Pub Date : 2023-12-14DOI: 10.5429/2079-3871(2023)v13i3.2en
Victor De Almeida Nobre Pires, Thiago Soares
This article discusses a set of “performance problems” (Madri 2009) in live music from the enshrinement and emptying of music “lives” in the context of the Coronavirus pandemic in 2020. Beginning with the notion of presence, we recognize “live” as a status with a long tradition in mediatic configurations (Auslander 2008, Pires 2019) and present the aesthetic impasses brought about by their archiving in digital culture. We debate speculative zones between memory, invention, and simulation in three experiences created by live music materials: the presence of holograms and music performances, the retransmission of archived shows on digital platforms in the context of the pandemic, and the creation of new sound environments for pre-recorded materials.
{"title":"Performance problems: presence, memory and fabulation in live music","authors":"Victor De Almeida Nobre Pires, Thiago Soares","doi":"10.5429/2079-3871(2023)v13i3.2en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i3.2en","url":null,"abstract":"This article discusses a set of “performance problems” (Madri 2009) in live music from the enshrinement and emptying of music “lives” in the context of the Coronavirus pandemic in 2020. Beginning with the notion of presence, we recognize “live” as a status with a long tradition in mediatic configurations (Auslander 2008, Pires 2019) and present the aesthetic impasses brought about by their archiving in digital culture. We debate speculative zones between memory, invention, and simulation in three experiences created by live music materials: the presence of holograms and music performances, the retransmission of archived shows on digital platforms in the context of the pandemic, and the creation of new sound environments for pre-recorded materials.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"40 24","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138974700","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 : 2023-12-14DOI: 10.5429/2079-3871(2023)v13i3.7en
Kayla Rush
This article examines the role of YouTube in how young popular musicians learn in the twenty-first century. I frame this question within the dual legacies of Lucy Green’s (2001) findings about “listening and copying” among popular musicians and Marc Prensky’s (2001a, 2001b) “digital natives” hypothesis. I present an ethnographic description of a music learning encounter that raises questions as to whether there is a generational change occurring, one which shifts the primary mode of informal music learning from listening and copying to watching and copying via YouTube videos. I argue that learning via YouTube constitutes a form of informal learning, one situated within a longer history of learning strategies based in available technologies and resources. I suggest that in the midst of this continuity, digital videos present at least one new phenomenon within popular music education: the ability to abstract single lines and riffs from their musical contexts.
{"title":"Is “Watching and Copying” the New “Listening and Copying”?","authors":"Kayla Rush","doi":"10.5429/2079-3871(2023)v13i3.7en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i3.7en","url":null,"abstract":"This article examines the role of YouTube in how young popular musicians learn in the twenty-first century. I frame this question within the dual legacies of Lucy Green’s (2001) findings about “listening and copying” among popular musicians and Marc Prensky’s (2001a, 2001b) “digital natives” hypothesis. I present an ethnographic description of a music learning encounter that raises questions as to whether there is a generational change occurring, one which shifts the primary mode of informal music learning from listening and copying to watching and copying via YouTube videos. I argue that learning via YouTube constitutes a form of informal learning, one situated within a longer history of learning strategies based in available technologies and resources. I suggest that in the midst of this continuity, digital videos present at least one new phenomenon within popular music education: the ability to abstract single lines and riffs from their musical contexts.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"19 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139003015","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 : 2023-07-31DOI: 10.5429/2079-3871(2023)v13i2.7en
Erin Bryce Holmes
Abstract: Cultural ideals are repeatedly coded into hidden messages through drums, sampling, and signifying, which is all embodied through various dance styles. This transformation brings new meaning to political, social, historical, and cultural issues. The policing of the black moving body has become an international symbol of struggle, pain, oppression and injustice. How strong is a symbol? To be seen is to be remembered. When will we forget what has been learned? When will we receive what our ancestors have earned? The purpose of this research is to deepen an understanding of the sub- group or ethnic group known as African- Americans in the new world, also known as, the Americas. This paper begins with an introduction to phenomena such as present day stereotypes, social constructs and mandates on what is considered by Brenda Dixon Gottschild to be the "black dancing body" in America. The discussion to follow deals with how policing the black dancing and moving body occurs throughout various interlinked systems in America. The black female and male forms are constantly violated by lack of access to education, diagnosis of illness and reinforced stereotypes of aggression. An embodied exploration of the Pan- African dance technique known as Umfundalai (pronounced ma-foon-da-la) provides a deeper understanding of protest within the arts. This writer will show therapeutic values inherent in the stylized movement vocabulary of people of the African Diaspora and the utilization of their culture as a viable resource for healing in an acute care psychiatric hospital.
