Pub Date : 2021-03-26DOI: 10.24843/JRMA.2021.V09.I01.P06
Rianty Hutabarat, N. Wartini, N. S. Antara
This study aims to determine the effect of type of solvent and maceration temperature on the characteristics of cassava leaves extracts as a natural dyes leaves and determine the type of solvent for cassava leaf powder and the best maceration temperature to obtain the extract of natural cassava leaves. This study used a factorial randomized block design with 2 factors, namely the type of solvent (85% ethanol, 85% acetone and mixture (85% ethanol: 85% acetone) and maceration temperature (35 ° C, 45 ° C and 55 ° C). The data obtained were analyzed with variance and if the treatment had a significant effect, then continued with the Tukey test. The results showed that the treatment interactions had a very significant effect on yield, chlorophyll b, brightness (L *), yellowish level (b *), total chlorophyll, chlorophyll a. , redness (a *), but had no significant effect on the interaction at the level of redness (a *). The treatment of 85% acetone solvent and 55 ° C maceration temperature was the best treatment to produce acetone extract of natural dye of cassava leaves with yield characteristics of 14, 04%, total chlorophyll 12.10%, chlorophyll a 4.39%, chlorophyll b 7.71%, brightness (L *) 16.46, redness (a *) 9.77 yellowish (b *) of 5.70.brightness level (L*) of 11.03, redness level (a*) of 10.29, yellowish level (b*) of 2.83. Key words: cassava leaves, dye extract, maceration temperature, natural dye, solvent type.
{"title":"Karakteristik Ekstrak Pewarna Alami Daun Singkong (Manihot esculenta) pada Perlakuan Jenis Pelarut dan Suhu Maserasi","authors":"Rianty Hutabarat, N. Wartini, N. S. Antara","doi":"10.24843/JRMA.2021.V09.I01.P06","DOIUrl":"https://doi.org/10.24843/JRMA.2021.V09.I01.P06","url":null,"abstract":"This study aims to determine the effect of type of solvent and maceration temperature on the characteristics of cassava leaves extracts as a natural dyes leaves and determine the type of solvent for cassava leaf powder and the best maceration temperature to obtain the extract of natural cassava leaves. This study used a factorial randomized block design with 2 factors, namely the type of solvent (85% ethanol, 85% acetone and mixture (85% ethanol: 85% acetone) and maceration temperature (35 ° C, 45 ° C and 55 ° C). The data obtained were analyzed with variance and if the treatment had a significant effect, then continued with the Tukey test. The results showed that the treatment interactions had a very significant effect on yield, chlorophyll b, brightness (L *), yellowish level (b *), total chlorophyll, chlorophyll a. , redness (a *), but had no significant effect on the interaction at the level of redness (a *). The treatment of 85% acetone solvent and 55 ° C maceration temperature was the best treatment to produce acetone extract of natural dye of cassava leaves with yield characteristics of 14, 04%, total chlorophyll 12.10%, chlorophyll a 4.39%, chlorophyll b 7.71%, brightness (L *) 16.46, redness (a *) 9.77 yellowish (b *) of 5.70.brightness level (L*) of 11.03, redness level (a*) of 10.29, yellowish level (b*) of 2.83. \u0000Key words: cassava leaves, dye extract, maceration temperature, natural dye, solvent type.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"9 1","pages":"53"},"PeriodicalIF":0.3,"publicationDate":"2021-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44967970","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As Emma Hanna notes in the opening line of Sounds of War, ‘In parallel with studies of the poetry of the Great War, Britain’s musical history of the conflict has focused on a small group of elite composers’ (p. 1). Indeed, musical interest in the war has tended to focus on the likes of Edward Elgar, Ralph Vaughan Williams and George Butterworth just as literary enquiry has traditionally centred on Wilfred Owen, Siegfried Sassoon and Robert Graves. However, as William Brooks, Christina Bashford and Gayle Magee write, ‘There are many stories that could be told [about the war], and the vast bulk of them concern ordinary people, not statesmen or generals or celebrated composers. To understand the war, surely, we need do no more than to give these voices a hearing.’1
