This paper shows how classical music left its canon-guaranteed spaces of the concert hall and stepped toward a broader community of audience using the virtual sphere of Web 2.0 social media tools, on the example of the work of the Belgrade Philharmonic Orchestra. We analyze how this orchestra uses social media to present and promote its repertoire and work during the period of pandemic measures and restrictions. The analysis indicates that in all its social media activities the orchestra was guided by the preservation of an autonomous aesthetic quality of classical music, as its value must remain present in whatever tools and formats an art institution presents itself. Various tactics of using social media tools were the opportunity to position classical music from the art of performance into a system of mediated and information-distributed culture along with the development of participatory turn as a wider audience engagement in classical music through producing social media user-generated content. The orchestra's use of social media during the time of the pandemic reflects several ways of changing classical music practice: connecting to new audiences in new ways, moving out of the concert hall, redefining the community relevance of a classical music institution, and initiating paths for collaboration between performers and the audiences.
{"title":"The Web 2.0 social media as a space for the creation of classical music experiences in the time of the pandemic: The case of the Belgrade Philharmonic Orchestra","authors":"Biljana Leković, Sanela Nikolić","doi":"10.5937/newso23061021l","DOIUrl":"https://doi.org/10.5937/newso23061021l","url":null,"abstract":"This paper shows how classical music left its canon-guaranteed spaces of the concert hall and stepped toward a broader community of audience using the virtual sphere of Web 2.0 social media tools, on the example of the work of the Belgrade Philharmonic Orchestra. We analyze how this orchestra uses social media to present and promote its repertoire and work during the period of pandemic measures and restrictions. The analysis indicates that in all its social media activities the orchestra was guided by the preservation of an autonomous aesthetic quality of classical music, as its value must remain present in whatever tools and formats an art institution presents itself. Various tactics of using social media tools were the opportunity to position classical music from the art of performance into a system of mediated and information-distributed culture along with the development of participatory turn as a wider audience engagement in classical music through producing social media user-generated content. The orchestra's use of social media during the time of the pandemic reflects several ways of changing classical music practice: connecting to new audiences in new ways, moving out of the concert hall, redefining the community relevance of a classical music institution, and initiating paths for collaboration between performers and the audiences.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134884847","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 offers an interpretation of the composition Hyperprism by Edgard Varèse. It provides an explanation of the work's possible meanings, placing emphasis on the investigation of the "hyper" status of the work as a "prism". Relying on the composer's poetics and bearing in mind his scientific approach to sound and sound articulation, this paper proposes the interpretation of the meaning of Hyperprism from the perspectives of geometry, optics, and mineralogy.
{"title":"Examining the 'hyper' status of Varèse's 'prism'","authors":"Tijana Ilišević","doi":"10.5937/newso23061119i","DOIUrl":"https://doi.org/10.5937/newso23061119i","url":null,"abstract":"This paper offers an interpretation of the composition Hyperprism by Edgard Varèse. It provides an explanation of the work's possible meanings, placing emphasis on the investigation of the \"hyper\" status of the work as a \"prism\". Relying on the composer's poetics and bearing in mind his scientific approach to sound and sound articulation, this paper proposes the interpretation of the meaning of Hyperprism from the perspectives of geometry, optics, and mineralogy.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135214086","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}
Underneath, a piece for hyperorgan by Jasna Veličković was commisioned by Orgelpart in Amsterdam, for a project dedicated to the modern organ, which essentially incorporates new scientific and technological achievements. In this work, Veličković found a way to continue her "open project" based on conducting experiments in acoustic technology and amplifying electromagnetic fields. She introduced the technological into the tradition of organ music by using coils to test the construction of the instrument, by teasing out the invisible possibilities of the organ's sound space, and by amplifying electromagnetic waves. The composer establishes an augmented reality and points to the expansion of sound and its presence where it remains outside of what our hearing can encompass.
