In the 1960s, the quantity of publications on aesthetics of music significantly increased in Hungary. The variability of the subjects, the approaches and the opinions are result of an explicit ideological reordering based on the consequently articulated politics of anti-Stalinism. By the mid-sixties the economic founding and sustainability of socialism and its optimized operation became the crucial problem for the power, hence the importance of natural and social sciences increased in the public discourses. The arts were no longer treated as mere illustrations of the political power and its intentions. I focus on the main contributions to aesthetics of music of the so-called creative Marxism written by three internationally acknowledged Hungarian scholars of this period: Jozsef Ujfalussy, Denes Zoltai and Janos Marothy. Selected texts are analized from theoretical points of view and interpreted in the context of the Hungarian cultural policy and the national and international career of their authors as well.
{"title":"Theories on socialist realism and socialist music culture in the 1960s in Hungary","authors":"Andras Ranki","doi":"10.2298/MUZ1926125R","DOIUrl":"https://doi.org/10.2298/MUZ1926125R","url":null,"abstract":"In the 1960s, the quantity of publications on aesthetics of music significantly increased in Hungary. The variability of the subjects, the approaches and the opinions are result of an explicit ideological reordering based on the consequently articulated politics of anti-Stalinism. By the mid-sixties the economic founding and sustainability of socialism and its optimized operation became the crucial problem for the power, hence the importance of natural and social sciences increased in the public discourses. The arts were no longer treated as mere illustrations of the political power and its intentions. I focus on the main contributions to aesthetics of music of the so-called creative Marxism written by three internationally acknowledged Hungarian scholars of this period: Jozsef Ujfalussy, Denes Zoltai and Janos Marothy. Selected texts are analized from theoretical points of view and interpreted in the context of the Hungarian cultural policy and the national and international career of their authors as well.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68534986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This text offers a discussion and reappraisal of the historical impact of the Prussian historical school in general and of historicism in particular, epitomised in the works of Leopold von Ranke and Johann Gustav Droysen, on the historiography of music, as diagnosed by Carl Dahlhaus and Leo Treitler in Foundations of Music History and Music and Historical Imagination, with special focus on the distinction between historicism and Treitler?s ?neopositivism?, its role and those of narrativity, aesthetics, and the work concept in music historiography.
{"title":"Music history and the historicist imagination: Revisiting Carl Dahlhaus and Leo Treitler","authors":"Žarko Cvejić","doi":"10.2298/MUZ1926015C","DOIUrl":"https://doi.org/10.2298/MUZ1926015C","url":null,"abstract":"This text offers a discussion and reappraisal of the historical impact of the Prussian historical school in general and of historicism in particular, epitomised in the works of Leopold von Ranke and Johann Gustav Droysen, on the historiography of music, as diagnosed by Carl Dahlhaus and Leo Treitler in Foundations of Music History and Music and Historical Imagination, with special focus on the distinction between historicism and Treitler?s ?neopositivism?, its role and those of narrativity, aesthetics, and the work concept in music historiography.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68535281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Starting with the hypothesis that sound recordings published by the Serbian/ Yugoslav record label PGP-RTB/RTS dominated programmes of the Radio Television Belgrade/Radio Television Serbia during most of the twentieth century (while declining in this century), and that decisions made within the label on which composers? works were going to be (repeatedly) present in its catalogue consequently had significant impact on overall music and media culture in Serbia/Yugoslavia, our goal was to examine how the central composer figure of Serbian music, Stevan Stojanovic Mokranjac, was represented in this catalogue. Research methods were based primarily on analysis of archive material gathered in documentation of the label itself, data on recordings available via online music databases, and recordings themselves, while relying on theoretical notions of canon in music, with the accent on the performing canon.
{"title":"Mokranjac on repeat: Reaffirming musical canon through sound recordings (PGP-RTB/RTS discography)","authors":"Biljana Milanović, Marija Maglov","doi":"10.2298/muz1927221m","DOIUrl":"https://doi.org/10.2298/muz1927221m","url":null,"abstract":"Starting with the hypothesis that sound recordings published by the Serbian/ Yugoslav record label PGP-RTB/RTS dominated programmes of the Radio Television Belgrade/Radio Television Serbia during most of the twentieth century (while declining in this century), and that decisions made within the label on which composers? works were going to be (repeatedly) present in its catalogue consequently had significant impact on overall music and media culture in Serbia/Yugoslavia, our goal was to examine how the central composer figure of Serbian music, Stevan Stojanovic Mokranjac, was represented in this catalogue. Research methods were based primarily on analysis of archive material gathered in documentation of the label itself, data on recordings available via online music databases, and recordings themselves, while relying on theoretical notions of canon in music, with the accent on the performing canon.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68536003","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper deals with the activities of Petar Krstic in the domain of music education in the first years after the First World War and the constitution of the Kingdom of Serbs, Croats and Slovenes. As a long-serving director of the Serbian Music School, Krstic initiated various processes in order to modernize it and transform it into institution of higher level of music education. For that purpose he focused on the school?s internal reorganization and ?etatization?. As a result, Krstic prepared new school regulations and several draft s of legal texts and started negotiations with the authorities. Krstic?s ideas, plans and his undertakings concerning the reforms during the rule over the Serbian Music School/Music School in Belgrade will be discussed in detail together with their historical value.