{"title":"Oh, What a Musical War! A Retrospective after the First World War Centenary","authors":"M. Meinhart","doi":"10.1017/rma.2021.5","DOIUrl":"https://doi.org/10.1017/rma.2021.5","url":null,"abstract":"As Emma Hanna notes in the opening line of Sounds of War, ‘In parallel with studies of the poetry of the Great War, Britain’s musical history of the conflict has focused on a small group of elite composers’ (p. 1). Indeed, musical interest in the war has tended to focus on the likes of Edward Elgar, Ralph Vaughan Williams and George Butterworth just as literary enquiry has traditionally centred on Wilfred Owen, Siegfried Sassoon and Robert Graves. However, as William Brooks, Christina Bashford and Gayle Magee write, ‘There are many stories that could be told [about the war], and the vast bulk of them concern ordinary people, not statesmen or generals or celebrated composers. To understand the war, surely, we need do no more than to give these voices a hearing.’1","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"146 1","pages":"231 - 247"},"PeriodicalIF":0.3,"publicationDate":"2021-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2021.5","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46188572","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Wanda Landowska and Joaquín Nin were, in the context of the Parisian Schola Cantorum during the first decade of the twentieth century, two of the leading artists performing the harpsichord repertoire. This established them as pioneers of its concert practice, but their irreconcilable attitudes to performance – Landowska’s supposedly historical/reconstructive (employing the harpsichord) and Nin’s updated (employing the modern piano) – embroiled them in a fierce controversy conducted in French and Spanish journals between November 1911 and October 1912. This article examines a large quantity of unedited correspondence together with the relevant press articles in the context of the two performers’ agendas. The results suggest that this controversy was an unprecedented marketing strategy orchestrated by Nin against, but reliant upon, Landowska’s success at the time when he was about to make his début in Spain. However, the unforeseen and long-lasting consequences of this controversy brought priceless publicity for Landowska’s cause: the revival of the harpsichord.
{"title":"‘Piano ou Clavecin?’ Joaquín Nin’s Feud with Wanda Landowska’s Harpsichord","authors":"Sonia GONZALO DELGADO","doi":"10.1017/rma.2021.25","DOIUrl":"https://doi.org/10.1017/rma.2021.25","url":null,"abstract":"Abstract Wanda Landowska and Joaquín Nin were, in the context of the Parisian Schola Cantorum during the first decade of the twentieth century, two of the leading artists performing the harpsichord repertoire. This established them as pioneers of its concert practice, but their irreconcilable attitudes to performance – Landowska’s supposedly historical/reconstructive (employing the harpsichord) and Nin’s updated (employing the modern piano) – embroiled them in a fierce controversy conducted in French and Spanish journals between November 1911 and October 1912. This article examines a large quantity of unedited correspondence together with the relevant press articles in the context of the two performers’ agendas. The results suggest that this controversy was an unprecedented marketing strategy orchestrated by Nin against, but reliant upon, Landowska’s success at the time when he was about to make his début in Spain. However, the unforeseen and long-lasting consequences of this controversy brought priceless publicity for Landowska’s cause: the revival of the harpsichord.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"171 - 192"},"PeriodicalIF":0.3,"publicationDate":"2021-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2021.25","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44954967","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article argues that songwriting can be an autobiographical activity. I trace a long-standing mistrust of self-expression in popular music through a branch of scholarship fixated with performance and personification, demonstrating its underlying affinities with post-structuralism and modernist dreams of impersonality. What we have lost as a result of this undue insistence on mediation is an awareness of the two-way traffic between life and lyrical craft. A poetics of song should pay increased attention to this intricate relationship – not reducing lyrics to biographical contingencies, but rather viewing autobiography itself as a complex process of self-reading, a public act of autobiographical making. My argument is illustrated with reference to three contemporary singer-songwriters who have interpreted aspects of their lives through song: Vic Chesnutt, Sun Kil Moon (Mark Kozelek) and Anohni (formerly of Antony and the Johnsons). Their work ultimately traverses and obscures the interstices between experience and imagination.
