This article aims to study the ethnomusicological characteristics/expressions of a ritual drama in Sri Lanka that has lacked comprehensive research conducted about it so far; the Maraa-Ipaddima (Killing and Resurrection) ritual drama. This ritual drama is performed in reverence to the Goddess Pattini, who holds a special place in Sri Lankan culture and society for personal and social well-being such as fertility, health, and protection. The study employs a qualitative research method using both primary and secondary sources. The data has been collected through field observations, structured and semi-structured interviews, case study analysis, and literature reviewing. Study outcomes show that the ethnomusicological aspects of the ritual drama are expressed through kavi (poetic verses) sung while performing drama, traditional musical instruments, costumes, dance, and harmony. The study helped to understand the ethnomusicological expression of ritual drama performed, and it is also evident that the musical expressions performed in the ritual drama also work as a treatment in the collective healing of people (catharsis).
{"title":"The Maraa-Ipaddima Ritual Drama in Sri Lanka","authors":"I. S. Weerakkody","doi":"10.30819/aemr.9-5","DOIUrl":"https://doi.org/10.30819/aemr.9-5","url":null,"abstract":"\u0000 This article aims to study the ethnomusicological characteristics/expressions of a ritual drama in Sri Lanka that has lacked comprehensive research conducted about it so far; the Maraa-Ipaddima (Killing and Resurrection) ritual drama. This ritual drama is performed in reverence to the Goddess Pattini, who holds a special place in Sri Lankan culture and society for personal and social well-being such as fertility, health, and protection. The study employs a qualitative research method using both primary and secondary sources. The data has been collected through field observations, structured and semi-structured interviews, case study analysis, and literature reviewing. Study outcomes show that the ethnomusicological aspects of the ritual drama are expressed through kavi (poetic verses) sung while performing drama, traditional musical instruments, costumes, dance, and harmony. The study helped to understand the ethnomusicological expression of ritual drama performed, and it is also evident that the musical expressions performed in the ritual drama also work as a treatment in the collective healing of people (catharsis).\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"54 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88026481","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}
Until the 1990s khöömei or throat singing from Tuva was virtually unknown outside the then-USSR. Russian researchers like Aksenov and Shchurov had published the results of their fieldwork in Tuva, but their work was hardly known outside the USSR. In the 1980s researchers from outside the USSR like Tran Quang Hai and Ted Levin started paying attention to the subject, but it took until the early 1990s before a Western audience could make its acquaintance with Tuvan throat singers on stage. I ran the Paradox concert agency from 1978 until 2003, and it so happened that Paradox was the first to bring Tuvan throat singers to Europe and to North America in the early 1990s. The Iron Curtain had just fallen and it became possible to invite musicians from behind the Curtain without assistance from state agencies. Paradox had ample previous experience with state agencies in visa and work permit procedures. and that expertise proved very useful in dealing directly with musicians and music ensembles and their representatives then. My essay presents the story of the first concert of Tuvan khöömei singers in the USA in 1992 to which I was an eye witness (and also shortly explains the process of throat singing). This is an iconic story, because not only it describes how concert tours were organised in an age before the internet but also it documents the start of a hype. After that first concert in just a few years bands from Tuva were travelling all over the world and many audiences got to experience the phenomenon of throat singing. But in 1992 it was all new.
{"title":"The First USA Performance of Tuvan Throat Singers","authors":"B. Kleikamp","doi":"10.30819/aemr.9-10","DOIUrl":"https://doi.org/10.30819/aemr.9-10","url":null,"abstract":"\u0000 Until the 1990s khöömei or throat singing from Tuva was virtually unknown outside the then-USSR. Russian researchers like Aksenov and Shchurov had published the results of their fieldwork in Tuva, but their work was hardly known outside the USSR. In the 1980s researchers from outside the USSR like Tran Quang Hai and Ted Levin started paying attention to the subject, but it took until the early 1990s before a Western audience could make its acquaintance with Tuvan throat singers on stage. \u0000I ran the Paradox concert agency from 1978 until 2003, and it so happened that Paradox was the first to bring Tuvan throat singers to Europe and to North America in the early 1990s. The Iron Curtain had just fallen and it became possible to invite musicians from behind the Curtain without assistance from state agencies. \u0000Paradox had ample previous experience with state agencies in visa and work permit procedures. and that expertise proved very useful in dealing directly with musicians and music ensembles and their representatives then.\u0000My essay presents the story of the first concert of Tuvan khöömei singers in the USA in 1992 to which I was an eye witness (and also shortly explains the process of throat singing). This is an iconic story, because not only it describes how concert tours were organised in an age before the internet but also it documents the start of a hype. After that first concert in just a few years bands from Tuva were travelling all over the world and many audiences got to experience the phenomenon of throat singing. But in 1992 it was all new.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"145 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73238854","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 qualitative research has collected exhaustive data on topics ranging from the history of jazz in Thailand to the genre entering the realm of music education. Cassettes, CDs, gramophone records, online databases, research articles, and extant documents form the basis of the investigation. Observations and in-depth interviews with seventeen key informants—jazz teachers, jazz event organizers, jazz musicians, and business owners—were conducted. The study shows that initially, jazz in Thailand was inextricably linked to the entertainment venues in which Siamese aristocrats dined and were entertained. The subsequent growth of a jazz society involving musicians, music activists, jazz writers, jazz businesses and foreign-trained graduates became the catalyst for the development of a system that did not rely on formal education. Later, jazz big bands in government organizations, high schools, and universities came into existence. Presently in higher education, the three giants of Mahidol University, Silpakorn University, and Rangsit University offer outstanding music programs. Once considered a singular entity, the growth of jazz education has caused Thai jazz society to spread into various dimensions, including jazz in businesses and activities, performances, and education.