下面是由阿姆斯特丹的Orgelpart委托Jasna veli koviovic为hyperorgan创作的作品，该项目致力于现代管风琴，本质上融合了新的科学和技术成就。在这项工作中，veli科维奇找到了一种基于声学技术和放大电磁场的实验来继续她的“开放项目”的方法。她通过使用线圈来测试乐器的结构，通过梳理管风琴声音空间的无形可能性，以及通过放大电磁波，将技术引入管风琴音乐的传统中。作曲家建立了一个增强现实，并指出了声音的扩展和它的存在，它仍然超出了我们的听觉所能涵盖的范围。
{"title":"Augmented sonic reality: Underneath for hyperorgan by Jasna Veličković","authors":"Ivana Miladinović-Prica","doi":"10.5937/newso23061085m","DOIUrl":"https://doi.org/10.5937/newso23061085m","url":null,"abstract":"Underneath, a piece for hyperorgan by Jasna Veličković was commisioned by Orgelpart in Amsterdam, for a project dedicated to the modern organ, which essentially incorporates new scientific and technological achievements. In this work, Veličković found a way to continue her \"open project\" based on conducting experiments in acoustic technology and amplifying electromagnetic fields. She introduced the technological into the tradition of organ music by using coils to test the construction of the instrument, by teasing out the invisible possibilities of the organ's sound space, and by amplifying electromagnetic waves. The composer establishes an augmented reality and points to the expansion of sound and its presence where it remains outside of what our hearing can encompass.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"149 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135214089","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 examines Serbian composer Vladimir Trmčić's two works inspired by Chinese painting theory during the Southern and Northern Song dynasty. An in-depth analysis of the "Chinese characteristics" expressed or hidden in the composer's works will be conducted in the context of the composer's knowledge on China. Its aims are, firstly, to gain a deeper understanding of "Chinese music" as understood by Serbian composers; secondly, to provide a "blueprint" for motivating the development of music composition on the both sides; and finally, to demonstrate the new way of communication formed in the field of ideology so as to open up the horizons of cross-cultural studies in a wider context.
{"title":"Chinese painting theory as an Inspiration: Vladimir Trmčić's two music creations on Chinese painting","authors":"Yuanning Zhang","doi":"10.5937/newso23061040z","DOIUrl":"https://doi.org/10.5937/newso23061040z","url":null,"abstract":"This paper examines Serbian composer Vladimir Trmčić's two works inspired by Chinese painting theory during the Southern and Northern Song dynasty. An in-depth analysis of the \"Chinese characteristics\" expressed or hidden in the composer's works will be conducted in the context of the composer's knowledge on China. Its aims are, firstly, to gain a deeper understanding of \"Chinese music\" as understood by Serbian composers; secondly, to provide a \"blueprint\" for motivating the development of music composition on the both sides; and finally, to demonstrate the new way of communication formed in the field of ideology so as to open up the horizons of cross-cultural studies in a wider context.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135213861","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}
In line with the extraordinary international significance that the oeuvre of Isidora Žebeljan commands in Serbia and abroad, the article begins by discussing the essence of that significance, highlighting the most important artistic accomplishments of Isidora's music as well as its unique traits that have played a direct role in the assertive breakthrough that Serbian music has made on the international stage. Specifically, it analyses three creative periods in Isidora's oeuvre, discussing the most important works and unique characteristics of Isidora's music and its originality, along with relevant facts from her biography.