{"title":"From great expectations to great disappointments: Petar Krstic’s contribution to the process of reforms of music education in interwar Yugoslavia (1918-1921)","authors":"Ivana Vesic","doi":"10.2298/muz1927253v","DOIUrl":"https://doi.org/10.2298/muz1927253v","url":null,"abstract":"This paper deals with the activities of Petar Krstic in the domain of music education in the first years after the First World War and the constitution of the Kingdom of Serbs, Croats and Slovenes. As a long-serving director of the Serbian Music School, Krstic initiated various processes in order to modernize it and transform it into institution of higher level of music education. For that purpose he focused on the school?s internal reorganization and ?etatization?. As a result, Krstic prepared new school regulations and several draft s of legal texts and started negotiations with the authorities. Krstic?s ideas, plans and his undertakings concerning the reforms during the rule over the Serbian Music School/Music School in Belgrade will be discussed in detail together with their historical value.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68536040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article addresses the problems that pertain to macro-historical data in music research. By presenting examples from recent research on European ladies? orchestras of the late nineteenth century, I aim to establish how large data sets could be used in a meaningful way. First, I shall present an overview of source materials. Second, methods for analyzing concert programmes will be critically assessed. Third, the possibilities of visualizing concert tours will be explored. Finally, special attention will be paid to questions regarding social class and gender.
{"title":"New data, new methods? Sources on ladies’ salon orchestras in Europe, 1870-1918","authors":"Nuppu Koivisto","doi":"10.2298/MUZ1926041K","DOIUrl":"https://doi.org/10.2298/MUZ1926041K","url":null,"abstract":"This article addresses the problems that pertain to macro-historical data in music research. By presenting examples from recent research on European ladies? orchestras of the late nineteenth century, I aim to establish how large data sets could be used in a meaningful way. First, I shall present an overview of source materials. Second, methods for analyzing concert programmes will be critically assessed. Third, the possibilities of visualizing concert tours will be explored. Finally, special attention will be paid to questions regarding social class and gender.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68534926","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pierre Boulez (1925–2016) devoted a great deal of time and consideration to the relationship between the composer’s invention and performance media, in particular those related to the application of the latest technological breakthroughs and new instruments. Boulez’s famous essay “Technology and the Composer“ (1977/1986) proclaims his desire to widen the range of expressive means of art music by conquering new media. Boulez’s “vintage“ insights are here juxtaposed with a contemporary Quantum Music project (2015–2018), and with one particular piece written within this project: Super Position (Many Worlds) by Kim Helweg (2017), commissioned by the Institute of Musicology SASA and supported by the Danish Arts Foundation (Statens Kunstfond). At least two lines * This article was written for the project Quantum Music, co-financed by the EACEA within the programme Creative Europe (559695-CREA-1-2015-1-RS-CULT-COOP1). We have also received support from the Ministry of Culture and Information of the Republic of Serbia. Some parts of the research were conducted within the project Identities of Serbian Music Within Local and Global Contexts Traditions, changes, challenges (No 177004) financed by the Ministry of Education, Science and Technological Development of the Republic of Serbia. Jelena Janković-Beguš expresses her gratitude to Prof. Vesna Mikić for her valuable insights during the early stages of the conception of this paper. The piece Super Position (Many Worlds) by Kim Helweg (2017) was comissioned by the Institute of Musicology SASA and supported with a grant awarded by The Danish National Arts Foundation (Statens Kunstfond), https://www.kunst.dk/ 1 ivana.medic@music.sanu.ac.rs 2 jelenaforfree@gmail.com D O I https://doi.org/10.2298/MUZ1824079M U D C 78.071.1 БУЛ Е З П. 789.983.087.2
