Pub Date : 2015-12-28DOI: 10.6092/ISSN.2039-9715/5870
Elena Petrušanskaja
The paper, which was the opening speech to the conference Musicians and Musicologists as Teachers: How to Construct Musical Comprehension for Students , raises questions of central importance about the purpose of music teaching and the more general issues of cultural education: what is most important today for teaching? What do we mean by ‘transmission of knowledge’? Are we referring to the experience of music making? A specific position in relation to the values of culture, science and moral? Or a rational system of scientific knowledge based on past experience? In an age in which all sorts of information and materials can be easily retrieved online, the main goal of educational action becomes the teaching of appropriate methods for working on data, and the awakening of a sense of curiosity about art. The paper provides an updated map of music education institutions in Russia, dwelling on the specific features of the current education system in that country.
{"title":"Diffondere la curiosità per l’arte","authors":"Elena Petrušanskaja","doi":"10.6092/ISSN.2039-9715/5870","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/5870","url":null,"abstract":"The paper, which was the opening speech to the conference Musicians and Musicologists as Teachers: How to Construct Musical Comprehension for Students , raises questions of central importance about the purpose of music teaching and the more general issues of cultural education: what is most important today for teaching? What do we mean by ‘transmission of knowledge’? Are we referring to the experience of music making? A specific position in relation to the values of culture, science and moral? Or a rational system of scientific knowledge based on past experience? In an age in which all sorts of information and materials can be easily retrieved online, the main goal of educational action becomes the teaching of appropriate methods for working on data, and the awakening of a sense of curiosity about art. The paper provides an updated map of music education institutions in Russia, dwelling on the specific features of the current education system in that country.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"5 1","pages":"1-3"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261411","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}
Pub Date : 2015-12-28DOI: 10.6092/issn.2039-9715/5874
P. Taylor
Recent developments in university internationalisation, including transnational partnerships between Western and Eastern institutions, raise challenging questions about the global mutability of arts and humanities degree programmes such as music. This article considers the international educational significance of western art music from the perspective of transnational undergraduate teaching, based on the author’s experience of working at KM Music Conservatory in Chennai, India. A summary of art music’s problematic role in contemporary Western society leads to consideration of the global expansion of Western art music as practice and academic discipline. The reflective discussion focuses on several core pedagogical issues associated with the teaching of Western classical music in a non-Western environment, particularly the relevance of the historical contexts of colonialism and post-colonialism in shaping the meanings of the art form in present-day India.
{"title":"Mozart in Madrās: Global Learning and Western Art Music","authors":"P. Taylor","doi":"10.6092/issn.2039-9715/5874","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/5874","url":null,"abstract":"Recent developments in university internationalisation, including transnational partnerships between Western and Eastern institutions, raise challenging questions about the global mutability of arts and humanities degree programmes such as music. This article considers the international educational significance of western art music from the perspective of transnational undergraduate teaching, based on the author’s experience of working at KM Music Conservatory in Chennai, India. A summary of art music’s problematic role in contemporary Western society leads to consideration of the global expansion of Western art music as practice and academic discipline. The reflective discussion focuses on several core pedagogical issues associated with the teaching of Western classical music in a non-Western environment, particularly the relevance of the historical contexts of colonialism and post-colonialism in shaping the meanings of the art form in present-day India.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"5 1","pages":"113-125"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261073","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}
Pub Date : 2015-12-28DOI: 10.6092/issn.2039-9715/5869
L. Hakobian
The core of the history of musical thought consists of large-scale doctrines striving to explain the multitude of observed phenomena in terms of immutable categories and universals. All such doctrines are based on the belief of their authors that all the complex and differentiated phenomena have their origins in simple principles. Accordingly, any music that cannot be convincingly reduced to these principles is either ignored or declared ‘abnormal’. Any doctrine inevitably stops before what in music is not quite ‘system-defined’. Though doctrines may point to ‘irregularities’, they can hardly justify them aesthetically. The by-effect of their influence is the growth of prejudices around anything that is new and unusual. A huge array of musicological literature, developing the methodological principles of ‘big’ classical conceptions or propounding new conceptions that also claim to be scientific and universal, can hardly help the reader to clarify his perception of the unfamiliar or to discover new meanings in what is well known (the present paper illustrates this using several examples from different brands of musicology, both Russian and non-Russian). This arguably means that the ‘scientistic’ (reductionist) paradigm in musicology has been exhausted and the new, deeper knowledge of music has to be acquired through alternative, not strictly scientific – perhaps rather literary, openly subjective, authority-free – ways.