{"title":"The oeuvre of Isidora Žebeljan: A survey, classification, specificities, and significance (II)","authors":"Borislav Čičovački","doi":"10.5937/newso23061139c","DOIUrl":"https://doi.org/10.5937/newso23061139c","url":null,"abstract":"In line with the extraordinary international significance that the oeuvre of Isidora Žebeljan commands in Serbia and abroad, the article begins by discussing the essence of that significance, highlighting the most important artistic accomplishments of Isidora's music as well as its unique traits that have played a direct role in the assertive breakthrough that Serbian music has made on the international stage. Specifically, it analyses three creative periods in Isidora's oeuvre, discussing the most important works and unique characteristics of Isidora's music and its originality, along with relevant facts from her biography.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135213583","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 is a practice-led case study on Fred Lerdahl's "Cognitive Constraints on Compositional Systems". The model attempts to define an artificial compositional grammar in terms of a "universal listening syntax" based on Lerdahl's co-authored A Generative Theory of Tonal Music. Through demonstrating the practical application of the constraints, the author reflects on the model's usefulness in light of the contemporary compositional context. Notably, the theory presents abstracted pitch and rhythmic material as an aesthetically neutral syntax, therefore it can only provide stylistically ambiguous infrastructures akin to a musical maquette that needs to be further enacted at the composer's discretion.
本文以弗雷德·勒达尔的“作曲系统的认知约束”为例，进行了以实践为主导的案例研究。该模型试图根据勒达尔合著的《调性音乐生成理论》(a Generative Theory of tononal Music)的“通用听力语法”来定义一种人工合成语法。通过展示约束的实际应用，作者反思了该模型在当代构图语境中的有用性。值得注意的是，该理论将抽象的音高和节奏材料呈现为美学上中立的语法，因此它只能提供风格上模糊的基础结构，类似于需要作曲家自行决定的音乐模型。
{"title":"Enacting musical maquettes: A cognition-inspired compositional approach","authors":"Kenrick Ho","doi":"10.5937/newso23061184h","DOIUrl":"https://doi.org/10.5937/newso23061184h","url":null,"abstract":"This paper is a practice-led case study on Fred Lerdahl's \"Cognitive Constraints on Compositional Systems\". The model attempts to define an artificial compositional grammar in terms of a \"universal listening syntax\" based on Lerdahl's co-authored A Generative Theory of Tonal Music. Through demonstrating the practical application of the constraints, the author reflects on the model's usefulness in light of the contemporary compositional context. Notably, the theory presents abstracted pitch and rhythmic material as an aesthetically neutral syntax, therefore it can only provide stylistically ambiguous infrastructures akin to a musical maquette that needs to be further enacted at the composer's discretion.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135213585","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 research project "Acousmatic Foley" addresses common traits between foley art and Concrete Music, based on the idea that the foley artist is an acousmatic listener and, in turn, that acousmatic listening is a form of fiction. In this line, the study argues that both fields have similar treatment of the "sonorous object". For this purpose, the research builds on two lines of thought: the "son-en-scène" and the "mise-en-son". Firstly, the "son-en-scène" focuses on the sounds of the filmic miseen-scène (and its sound props), from very early cases to contemporary instances. The focus on these sound-props provides a perspective of sound for film that emphasizes its role as a tool of fiction and, thus, foley as the craft that leads to that experience. Secondly, "mise-en-son" sheds light on the making of the sound itself by exploring the concept of musical gesture. Either in contexts in which the musical gesture is visible (as with instruments), more cryptic (as with electronic devices), or completely delegated (as in acousmatic music), gesture can be seen a form of agency. Given that foley consists of maneuvering a sound-prop, gesture is as central to foley as it is to musical practices. This paper focus on the idea that gesture carries the same conception as the "sonorous object", that of an "intentional unit". In line with this, and in particular when of acousmatic nature, the research argues that the sonorous object is analogous to the sound-prop. In the end, these two lines of thought (son-en-scènce and mise-en-son) bridge the poietic and esthetic, as in Nattiez's semiotic distinction, towards an experience of "acousmatic foley".