摘要本文认为歌曲创作可以是一种自传体活动。我通过一个专注于表演和人格化的学术分支，追溯了人们对流行音乐中自我表达的长期不信任，证明了它与后结构主义和现代主义的非人格梦想之间的潜在联系。由于这种对调解的过度坚持，我们失去了对生活和抒情艺术之间双向交流的意识。歌曲诗学应该更多地关注这种复杂的关系——不要把歌词简化为传记的偶然事件，而是把自传本身视为一个复杂的自我阅读过程，一种自传创作的公共行为。我的论点是通过三位当代创作型歌手来说明的，他们通过歌曲诠释了自己生活的方方面面：Vic Chesnutt、Sun Kil Moon（Mark Kozelek）和Anohni（Antony and the Johnsons的前任）。他们的作品最终穿越并遮蔽了经验和想象之间的空隙。
{"title":"Popular Song and the Poetics of Experience","authors":"R. Cole","doi":"10.1017/rma.2020.25","DOIUrl":"https://doi.org/10.1017/rma.2020.25","url":null,"abstract":"Abstract This article argues that songwriting can be an autobiographical activity. I trace a long-standing mistrust of self-expression in popular music through a branch of scholarship fixated with performance and personification, demonstrating its underlying affinities with post-structuralism and modernist dreams of impersonality. What we have lost as a result of this undue insistence on mediation is an awareness of the two-way traffic between life and lyrical craft. A poetics of song should pay increased attention to this intricate relationship – not reducing lyrics to biographical contingencies, but rather viewing autobiography itself as a complex process of self-reading, a public act of autobiographical making. My argument is illustrated with reference to three contemporary singer-songwriters who have interpreted aspects of their lives through song: Vic Chesnutt, Sun Kil Moon (Mark Kozelek) and Anohni (formerly of Antony and the Johnsons). Their work ultimately traverses and obscures the interstices between experience and imagination.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"146 1","pages":"81 - 116"},"PeriodicalIF":0.3,"publicationDate":"2021-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2020.25","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49653892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article explores the politics of performing Wagner outdoors, focusing on the Waldoper in Sopot, Poland, and its operations under the Third Reich. Festival literature suggests that the Reich combined climatic deterministic logic with established open-air theatrical practice to implicate experiencing Wagnerian sounds outdoors as inculcating völkisch character in Poles, positioning the festival within the Reich’s imperial mission. However, this vision from ‘on high’ was undermined by bureaucratic disorganization and inefficiency, much like other Nazi artistic projects. The article concludes with a discussion of the post-war afterlives of the Waldoper and its attendant mythologies.