皮埃尔·布列兹(Pierre Boulez, 1925-2016)花了大量的时间和精力研究作曲家的发明与演奏媒介之间的关系，特别是那些与最新技术突破和新乐器的应用有关的关系。布列兹的著名论文《技术与作曲家》(1977/1986)表明，他希望通过征服新媒体来扩大艺术音乐的表现手段范围。在这里，布列兹的“复古”见解与当代量子音乐项目(2015-2018)并置，以及该项目中的一件特别作品:Kim Helweg的《Super Position (Many Worlds)》(2017)，由SASA音乐学研究所委托，由丹麦艺术基金会(Statens Kunstfond)支持。*本文是为“量子音乐”项目撰写的，该项目由EACEA在“创意欧洲”项目(559695-CREA-1-2015-1-RS-CULT-COOP1)内共同资助。我们还得到了塞尔维亚共和国文化和新闻部的支持。研究的某些部分是在塞尔维亚共和国教育、科学和技术发展部资助的“地方和全球背景下塞尔维亚音乐的特征、传统、变化和挑战”项目(第177004号)内进行的。Jelena Janković-Beguš对Vesna mikiki教授在本文构思的早期阶段提供的宝贵见解表示感谢。作品《超级位置(多个世界)》(2017)受SASA音乐研究所委托，由丹麦国家艺术基金会(Statens Kunstfond)资助，https://www.kunst.dk/ 1 ivana.medic@music.sanu.ac.rs 2 jelenaforfree@gmail.com D O I https://doi.org/10.2298/MUZ1824079M U D C 78.071.1 БУЛ Е З П。789.983.087.2
{"title":"What does quantum music sound like and what would Pierre Boulez think of it? Super position (many worlds) by Kim Helweg (2017)","authors":"I. Medić, Jelena Janković-Beguš","doi":"10.2298/muz1824079m","DOIUrl":"https://doi.org/10.2298/muz1824079m","url":null,"abstract":"Pierre Boulez (1925–2016) devoted a great deal of time and consideration to the relationship between the composer’s invention and performance media, in particular those related to the application of the latest technological breakthroughs and new instruments. Boulez’s famous essay “Technology and the Composer“ (1977/1986) proclaims his desire to widen the range of expressive means of art music by conquering new media. Boulez’s “vintage“ insights are here juxtaposed with a contemporary Quantum Music project (2015–2018), and with one particular piece written within this project: Super Position (Many Worlds) by Kim Helweg (2017), commissioned by the Institute of Musicology SASA and supported by the Danish Arts Foundation (Statens Kunstfond). At least two lines * This article was written for the project Quantum Music, co-financed by the EACEA within the programme Creative Europe (559695-CREA-1-2015-1-RS-CULT-COOP1). We have also received support from the Ministry of Culture and Information of the Republic of Serbia. Some parts of the research were conducted within the project Identities of Serbian Music Within Local and Global Contexts Traditions, changes, challenges (No 177004) financed by the Ministry of Education, Science and Technological Development of the Republic of Serbia. Jelena Janković-Beguš expresses her gratitude to Prof. Vesna Mikić for her valuable insights during the early stages of the conception of this paper. The piece Super Position (Many Worlds) by Kim Helweg (2017) was comissioned by the Institute of Musicology SASA and supported with a grant awarded by The Danish National Arts Foundation (Statens Kunstfond), https://www.kunst.dk/ 1 ivana.medic@music.sanu.ac.rs 2 jelenaforfree@gmail.com D O I https://doi.org/10.2298/MUZ1824079M U D C 78.071.1 БУЛ Е З П. 789.983.087.2","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":"79-93"},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68534339","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Two seemingly incompatible worlds of quantum physics and acoustics have their meeting point in experiments with the Bose-Einstein Condensate. From the very beginning, the Quantum Music project was based on the idea of converting the acoustic phenomena of quantum physics that appear in experiments into the sound domain accessible to the human ear. Th e fi rst part of this paper describes the experimental conditions in which these acoustic phenomena occur. Th e second part of the paper describes the process of sound synthesis which was used to generate fi nal sounds. Sound synthesis was based on the use of two types of basic data: theoretical formulas and the results of experiments with the Bose-Einstein condensate. Th e process of sound synthesis based on theoretical equations was conducted following the principles of additive synthesis, realized using the Java Script and Max MSP software. The synthesis of sounds based on the results of experiments was done using the MatLab so ft ware. Th e third part or the article deals with the acoustic analysis of the generated sounds, indicating some of the acoustic phenomena that have emerged. Also, we discuss the possible ways of using such sounds in the process of composing and performing contemporary music.