{"title":"Protest Is Mental Health: Afrocentric healing in a dance movement therapy session","authors":"Erin Bryce Holmes","doi":"10.5429/2079-3871(2023)v13i2.7en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i2.7en","url":null,"abstract":"Abstract: Cultural ideals are repeatedly coded into hidden messages through drums, sampling, and signifying, which is all embodied through various dance styles. This transformation brings new meaning to political, social, historical, and cultural issues. The policing of the black moving body has become an international symbol of struggle, pain, oppression and injustice. How strong is a symbol? To be seen is to be remembered. When will we forget what has been learned? When will we receive what our ancestors have earned? The purpose of this research is to deepen an understanding of the sub- group or ethnic group known as African- Americans in the new world, also known as, the Americas. This paper begins with an introduction to phenomena such as present day stereotypes, social constructs and mandates on what is considered by Brenda Dixon Gottschild to be the \"black dancing body\" in America. The discussion to follow deals with how policing the black dancing and moving body occurs throughout various interlinked systems in America. The black female and male forms are constantly violated by lack of access to education, diagnosis of illness and reinforced stereotypes of aggression. An embodied exploration of the Pan- African dance technique known as Umfundalai (pronounced ma-foon-da-la) provides a deeper understanding of protest within the arts. This writer will show therapeutic values inherent in the stylized movement vocabulary of people of the African Diaspora and the utilization of their culture as a viable resource for healing in an acute care psychiatric hospital.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139353126","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 : 2023-07-31DOI: 10.5429/2079-3871(2023)v13i2.2en
Christopher J Smith
In a live video posted to YouTube Sept 2 2014, a young woman, dressed in black and standing on a stationary car, dances, unwinds her hijab and fluffs her long hair. The upload, since disappeared, registered over 1 million views, and precipitated a spate of responses depicting young women dancing in public places, eventually spawning the hashtag #DancingIsNotACrime. In many cultures across many eras, dancing in public has been a tool for resistance. Those employing movement as resistance often do so precisely because street dance is portable, mutable, and infinitely viral: capable of transmission by person-to-person contact. Multiple subaltern revolutionary movements have begun in search of safe spaces for dancing, and the repression of public dance has been a locus for authoritarian crackdowns. Drawing upon methodologies from semiotics, musicology, kinesics, and political science, this essay explores #DancingIsNotACrime as a potent, present, and immediate vehicle seeking justice and social revolution.
{"title":"#DancingIsNotACrime: Dance as Digital Resistance in the Transnational 21st Century","authors":"Christopher J Smith","doi":"10.5429/2079-3871(2023)v13i2.2en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i2.2en","url":null,"abstract":"In a live video posted to YouTube Sept 2 2014, a young woman, dressed in black and standing on a stationary car, dances, unwinds her hijab and fluffs her long hair. The upload, since disappeared, registered over 1 million views, and precipitated a spate of responses depicting young women dancing in public places, eventually spawning the hashtag #DancingIsNotACrime. In many cultures across many eras, dancing in public has been a tool for resistance. Those employing movement as resistance often do so precisely because street dance is portable, mutable, and infinitely viral: capable of transmission by person-to-person contact. Multiple subaltern revolutionary movements have begun in search of safe spaces for dancing, and the repression of public dance has been a locus for authoritarian crackdowns. Drawing upon methodologies from semiotics, musicology, kinesics, and political science, this essay explores #DancingIsNotACrime as a potent, present, and immediate vehicle seeking justice and social revolution.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139353402","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 : 2023-07-31DOI: 10.5429/2079-3871(2023)v13i2.6sp
Mercedes Liska
El baile erótico ejecutado con músicas como la cumbia o el reggaetón ha sido señalado con insistencia en ámbitos educativos e institucionales como una práctica de reproducción de la desigualdad de género y la cultura de la violación. En Argentina, recientemente ganaron aceptación otras miradas impulsadas por artistas mujeres a favor del perreo y sobre todo del twerk, una técnica globalizada de baile pélvico dispuesto en coreografías de participación femenina, con retóricas de reapropiación del goce y la soberanía sexual. Desde el enfoque de la comunicación y la cultura, este trabajo investiga el lugar que ocupó el baile sexualizado en los discursos actuales. Analizamos el rol de distintas cantantes y bailarinas en la revalorización sensual del baile como parte de los imaginarios post románticos y desheteronormativos, su diálogo y discusión con referentes del activismo feminista, y el protagonismo estético y político de una zona del cuerpo: el culo.