{"title":"Theoretical Conceptions in Musicology as a Potential Obstacle to Musical Comprehension","authors":"L. Hakobian","doi":"10.6092/issn.2039-9715/5869","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/5869","url":null,"abstract":"The core of the history of musical thought consists of large-scale doctrines striving to explain the multitude of observed phenomena in terms of immutable categories and universals. All such doctrines are based on the belief of their authors that all the complex and differentiated phenomena have their origins in simple principles. Accordingly, any music that cannot be convincingly reduced to these principles is either ignored or declared ‘abnormal’. Any doctrine inevitably stops before what in music is not quite ‘system-defined’. Though doctrines may point to ‘irregularities’, they can hardly justify them aesthetically. The by-effect of their influence is the growth of prejudices around anything that is new and unusual. A huge array of musicological literature, developing the methodological principles of ‘big’ classical conceptions or propounding new conceptions that also claim to be scientific and universal, can hardly help the reader to clarify his perception of the unfamiliar or to discover new meanings in what is well known (the present paper illustrates this using several examples from different brands of musicology, both Russian and non-Russian). This arguably means that the ‘scientistic’ (reductionist) paradigm in musicology has been exhausted and the new, deeper knowledge of music has to be acquired through alternative, not strictly scientific – perhaps rather literary, openly subjective, authority-free – ways.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"5 1","pages":"19-28"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261398","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}
Pub Date : 2015-12-28DOI: 10.6092/issn.2039-9715/5868
Edmund J. Goehring
Ever since Kant, we have thought of the rule guiding an exemplary and original work of art as contained within the work itself, discovered not prior to but in the act of composition itself. Everything else is copy. This paper weighs that position against a tendency in the teaching of music history which subordinates the individual work to general style. It concludes with examples of what it might look like to study a musical work by looking for its rule.
{"title":"“De stilo et opere”; or, Looking for the Rule","authors":"Edmund J. Goehring","doi":"10.6092/issn.2039-9715/5868","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/5868","url":null,"abstract":"Ever since Kant, we have thought of the rule guiding an exemplary and original work of art as contained within the work itself, discovered not prior to but in the act of composition itself. Everything else is copy. This paper weighs that position against a tendency in the teaching of music history which subordinates the individual work to general style. It concludes with examples of what it might look like to study a musical work by looking for its rule.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"5 1","pages":"39-49"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261508","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}
Pub Date : 2015-12-28DOI: 10.6092/ISSN.2039-9715/5872
Irina Susidko
The paper focuses on the issue of the role played by the 18 th Century Italian aria within the general system of musical forms. This question is relevant for both music theory and pedagogy. Did the aria influence instrumental genres or was it the opposite? Throughout the history of professional musical education in Russia (from the 19 th century to the present day), both general music theory and courses in musical form have usually been based on instrumental music. However, studies in recent decades show that, in the process of crystallization of a number of structures and principles of composition in the first half of the 18th century, the aria takes a prominent position. Among these are such principles as the ritornello , which underlies the Baroque concerto; principles of recapitulation and ternary form that became established in Italian arias in the 1680s (earlier than in the instrumental genres), as well as the principle of thematic contrast . Italian opera played a key role in the formation of classical musical Thematik (Ger.) - not only in its lexical topoi , but also in the treatment of homophony, metric and syntactic periodicity, and the fractionality of motivic structure. The development of the two-subjects sonata form took place within the framework of da capo arias simultaneously with instrumental music (1720-1750s). The Italian aria played a decisive role in the birth of the sonata form with two initial sections typical of the classic concerto. In the musical form course for musicologists and musicians-performers at the Russian Gnessins Academy of Music, I discuss the theory and history of music forms during the 17 th and 18 th centuries, taking into account all these factors. This method introduces significant adjustments in the traditional practice of music form teaching in Russia, thereby bringing the understanding of students closer to the real processes that occurred in the music history of the 18 th century.