{"title":"Foley gesture: Towards a theory of acousmatic foley","authors":"Sara Pinheiro","doi":"10.5937/newso23061060p","DOIUrl":"https://doi.org/10.5937/newso23061060p","url":null,"abstract":"The research project \"Acousmatic Foley\" addresses common traits between foley art and Concrete Music, based on the idea that the foley artist is an acousmatic listener and, in turn, that acousmatic listening is a form of fiction. In this line, the study argues that both fields have similar treatment of the \"sonorous object\". For this purpose, the research builds on two lines of thought: the \"son-en-scène\" and the \"mise-en-son\". Firstly, the \"son-en-scène\" focuses on the sounds of the filmic miseen-scène (and its sound props), from very early cases to contemporary instances. The focus on these sound-props provides a perspective of sound for film that emphasizes its role as a tool of fiction and, thus, foley as the craft that leads to that experience. Secondly, \"mise-en-son\" sheds light on the making of the sound itself by exploring the concept of musical gesture. Either in contexts in which the musical gesture is visible (as with instruments), more cryptic (as with electronic devices), or completely delegated (as in acousmatic music), gesture can be seen a form of agency. Given that foley consists of maneuvering a sound-prop, gesture is as central to foley as it is to musical practices. This paper focus on the idea that gesture carries the same conception as the \"sonorous object\", that of an \"intentional unit\". In line with this, and in particular when of acousmatic nature, the research argues that the sonorous object is analogous to the sound-prop. In the end, these two lines of thought (son-en-scènce and mise-en-son) bridge the poietic and esthetic, as in Nattiez's semiotic distinction, towards an experience of \"acousmatic foley\".","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134884554","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 piano works by Branka Popović (1977) appear as a unique and independent group in her oeuvre, as well as in the context of Serbian music of the current century. The question of the relation between the composer and musical space-time, which can be experienced directly, during the act of listening and indirectly, during the analysis of the piece of music, emerges as an essential point for understanding and interpreting Branka Popović's piano works. Under the assumption that this relationship is in the realm of unconsciousness and intuition, my goal in this article is to discover the hidden places that show how the musical space-time manifests, in this case, in the piano writing of Branka Popović. To achieve that, I will use an interpretative musical analysis, in which I will point out the specific compositional technique that Branka Popović employs and by which she 'regulates' different musical dimensions and, more precisely, musical components and their elements (specifically rhythm, timbre or tone color, harmony, motivic/thematic structuring, and dynamics) in the act of shaping the musical space-time.
{"title":"Being fascinated with musical space-time: Piano works by Branka Popović (Solitude: Self reflections, Within a dense molecular cloud and From Rayleigh to Mie)","authors":"Mina Božanić","doi":"10.5937/newso23061097b","DOIUrl":"https://doi.org/10.5937/newso23061097b","url":null,"abstract":"The piano works by Branka Popović (1977) appear as a unique and independent group in her oeuvre, as well as in the context of Serbian music of the current century. The question of the relation between the composer and musical space-time, which can be experienced directly, during the act of listening and indirectly, during the analysis of the piece of music, emerges as an essential point for understanding and interpreting Branka Popović's piano works. Under the assumption that this relationship is in the realm of unconsciousness and intuition, my goal in this article is to discover the hidden places that show how the musical space-time manifests, in this case, in the piano writing of Branka Popović. To achieve that, I will use an interpretative musical analysis, in which I will point out the specific compositional technique that Branka Popović employs and by which she 'regulates' different musical dimensions and, more precisely, musical components and their elements (specifically rhythm, timbre or tone color, harmony, motivic/thematic structuring, and dynamics) in the act of shaping the musical space-time.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135213872","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 focuses on the one specific question about folk music quotations and allusions in the symphonic music of Latvian composers in the last third of the 20th century (from the 70s) and the early 21 st century. Several Latvian composers (e.g. Romualds Kalsons, Pēteris Butāns, Pēteris Vasks, Pēteris Plakidis, Juris Karlsons) in their NEO-romantic symphonic works reflects interesting cases of Latvian folk music quotation, quasi quotation or allusion. Overall these are cases that show the composer's ability to actively use and create a similarity with Latvian folk music. However, this aspect raises the following questions. What kind of local (Latvian) traditions regarding folk music use (in general) are represented by Latvian composers? Why, at the end of the 20 th century and the early 21st century, have several composers continued to use folk music quotations or create folk music allusions? What symbolizes the folk music quotations and allusions in the context of the postmodern period's characteristic musical aesthetic and stylistics? It is hoped that this analysis will provoke a fruitful exchange of views on this question from different aspects.