{"title":"Mi culo es mío: políticas de género y significaciones recientes de las eróticas de baile, del meneaíto al twerking","authors":"Mercedes Liska","doi":"10.5429/2079-3871(2023)v13i2.6sp","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i2.6sp","url":null,"abstract":"El baile erótico ejecutado con músicas como la cumbia o el reggaetón ha sido señalado con insistencia en ámbitos educativos e institucionales como una práctica de reproducción de la desigualdad de género y la cultura de la violación. En Argentina, recientemente ganaron aceptación otras miradas impulsadas por artistas mujeres a favor del perreo y sobre todo del twerk, una técnica globalizada de baile pélvico dispuesto en coreografías de participación femenina, con retóricas de reapropiación del goce y la soberanía sexual. Desde el enfoque de la comunicación y la cultura, este trabajo investiga el lugar que ocupó el baile sexualizado en los discursos actuales. Analizamos el rol de distintas cantantes y bailarinas en la revalorización sensual del baile como parte de los imaginarios post románticos y desheteronormativos, su diálogo y discusión con referentes del activismo feminista, y el protagonismo estético y político de una zona del cuerpo: el culo.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139353172","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 : 2023-07-31DOI: 10.5429/2079-3871(2023)v13i2.5en
Ondrej Daniel
In this study, I aim to discuss the nature of protest dances taking place in urban spaces of postsocialist Czech Republic. My point of departure consist in the hardbass masked dances that were produced and propagated by activists with links to far-right social movements mainly in Eastern Europe in the early 2010s. Hardbass thus mimicked the earlier anti-globalization social movement Reclaim the Streets (RTS). The anti-globalization movement of the late 1990s and early 2000s can be considered a truly global social movement, active not only in the core capitalist countries but also in locations that are more peripheral.
{"title":"From Street Parties to Hardbass: Dance and Protest in Czech Postsocialist Urban Space","authors":"Ondrej Daniel","doi":"10.5429/2079-3871(2023)v13i2.5en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i2.5en","url":null,"abstract":"In this study, I aim to discuss the nature of protest dances taking place in urban spaces of postsocialist Czech Republic. My point of departure consist in the hardbass masked dances that were produced and propagated by activists with links to far-right social movements mainly in Eastern Europe in the early 2010s. Hardbass thus mimicked the earlier anti-globalization social movement Reclaim the Streets (RTS). The anti-globalization movement of the late 1990s and early 2000s can be considered a truly global social movement, active not only in the core capitalist countries but also in locations that are more peripheral.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139353176","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 : 2023-07-31DOI: 10.5429/2079-3871(2023)v13i2.3en
Grace shinhae Jun, Anthony Blacksher
In this paper, members of COLLECTIVE reflect on the show Illegible and the specific performance for Mr. Olango’s family. Using an auto-ethnographic approach, this paper explores the role of artists in transforming critical scholarship and social protests into social justice advocacy, particularly around issues of representation, inequality, systemic racism, and police violence as experienced by Black men. In exploring the creative processes and impact of this performance, Illegible offers lyrics, movement, and music as representative of distinct and collaborative protests against anti-Black racism.