{"title":"Die musiktheoretische Ergründung der Arienform in italienischen Opern des 18. Jahrhunderts und die Umgestaltung des Fachs Formenlehre","authors":"Irina Susidko","doi":"10.6092/ISSN.2039-9715/5872","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/5872","url":null,"abstract":"The paper focuses on the issue of the role played by the 18 th Century Italian aria within the general system of musical forms. This question is relevant for both music theory and pedagogy. Did the aria influence instrumental genres or was it the opposite? Throughout the history of professional musical education in Russia (from the 19 th century to the present day), both general music theory and courses in musical form have usually been based on instrumental music. However, studies in recent decades show that, in the process of crystallization of a number of structures and principles of composition in the first half of the 18th century, the aria takes a prominent position. Among these are such principles as the ritornello , which underlies the Baroque concerto; principles of recapitulation and ternary form that became established in Italian arias in the 1680s (earlier than in the instrumental genres), as well as the principle of thematic contrast . Italian opera played a key role in the formation of classical musical Thematik (Ger.) - not only in its lexical topoi , but also in the treatment of homophony, metric and syntactic periodicity, and the fractionality of motivic structure. The development of the two-subjects sonata form took place within the framework of da capo arias simultaneously with instrumental music (1720-1750s). The Italian aria played a decisive role in the birth of the sonata form with two initial sections typical of the classic concerto. In the musical form course for musicologists and musicians-performers at the Russian Gnessins Academy of Music, I discuss the theory and history of music forms during the 17 th and 18 th centuries, taking into account all these factors. This method introduces significant adjustments in the traditional practice of music form teaching in Russia, thereby bringing the understanding of students closer to the real processes that occurred in the music history of the 18 th century.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"5 1","pages":"95-102"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261049","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}
Pub Date : 2015-12-28DOI: 10.6092/issn.2039-9715/5877
Matteo Casari
The book focuses on music traditions and explores the policy, ideology and practice of preservation and promotion of East Asian intangible cultural heritage. In view of the framework defined by globalization, modernization, urbanization and the spread of the mass media, the essays provide an overview on East Asia’s case study (Japan, China, Korea and Taiwan).
{"title":"Music as Intangible Cultural Heritage. Policy, Ideology, and Practice in the Preservation of East Asian Traditions, a cura di Keith Howard, SOAS-University of London, Ashgate, 2012","authors":"Matteo Casari","doi":"10.6092/issn.2039-9715/5877","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/5877","url":null,"abstract":"The book focuses on music traditions and explores the policy, ideology and practice of preservation and promotion of East Asian intangible cultural heritage. In view of the framework defined by globalization, modernization, urbanization and the spread of the mass media, the essays provide an overview on East Asia’s case study (Japan, China, Korea and Taiwan).","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"5 1","pages":"131-134"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71261190","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}
Pub Date : 2015-12-28DOI: 10.6092/issn.2039-9715/5862
Luca Aversano
L’articolo affronta, in prospettiva didattica, il tema della rappresentazione delle immagini militari nei concerti per violino e orchestra di primo Ottocento, proponendo una riflessione metodologica sul modo di collegare, nell’insegnamento scolastico, l’analisi di forme musicali del passato con la storia della cultura europea. Al contempo il saggio esemplifica un modello di possibile percorso didattico, utilizzabile essenzialmente nelle classi delle scuole secondarie di secondo grado, ma utile anche a insegnanti di altri gradi scolastici.
{"title":"Un itinerario didattico tra musica e storia: le immagini militari nei concerti per violino di primo Ottocento","authors":"Luca Aversano","doi":"10.6092/issn.2039-9715/5862","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/5862","url":null,"abstract":"L’articolo affronta, in prospettiva didattica, il tema della rappresentazione delle immagini militari nei concerti per violino e orchestra di primo Ottocento, proponendo una riflessione metodologica sul modo di collegare, nell’insegnamento scolastico, l’analisi di forme musicali del passato con la storia della cultura europea. Al contempo il saggio esemplifica un modello di possibile percorso didattico, utilizzabile essenzialmente nelle classi delle scuole secondarie di secondo grado, ma utile anche a insegnanti di altri gradi scolastici.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"5 1","pages":"51-74"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71260716","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}
Pub Date : 2015-12-28DOI: 10.6092/issn.2039-9715/5865
F. D. Seta
{"title":"La manualistica per la storia della musica","authors":"F. D. Seta","doi":"10.6092/issn.2039-9715/5865","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/5865","url":null,"abstract":"","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"5 1","pages":"103-106"},"PeriodicalIF":0.0,"publicationDate":"2015-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71260776","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}
Pub Date : 2014-12-29DOI: 10.6092/ISSN.2039-9715/4606
Antonio Serravezza
I have read with much interest Transforming Music Education by Estelle R. Jorgensen (Bloomington, Indiana University Press, 2003). Although the book is not very recent, it prompted some reflections, which I would like to share with readers. My interest in the book has to do with the fact that it contains points of view on which any individual, as having a specific identity (or maybe multiple, fluctuating identities, such as worker, parent, son, teacher or student, as someone who cultivates a particular taste, or owns a piece of material or immaterial heritage, as a member of smaller or larger communities, as having a certain idea of community, or possibly believing in, or practicing, one or more activities in their spare time, etc.) has the chance, indeed the right, to let her/his voice be heard.