{"title":"Jazz History in Thailand: From Profession to Music Education","authors":"Tayakorn Suwannabhum, Kyle Fyr","doi":"10.30819/aemr.9-6","DOIUrl":"https://doi.org/10.30819/aemr.9-6","url":null,"abstract":"\u0000 This qualitative research has collected exhaustive data on topics ranging from the history of jazz in Thailand to the genre entering the realm of music education. Cassettes, CDs, gramophone records, online databases, research articles, and extant documents form the basis of the investigation. Observations and in-depth interviews with seventeen key informants—jazz teachers, jazz event organizers, jazz musicians, and business owners—were conducted. The study shows that initially, jazz in Thailand was inextricably linked to the entertainment venues in which Siamese aristocrats dined and were entertained. The subsequent growth of a jazz society involving musicians, music activists, jazz writers, jazz businesses and foreign-trained graduates became the catalyst for the development of a system that did not rely on formal education. Later, jazz big bands in government organizations, high schools, and universities came into existence. Presently in higher education, the three giants of Mahidol University, Silpakorn University, and Rangsit University offer outstanding music programs. Once considered a singular entity, the growth of jazz education has caused Thai jazz society to spread into various dimensions, including jazz in businesses and activities, performances, and education.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82286240","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 review describes the XXXVI European Seminar in Ethnomusicology as a virtual event organized by colleagues. The event is important to all ethnomusicologists and people interested in the field of ethnomusicology globally. It is mainly to inform about the organization and the way of interactions among its members.
{"title":"Event Review: The XXXVI European Seminar in Ethnomusicology","authors":"Fulvia Caruso","doi":"10.30819/aemr.8-10","DOIUrl":"https://doi.org/10.30819/aemr.8-10","url":null,"abstract":"\u0000 This review describes the XXXVI European Seminar in Ethnomusicology as a virtual event organized by colleagues. The event is important to all ethnomusicologists and people interested in the field of ethnomusicology globally. It is mainly to inform about the organization and the way of interactions among its members.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75008606","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 CD album provides an opportunity to hear the range of different forms of Kam songs currently featured in staged Kam singing performances, as well as the acoustic environment of Kam communities. This review offers an analysis of some of the many layers of history, meaning and significance of the songs featured, as well as commentary on the accompanying CD notes.
{"title":"Review: The Yandong Grand Singers by Pan Records 2122 CD","authors":"Catherine Ingram, Jiaping Wu","doi":"10.30819/aemr.8-11","DOIUrl":"https://doi.org/10.30819/aemr.8-11","url":null,"abstract":"\u0000 This CD album provides an opportunity to hear the range of different forms of Kam songs currently featured in staged Kam singing performances, as well as the acoustic environment of Kam communities. This review offers an analysis of some of the many layers of history, meaning and significance of the songs featured, as well as commentary on the accompanying CD notes.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85330901","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 24 solar terms, a knowledge system incorporated in the East Asian lunisolar calendar, reflect a typical agricultural life shaped by the astronomical and phenological nature in ancient China. The UNESCO’s Intangible Cultural Heritage embodies this Chinese tradition and culture. It is also commonly observed among Chinese diasporas in other parts of the world. Since 1988 when Tan Chai Puan and Tan Hooi Song established 24 Jieling Drums (二十四节令鼓) in Johor Bahru, Malaysia by exploring this Chinese traditional heritage, artistic performances of this vibrant music genre have effectively transmitted drumming aesthetics in Malaysian urban landscape into the Chinese cultural sphere for over three decades. This study explores a characterised link between this millennia-old Chinese cultural heritage and 24 Jieling Drums as an urban cultural landscape in Malaysia, and discusses several issues on the cultural elements applied in a diversified land through the narrative.
