obs

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45

Koech, Leonard K. "Relationship between Watching ‘Gengetone’ Music and Drug Abuse among the Youth in Uasin Gishu County, Kenya." East African Journal of Interdisciplinary Studies 3, no. 1 (2021): 103–15. http://dx.doi.org/10.37284/eajis.3.1.312.

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Drugs, substance and alcohol abuse by many youths is as a result of various factors. Research conducted in the past have looked at how mass media channels (video and TV) and their influence on abuse of drugs and other substances among the youth. The purpose of this paper is to investigate how drug-related information portrayed on Gengetone music influences drugs and substance abuse among youths in Eldoret town. The research objectives were to investigate how the acceptability level of ‘Gengetone’ music and videos among youths, to examine ways in which ‘Gengetone music lyrics communicate inform

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46

Dewi, Cicilia Dikna Astrina, and Suharto Suharto. "Musical Development Of Barongan Turonggo Laras Through Additional Instrument In Kendal Regency." Jurnal Seni Musik 10, no. 1 (2021): 86–92. http://dx.doi.org/10.15294/jsm.v10i1.46058.

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This study aims to determine, describe, and analyze the development of the Barongan work of the Turonggo Laras group in Kendal Regency. The method used is descriptive qualitative with a musicological approach. Data collection techniques include observation, interviews, and documentation. The results showed that the development of working on Barongan Turonggo Laras music was in the form of adding western musical instruments, such as drums and keyboards in collaboration with gamelan. The use of the keyboard is intended as a filler for the main melody in campursari songs. This is because there ar

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47

Peters, Michael, and Ethan Wahl. "Eldoret, Kenya: Creating a Music Experience for Street Youth." Purdue Journal of Service-Learning and International Engagement 4, no. 1 (2017): 18–21. http://dx.doi.org/10.5703/1288284316523.

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48

Akuno, Emily Achieng’. "Perceptions and reflections of music teacher education in Kenya." International Journal of Music Education 30, no. 3 (2012): 272–91. http://dx.doi.org/10.1177/0255761412437818.

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49

Cohen, Albert. ""Authenticity and Early Music: A Symposium," Edited by Nicholas Kenyon." Performance Practice Review 2, no. 2 (1989): 173–76. http://dx.doi.org/10.5642/perfpr.198902.02.8.

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Mutonya, Maina. "Praise and Protest: Music and Contesting Patriotisms in Postcolonial Kenya." Social Dynamics 30, no. 2 (2004): 20–35. http://dx.doi.org/10.1080/02533950408628683.

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