我饶有兴趣地阅读了Estelle R. Jorgensen的《音乐教育转型》(Bloomington, Indiana University Press, 2003)。虽然这本书不是最近出版的，但它引起了我的一些思考，我想与读者分享。我对这本书的兴趣与这样一个事实:它包含任何个人观点,具有特定的身份(或者多个,波动的身份,比如工人,父母,儿子,老师或学生,作为一个培养一个特定的味道,或者拥有一件物质或非物质文化遗产,作为更小或更大社区的一员,具有一定的社区,或有可能相信,或练习,一个或多个活动在课余时间,等)有机会，实际上是有权利，让她/他的声音被听到。
{"title":"Educazione musicale \"dialettica\": un modello per ogni situazione? Riflessioni in margine a una lettura","authors":"Antonio Serravezza","doi":"10.6092/ISSN.2039-9715/4606","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/4606","url":null,"abstract":"I have read with much interest Transforming Music Education by Estelle R. Jorgensen (Bloomington, Indiana University Press, 2003). Although the book is not very recent, it prompted some reflections, which I would like to share with readers. My interest in the book has to do with the fact that it contains points of view on which any individual, as having a specific identity (or maybe multiple, fluctuating identities, such as worker, parent, son, teacher or student, as someone who cultivates a particular taste, or owns a piece of material or immaterial heritage, as a member of smaller or larger communities, as having a certain idea of community, or possibly believing in, or practicing, one or more activities in their spare time, etc.) has the chance, indeed the right, to let her/his voice be heard.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"4 1","pages":"107-121"},"PeriodicalIF":0.0,"publicationDate":"2014-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71260924","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}
Pub Date : 2014-12-29DOI: 10.6092/issn.2039-9715/4610
G. Pagannone, Silvia Cancedda
L’articolo illustra un percorso didattico d’ascolto incentrato sul primo movimento del Quinto concerto brandeburghese di Bach, e destinato ad alunni della scuola primaria. Il concerto prescelto e d’importanza storica per il ruolo preminente assunto dal cembalo, in confronto agli altri due solisti (flauto traverso e violino). Il “ponte” didattico utile per affrontare tale brano, e per ritagliarne ad hoc i contenuti conoscitivi, e stato individuato da Giorgio Pagannone in un cartone animato di Disney, basato su una fiaba celeberrima: I tre porcellini ( Three Little Pigs , 1933). Ad una iniziale presentazione e analisi del brano e del cartone, segue la descrizione dettagliata e articolata del percorso didattico, che e stato attuato da Silvia Cancedda in una scuola bolognese, e che ha condotto a risultati molto soddisfacenti, tra cui la lettura intuitiva di frammenti di partitura. In appendice sono riportati alcuni dei lavori svolti dagli alunni.
这篇文章描述了一个以巴赫第五场勃兰登堡协奏曲的第一乐章为中心的倾听课程，目标是小学生。与另外两位独奏者(侧笛和小提琴)相比，这首协奏曲被选为具有历史意义的协奏曲。乔治·帕格纳内(Giorgio Pagannone)根据著名的童话故事《三只小猪》(Three Little Pigs, 1933)，在迪斯尼(Disney)的一部动画片中，确定了处理这首歌并特别编辑其认知内容的教学“桥梁”。在对这首歌和这幅漫画进行了初步的介绍和分析之后，我们对西尔维亚·坎塞达(sylvia Cancedda)在博洛尼亚一所学校实施的教学路线进行了详细而清晰的描述，并取得了非常令人满意的结果，包括对乐谱片段的直观解读。附录列出了学生所做的一些工作。
{"title":"Disney spiega Bach: un percorso didattico sul Quinto Concerto Brandeburghese","authors":"G. Pagannone, Silvia Cancedda","doi":"10.6092/issn.2039-9715/4610","DOIUrl":"https://doi.org/10.6092/issn.2039-9715/4610","url":null,"abstract":"L’articolo illustra un percorso didattico d’ascolto incentrato sul primo movimento del Quinto concerto brandeburghese di Bach, e destinato ad alunni della scuola primaria. Il concerto prescelto e d’importanza storica per il ruolo preminente assunto dal cembalo, in confronto agli altri due solisti (flauto traverso e violino). Il “ponte” didattico utile per affrontare tale brano, e per ritagliarne ad hoc i contenuti conoscitivi, e stato individuato da Giorgio Pagannone in un cartone animato di Disney, basato su una fiaba celeberrima: I tre porcellini ( Three Little Pigs , 1933). Ad una iniziale presentazione e analisi del brano e del cartone, segue la descrizione dettagliata e articolata del percorso didattico, che e stato attuato da Silvia Cancedda in una scuola bolognese, e che ha condotto a risultati molto soddisfacenti, tra cui la lettura intuitiva di frammenti di partitura. In appendice sono riportati alcuni dei lavori svolti dagli alunni.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"4 1","pages":"139-160"},"PeriodicalIF":0.0,"publicationDate":"2014-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71260601","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}
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：