{"title":"Study on 24 Jieling Drums as Urban Cultural Landscape in Malaysia","authors":"Yan Yunxi, Chow Ow Wei","doi":"10.30819/aemr.8-6","DOIUrl":"https://doi.org/10.30819/aemr.8-6","url":null,"abstract":"\u0000 The 24 solar terms, a knowledge system incorporated in the East Asian lunisolar calendar, reflect a typical agricultural life shaped by the astronomical and phenological nature in ancient China. The UNESCO’s Intangible Cultural Heritage embodies this Chinese tradition and culture. It is also commonly observed among Chinese diasporas in other parts of the world. Since 1988 when Tan Chai Puan and Tan Hooi Song established 24 Jieling Drums (二十四节令鼓) in Johor Bahru, Malaysia by exploring this Chinese traditional heritage, artistic performances of this vibrant music genre have effectively transmitted drumming aesthetics in Malaysian urban landscape into the Chinese cultural sphere for over three decades. This study explores a characterised link between this millennia-old Chinese cultural heritage and 24 Jieling Drums as an urban cultural landscape in Malaysia, and discusses several issues on the cultural elements applied in a diversified land through the narrative.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"54 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81038708","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 violin is an instrument used in various musical genres. Besides preserving, elaborating, and valuating, the classical form of the instrument as well as the classical violin repertory, an electronic version of the instrument has entered the music business many decades ago. It allows the musician to produce sounds ranging from classical violin sounds to electric guitar or even electric bass sounds. Nora Kudrjawizki (‘Angelstrings’, “One Violin Orchestra”) is an electric violinist living in Berlin and using the instrument for as many different genres and occasions as possible: playing Nirvana songs or fighting with the violin bow as an improvised sword to “Pirates of the Caribbean” music as part of her performance. Her work will be presented as a case study and will be set into a bigger framework with further electric violinist statements generated from the literature. I focus on the differences in the instrumentalist–instrument relation when playing electric or acoustic. My aim is to prove that the electric violin is mostly used to play public and impress others and that there are also musically interesting aspects and individual experiences that should be valued.
{"title":"Playing and Fighting as an Electric Violinist","authors":"Kirsten Seidlitz","doi":"10.30819/aemr.8-2","DOIUrl":"https://doi.org/10.30819/aemr.8-2","url":null,"abstract":"\u0000 The violin is an instrument used in various musical genres. Besides preserving, elaborating, and valuating, the classical form of the instrument as well as the classical violin repertory, an electronic version of the instrument has entered the music business many decades ago. It allows the musician to produce sounds ranging from classical violin sounds to electric guitar or even electric bass sounds. Nora Kudrjawizki (‘Angelstrings’, “One Violin Orchestra”) is an electric violinist living in Berlin and using the instrument for as many different genres and occasions as possible: playing Nirvana songs or fighting with the violin bow as an improvised sword to “Pirates of the Caribbean” music as part of her performance. Her work will be presented as a case study and will be set into a bigger framework with further electric violinist statements generated from the literature. I focus on the differences in the instrumentalist–instrument relation when playing electric or acoustic. My aim is to prove that the electric violin is mostly used to play public and impress others and that there are also musically interesting aspects and individual experiences that should be valued.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87988548","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 study focuses mainly on the oral tradition of Ifugao called Hudhud, its performances, cultural values, and means of pedagogical transmission. It is important to note that this oral tradition is sustaining through the school of living tradition in the place of its origin. Through this study, people will be aware of this unique oral tradition of Ifugao, which is situated in the northern Philippine highlands. This ethnographic study captures the holistic purpose of the study of Hudhud; and thus, immersion, interview, archiving, and observation of the subject were made. Performances of the Hudhud are still popular during the community gathering called Gotad ad Ifugao, death rituals, weddings, and other important gatherings—big or small—in the entire province of Ifugao.