{"title":"Synthesis and analysis of sounds developed from the Bose-Einstein condensate: Theory and experimental results","authors":"Dragan Novković, Marko Peljevic, Mateja Malinovic","doi":"10.2298/muz1824095n","DOIUrl":"https://doi.org/10.2298/muz1824095n","url":null,"abstract":"Two seemingly incompatible worlds of quantum physics and acoustics have their meeting point in experiments with the Bose-Einstein Condensate. From the very beginning, the Quantum Music project was based on the idea of converting the acoustic phenomena of quantum physics that appear in experiments into the sound domain accessible to the human ear. Th e fi rst part of this paper describes the experimental conditions in which these acoustic phenomena occur. Th e second part of the paper describes the process of sound synthesis which was used to generate fi nal sounds. Sound synthesis was based on the use of two types of basic data: theoretical formulas and the results of experiments with the Bose-Einstein condensate. Th e process of sound synthesis based on theoretical equations was conducted following the principles of additive synthesis, realized using the Java Script and Max MSP software. The synthesis of sounds based on the results of experiments was done using the MatLab so ft ware. Th e third part or the article deals with the acoustic analysis of the generated sounds, indicating some of the acoustic phenomena that have emerged. Also, we discuss the possible ways of using such sounds in the process of composing and performing contemporary music.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":"95-109"},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68534506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The quantum mechanical description of microscopic phenomena treats minuscule particles as waves and explains why atoms and molecules absorb and emit radiation at particular frequencies. This article reviews the physical theory of waves and discusses similarities between atoms and musical instruments. In particular, it describes how we may identify new musical scales and harmonies and play atomic music by translating and scaling the frequencies in the atomic world to the audible spectrum.
{"title":"The quantum vibes of atoms and ichthyosaurs","authors":"K. Mølmer","doi":"10.2298/MUZ1824051M","DOIUrl":"https://doi.org/10.2298/MUZ1824051M","url":null,"abstract":"The quantum mechanical description of microscopic phenomena treats minuscule particles as waves and explains why atoms and molecules absorb and emit radiation at particular frequencies. This article reviews the physical theory of waves and discusses similarities between atoms and musical instruments. In particular, it describes how we may identify new musical scales and harmonies and play atomic music by translating and scaling the frequencies in the atomic world to the audible spectrum.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":"51-59"},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68534119","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Quantum Music is the title of a research project that opened up an opportunity to investigate the relationship between art and science – to be precise, between music and quantum physics. The idea was to create a platform for innovative work with musical composition and musical instruments inspired by the theories of quantum mechanics. The further development was carefully put into the hands of the different members of the project with such different competences as sound design, physics, musical live performance, composition, light design and musicology. In this connection, I fulfilled the role and interest of the composer as well as representing the performing arts (dance and acting). The aim of my participation was to show how collaboration between music and science could result in a development of different functional approaches to compositional strategies in general and give a new perspective for the artistic thinking in music as well as in the performing arts in general. This article is written as a part of an artistic research and the ideas, statements and conclusions presented in it are to be understood as being directly linked to creative work. But indeed, I also hope this text will provide inspiration to approach music in a new way, both for listeners, musicologists, musicians and other performing artists.
{"title":"Composing with Quantum Information: Aspects of Quantum Music in Theory and Practice","authors":"Kim Helweg","doi":"10.2298/MUZ1824061H","DOIUrl":"https://doi.org/10.2298/MUZ1824061H","url":null,"abstract":"Quantum Music is the title of a research project that opened up an opportunity to investigate the relationship between art and science – to be precise, between music and quantum physics. The idea was to create a platform for innovative work with musical composition and musical instruments inspired by the theories of quantum mechanics. The further development was carefully put into the hands of the different members of the project with such different competences as sound design, physics, musical live performance, composition, light design and musicology. In this connection, I fulfilled the role and interest of the composer as well as representing the performing arts (dance and acting). The aim of my participation was to show how collaboration between music and science could result in a development of different functional approaches to compositional strategies in general and give a new perspective for the artistic thinking in music as well as in the performing arts in general. This article is written as a part of an artistic research and the ideas, statements and conclusions presented in it are to be understood as being directly linked to creative work. But indeed, I also hope this text will provide inspiration to approach music in a new way, both for listeners, musicologists, musicians and other performing artists.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":"61-77"},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68534241","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
: Since this is a phenomenon of recent times, the significance of the politicization of music during the period of totalitarian rule in Bulgaria (1944–1989) is still unexplored. This paper focuses on the interplay between the political regime, musical life in Bulgaria, and the status of Bulgarian composers. Many books, articles, conferences and PhDs have been presented recently in the field of cultural studies, promoting a multidisciplinary approach in several fields. A new approach tothis dynamic period would clarify the overall development of Bulgarian musical culture in the twentieth century.
{"title":"The politicization of music during the period of totalitarian rule in Bulgaria (1944-1989)","authors":"S. Dermendzhieva","doi":"10.2298/MUZ1825179D","DOIUrl":"https://doi.org/10.2298/MUZ1825179D","url":null,"abstract":": Since this is a phenomenon of recent times, the significance of the politicization of music during the period of totalitarian rule in Bulgaria (1944–1989) is still unexplored. This paper focuses on the interplay between the political regime, musical life in Bulgaria, and the status of Bulgarian composers. Many books, articles, conferences and PhDs have been presented recently in the field of cultural studies, promoting a multidisciplinary approach in several fields. A new approach tothis dynamic period would clarify the overall development of Bulgarian musical culture in the twentieth century.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":"179-198"},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68534672","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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