{"title":"On the Politics of Performing Wagner Outdoors: Open-Air Opera, Gesamtkunstwerk and the Third Reich’s ‘Forest Opera’, 1933–45","authors":"Kirsten S. Paige","doi":"10.1017/rma.2020.26","DOIUrl":"https://doi.org/10.1017/rma.2020.26","url":null,"abstract":"Abstract This article explores the politics of performing Wagner outdoors, focusing on the Waldoper in Sopot, Poland, and its operations under the Third Reich. Festival literature suggests that the Reich combined climatic deterministic logic with established open-air theatrical practice to implicate experiencing Wagnerian sounds outdoors as inculcating völkisch character in Poles, positioning the festival within the Reich’s imperial mission. However, this vision from ‘on high’ was undermined by bureaucratic disorganization and inefficiency, much like other Nazi artistic projects. The article concludes with a discussion of the post-war afterlives of the Waldoper and its attendant mythologies.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"146 1","pages":"147 - 180"},"PeriodicalIF":0.3,"publicationDate":"2021-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2020.26","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45957721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study aims to determine the effect of filler types and concentrations and their interactions on the characteristics of bioplastics and to determine the concentrations and types of fillers that produce bioplastics with the best characteristics. This research used factorial randomized block design. The first factor is the type of filler consisting of 3 levels that is ZnO, clay, CaCO3. The second factor is the filler concentration consisting of 3 levels 0, 3, 6, and 9% (w/w). Each treatment are grouped into two time-based of making bioplastics, so there are 24 experimental units. The variabels observed were tensil strength, elongation at break, modulus young, swelling, and biodegradation. The data obtained were analyzed of variant and test Tukey’s. The results showed that the concentration and type of filler had a very significant effect on tensile strenght, elongation at break, modulus young and swelling but had no significant effect on the biodegradation value. The 9% concentration with ZnO filler produced the best bioplastic characteristics with a tensile strength value 4.11 MPa, elongation at break 31.16%, modulus young 7.06 MPa, swelling 55.01%, and biodegradability for 6-7 days. Keywords: Bioplastics, filler concentration, ZnO, clay, CaCO3
{"title":"Pengaruh Jenis dan Konsentrasi Filler terhadap Karakteristik Bioplastik dari Tepung Maizena","authors":"Parngoluan Hutabalian, Bambang Admadi Harsujowono, Amna Hartati","doi":"10.24843/JRMA.2020.V08.I04.P11","DOIUrl":"https://doi.org/10.24843/JRMA.2020.V08.I04.P11","url":null,"abstract":"This study aims to determine the effect of filler types and concentrations and their interactions on the characteristics of bioplastics and to determine the concentrations and types of fillers that produce bioplastics with the best characteristics. This research used factorial randomized block design. The first factor is the type of filler consisting of 3 levels that is ZnO, clay, CaCO3. The second factor is the filler concentration consisting of 3 levels 0, 3, 6, and 9% (w/w). Each treatment are grouped into two time-based of making bioplastics, so there are 24 experimental units. The variabels observed were tensil strength, elongation at break, modulus young, swelling, and biodegradation. The data obtained were analyzed of variant and test Tukey’s. The results showed that the concentration and type of filler had a very significant effect on tensile strenght, elongation at break, modulus young and swelling but had no significant effect on the biodegradation value. The 9% concentration with ZnO filler produced the best bioplastic characteristics with a tensile strength value 4.11 MPa, elongation at break 31.16%, modulus young 7.06 MPa, swelling 55.01%, and biodegradability for 6-7 days. \u0000Keywords: Bioplastics, filler concentration, ZnO, clay, CaCO3","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"8 1","pages":"580"},"PeriodicalIF":0.3,"publicationDate":"2020-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48770586","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"RMA volume 145 issue 2 Cover and Back matter","authors":"","doi":"10.1017/rma.2020.24","DOIUrl":"https://doi.org/10.1017/rma.2020.24","url":null,"abstract":"","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"145 1","pages":"b1 - b2"},"PeriodicalIF":0.3,"publicationDate":"2020-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2020.24","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41487313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In the 1890s, two musicians travelled between Britain and South Africa. One was the first examiner to travel abroad to examine for the Associated Board of the Royal Schools of Music, Franklin Taylor. At the same time as Taylor’s arrival in the Cape in 1894, a black South African composer, John Knox Bokwe, prepared to republish a tonic sol-fa hymnal containing many hymns that eventually became popular in Britain, to which Bokwe travelled multiple times. Although these narratives might appear to reflect highly divergent contexts for musical experience, the fluctuating constructions of imperial authority encountered in the careers of both these men link their stories together more deeply than their geographical and cultural disparities set them apart. The synchronous presentation of their stories in this article thus raises questions of how music emerged as a metaphor for constructions of imperial knowledge across shifting cultural boundaries.