本研究主要关注伊富高的口头传统，即Hudhud，其表演，文化价值和教学传播手段。重要的是要注意，这种口头传统是通过其发源地的生活传统学校得以维持的。通过这项研究，人们将了解位于菲律宾北部高地的伊富高独特的口头传统。这项民族志研究抓住了研究哈德哈德的整体目的;就这样，对研究对象进行了浸泡、采访、存档和观察。在整个伊富高省的Gotad and Ifugao社区聚会、死亡仪式、婚礼和其他或大或小的重要聚会中，Hudhud的表演仍然很受欢迎。
{"title":"Hudhud: A Living Oral Tradition of the Ifugao","authors":"Bienvenido B. Constantino, Jr.","doi":"10.30819/aemr.8-1","DOIUrl":"https://doi.org/10.30819/aemr.8-1","url":null,"abstract":"\u0000 This study focuses mainly on the oral tradition of Ifugao called Hudhud, its performances, cultural values, and means of pedagogical transmission. It is important to note that this oral tradition is sustaining through the school of living tradition in the place of its origin. Through this study, people will be aware of this unique oral tradition of Ifugao, which is situated in the northern Philippine highlands. This ethnographic study captures the holistic purpose of the study of Hudhud; and thus, immersion, interview, archiving, and observation of the subject were made. Performances of the Hudhud are still popular during the community gathering called Gotad ad Ifugao, death rituals, weddings, and other important gatherings—big or small—in the entire province of Ifugao.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"116 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85099084","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 2011 Revision of the Hornbostel-Sachs Classification of Musical Instruments by the MIMO Consortium categorises the “reedpipes with double (or quadruple) reeds” (422.1) according to the number of pipes, bore shapes, and finger holes, as it does to many other instrument groups. However, this scheme rather overlooks the significantly varied features of the multiple reeds themselves – their structural difference that determines their making and functioning, and how they connect to the pipe body – especially considering the vast varieties and distribution of multiple reeds compared with other types of reed pipes. Following the hierarchical classification of reed pipes (422) primarily according to the types of reeds, this paper would propose a further classification based on the “subtypes” of multiple reeds. The first level divides into “idioglot reeds” and “staple-mounted reeds” based on the connection of reeds with the pipe body. Idioglot reeds make one-part and two-part reed pipes, the former “usually a flattened stem” of the upper end of the pipe itself and the latter made from unbroken thick cane that fits inside the pipe bore. In contrast, staple-mounted reeds make three-part reed pipes. Some have fixed sides so that only the tips of reed blades are free to vibrate, while others have detached individual leaves that can vibrate on all sides. Given that reeds, as the primary source of sonic vibration, decide many fundamental features of a reed pipe, this recontemplated classification is likely to provide more distinct insight into their construct, functioning, and historical lineages.
{"title":"Re-Contemplating the Classification of Multiple Reeds","authors":"Liu Xiangkun","doi":"10.30819/aemr.8-3","DOIUrl":"https://doi.org/10.30819/aemr.8-3","url":null,"abstract":"\u0000 The 2011 Revision of the Hornbostel-Sachs Classification of Musical Instruments by the MIMO Consortium categorises the “reedpipes with double (or quadruple) reeds” (422.1) according to the number of pipes, bore shapes, and finger holes, as it does to many other instrument groups. However, this scheme rather overlooks the significantly varied features of the multiple reeds themselves – their structural difference that determines their making and functioning, and how they connect to the pipe body – especially considering the vast varieties and distribution of multiple reeds compared with other types of reed pipes. Following the hierarchical classification of reed pipes (422) primarily according to the types of reeds, this paper would propose a further classification based on the “subtypes” of multiple reeds. The first level divides into “idioglot reeds” and “staple-mounted reeds” based on the connection of reeds with the pipe body. Idioglot reeds make one-part and two-part reed pipes, the former “usually a flattened stem” of the upper end of the pipe itself and the latter made from unbroken thick cane that fits inside the pipe bore. In contrast, staple-mounted reeds make three-part reed pipes. Some have fixed sides so that only the tips of reed blades are free to vibrate, while others have detached individual leaves that can vibrate on all sides. Given that reeds, as the primary source of sonic vibration, decide many fundamental features of a reed pipe, this recontemplated classification is likely to provide more distinct insight into their construct, functioning, and historical lineages.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"99 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80562306","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 short review is dedicated to the long-awaited event ‘Beijing Symposium of Sinicised Catholic Theology – The Chinese Face of Jesus Christ’ and deals with the historical background of some its events. It is also a personal document filled with statements derived from the given observations.
{"title":"Event-Review: Chinese Church Music since the Tang Dynasty","authors":"Zhang Zhentao Zhentao","doi":"10.30819/aemr.8-7","DOIUrl":"https://doi.org/10.30819/aemr.8-7","url":null,"abstract":"\u0000 This short review is dedicated to the long-awaited event ‘Beijing Symposium of Sinicised Catholic Theology – The Chinese Face of Jesus Christ’ and deals with the historical background of some its events. It is also a personal document filled with statements derived from the given observations.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"123 2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77573436","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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