本文关注的是拉脱维亚作曲家在20世纪最后三分之一(从70年代开始)和21世纪初的交响乐中关于民间音乐引用和典故的一个具体问题。一些拉脱维亚作曲家(如Romualds Kalsons, Pēteris Butāns, Pēteris Vasks, Pēteris Plakidis, Juris Karlsons)在他们的新浪漫主义交响乐作品中反映了拉脱维亚民间音乐引用，准引用或典故的有趣案例。总的来说，这些案例显示了作曲家积极使用和创造与拉脱维亚民间音乐相似的能力。然而，这方面提出了以下问题。关于民间音乐的使用(一般来说)，拉脱维亚作曲家代表了什么样的当地(拉脱维亚)传统?为什么在20世纪末和21世纪初，还有几位作曲家继续使用民间音乐语录或创作民间音乐典故?在后现代时期音乐美学和文体学特征的背景下，民乐引语和典故的象征是什么?希望这一分析将促使各方就这一问题从不同方面富有成效地交换意见。
{"title":"Folk music quotations and allusions in Latvian composers' neo-romantic symphonic music in the last decades of the 20th century and early 21st century","authors":"Janis Kudins","doi":"10.5937/newso2055213k","DOIUrl":"https://doi.org/10.5937/newso2055213k","url":null,"abstract":"This article focuses on the one specific question about folk music quotations and allusions in the symphonic music of Latvian composers in the last third of the 20th century (from the 70s) and the early 21 st century. Several Latvian composers (e.g. Romualds Kalsons, Pēteris Butāns, Pēteris Vasks, Pēteris Plakidis, Juris Karlsons) in their NEO-romantic symphonic works reflects interesting cases of Latvian folk music quotation, quasi quotation or allusion. Overall these are cases that show the composer's ability to actively use and create a similarity with Latvian folk music. However, this aspect raises the following questions. What kind of local (Latvian) traditions regarding folk music use (in general) are represented by Latvian composers? Why, at the end of the 20 th century and the early 21st century, have several composers continued to use folk music quotations or create folk music allusions? What symbolizes the folk music quotations and allusions in the context of the postmodern period's characteristic musical aesthetic and stylistics? It is hoped that this analysis will provoke a fruitful exchange of views on this question from different aspects.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123543939","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 aim of this paper is to gain an insight into the entire musicological discourse of Vesna Mikic, to offer its systematization, or, in other words, to shed light on her use of scientific and research procedures, methods and contributions. By analyzing her texts, I will try to define the development train of her musicological thought. Furthermore, I will emphasize the key characteristics regarding her field of research, and the mechanisms they are founded upon. I will also try to define the thematic fields she analyzed, thus demonstrating the valuable achievements of her work.
{"title":"Musicological discourse of Vesna Mikić (1967-2019): Characteristics, effects, and achievements","authors":"Biljana Leković","doi":"10.5937/newso2055139l","DOIUrl":"https://doi.org/10.5937/newso2055139l","url":null,"abstract":"The aim of this paper is to gain an insight into the entire musicological discourse of Vesna Mikic, to offer its systematization, or, in other words, to shed light on her use of scientific and research procedures, methods and contributions. By analyzing her texts, I will try to define the development train of her musicological thought. Furthermore, I will emphasize the key characteristics regarding her field of research, and the mechanisms they are founded upon. I will also try to define the thematic fields she analyzed, thus demonstrating the valuable achievements of her work.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"47-48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133690883","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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