{"title":"The Examiner and the Evangelist: Authorities of Music and Empire, c.1894","authors":"Erin Johnson-Williams","doi":"10.1017/rma.2020.16","DOIUrl":"https://doi.org/10.1017/rma.2020.16","url":null,"abstract":"Abstract In the 1890s, two musicians travelled between Britain and South Africa. One was the first examiner to travel abroad to examine for the Associated Board of the Royal Schools of Music, Franklin Taylor. At the same time as Taylor’s arrival in the Cape in 1894, a black South African composer, John Knox Bokwe, prepared to republish a tonic sol-fa hymnal containing many hymns that eventually became popular in Britain, to which Bokwe travelled multiple times. Although these narratives might appear to reflect highly divergent contexts for musical experience, the fluctuating constructions of imperial authority encountered in the careers of both these men link their stories together more deeply than their geographical and cultural disparities set them apart. The synchronous presentation of their stories in this article thus raises questions of how music emerged as a metaphor for constructions of imperial knowledge across shifting cultural boundaries.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"145 1","pages":"317 - 350"},"PeriodicalIF":0.3,"publicationDate":"2020-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2020.16","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42036614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Leah Batstone (leah.batstone@mail.mcgill.ca) received her Ph.D. from McGill University in 2019. Her dissertation examines the influence of Friedrich Nietzsche on Mahler’s early symphonies through the study of Nietzsche’s reception by the composer’s intellectual circle. Her expertise extends to issues surrounding identity and art music in central and eastern Europe. Batstone is the recipient of a 2020–3 Marie Skłodowska Curie Action REWIRE fellowship at the University of Vienna, where she will be working on a history of twentieth-century artmusic inUkraine. She is completing a monograph, Mahler’s Nietzsche; and an article on Mahler and multiethnic identity in fin-de-siècle Vienna is forthcoming in 19th-Century Music. She currently teaches at Hunter College, City University of New York.
Leah Batstone(leah.batstone@mail.mcgill.ca)2019年获得麦吉尔大学博士学位。本文通过对尼采思想界对马勒早期交响曲的接受研究，考察了弗里德里希·尼采对马勒前期交响曲的影响。她的专业知识延伸到中欧和东欧的身份认同和艺术音乐问题。巴特斯通是维也纳大学2020–3 Marie Skłodowska Curie Action REWIRE奖学金的获得者，她将在那里研究乌克兰20世纪艺术音乐的历史。她正在完成一本专著《马勒的尼采》；《19世纪音乐》杂志即将发表一篇关于马勒和维也纳多民族身份的文章。她目前在纽约市立大学亨特学院任教。
{"title":"Contributors","authors":"Leah Batstone","doi":"10.1017/rma.2020.21","DOIUrl":"https://doi.org/10.1017/rma.2020.21","url":null,"abstract":"Leah Batstone (leah.batstone@mail.mcgill.ca) received her Ph.D. from McGill University in 2019. Her dissertation examines the influence of Friedrich Nietzsche on Mahler’s early symphonies through the study of Nietzsche’s reception by the composer’s intellectual circle. Her expertise extends to issues surrounding identity and art music in central and eastern Europe. Batstone is the recipient of a 2020–3 Marie Skłodowska Curie Action REWIRE fellowship at the University of Vienna, where she will be working on a history of twentieth-century artmusic inUkraine. She is completing a monograph, Mahler’s Nietzsche; and an article on Mahler and multiethnic identity in fin-de-siècle Vienna is forthcoming in 19th-Century Music. She currently teaches at Hunter College, City University of New York.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"145 1","pages":"507 - 508"},"PeriodicalIF":0.3,"publicationDate":"2020-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2020.21","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45816085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"RMA volume 145 issue 2 Cover and Front matter","authors":"","doi":"10.1017/rma.2020.23","DOIUrl":"https://doi.org/10.1017/rma.2020.23","url":null,"abstract":"","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":" ","pages":"f1 - f3"},"PeriodicalIF":0.3,"publicationDate":"2020-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2020.23","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47369150","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：