{"title":"Illegible Representations, Collaborative Protests","authors":"Grace shinhae Jun, Anthony Blacksher","doi":"10.5429/2079-3871(2023)v13i2.3en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i2.3en","url":null,"abstract":"In this paper, members of COLLECTIVE reflect on the show Illegible and the specific performance for Mr. Olango’s family. Using an auto-ethnographic approach, this paper explores the role of artists in transforming critical scholarship and social protests into social justice advocacy, particularly around issues of representation, inequality, systemic racism, and police violence as experienced by Black men. In exploring the creative processes and impact of this performance, Illegible offers lyrics, movement, and music as representative of distinct and collaborative protests against anti-Black racism.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"49 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139353150","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 : 2023-07-31DOI: 10.5429/2079-3871(2023)v13i2.4en
Maggie Leung
Through the 2003 and 2014 protests in Hong Kong, this paper proposes using choreographic analysis for the study of social movements in terms of corporal movements. By looking at the organization of actions and creation of postures and gestures and all the movements driven by the mental force lyricism, choreographic analysis seeks to identify and articulate the infinite potential, realized and not, revealed in a revolution, that marks the latter as a singular moment of eternity that produces new thoughts. As the case of Hong Kong shows in the light of this method, the site of radical politics locates in the persisting colonial alienation that separates the people from the authority.
{"title":"The lyricism of revolution: A choreographic analysis of the 2003 and 2014 protests in Hong Kong","authors":"Maggie Leung","doi":"10.5429/2079-3871(2023)v13i2.4en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i2.4en","url":null,"abstract":"Through the 2003 and 2014 protests in Hong Kong, this paper proposes using choreographic analysis for the study of social movements in terms of corporal movements. By looking at the organization of actions and creation of postures and gestures and all the movements driven by the mental force lyricism, choreographic analysis seeks to identify and articulate the infinite potential, realized and not, revealed in a revolution, that marks the latter as a singular moment of eternity that produces new thoughts. As the case of Hong Kong shows in the light of this method, the site of radical politics locates in the persisting colonial alienation that separates the people from the authority.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139353250","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 : 2023-07-28DOI: 10.5429/2079-3871(2023)v13i1.4en
N. J. Shea
Researchers and performers have long intuited that popular music’s organizational features are linked to the physical-tonal properties of the electric guitar. Yet current evidence is either too broad or too specific to support reliable generalizations. Ongoing corpus studies offer remarkable explanatory power in clarifying stylistic trends from a listener’s perspective but are not currently equipped to address the kinesthetic aspects of instrument performance. In this study I employ statistical methods of corpus analysis to explore how popular-music guitarists navigate the fretboard. I do so via a digital collection of guitar tablature: 257 rhythm-guitar parts sampled from seven decades of songs (1954–2019). An analysis of fretboard transitions reveals a highly idiomatic fretboard profile that aligns best with the minor pentatonic scale. This empirically supports standing intuitions about the relationship between pentatonicism and guitar performance, while underscoring the methodological and potential ethical shortcomings of a strictly harmonic perspective on popular music’s organization.
{"title":"\"Guitar Thinking\" and \"Genre Thinking\" among an Online Community of Guitarists","authors":"N. J. Shea","doi":"10.5429/2079-3871(2023)v13i1.4en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i1.4en","url":null,"abstract":"Researchers and performers have long intuited that popular music’s organizational features are linked to the physical-tonal properties of the electric guitar. Yet current evidence is either too broad or too specific to support reliable generalizations. Ongoing corpus studies offer remarkable explanatory power in clarifying stylistic trends from a listener’s perspective but are not currently equipped to address the kinesthetic aspects of instrument performance. In this study I employ statistical methods of corpus analysis to explore how popular-music guitarists navigate the fretboard. I do so via a digital collection of guitar tablature: 257 rhythm-guitar parts sampled from seven decades of songs (1954–2019). An analysis of fretboard transitions reveals a highly idiomatic fretboard profile that aligns best with the minor pentatonic scale. This empirically supports standing intuitions about the relationship between pentatonicism and guitar performance, while underscoring the methodological and potential ethical shortcomings of a strictly harmonic perspective on popular music’s organization.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"52 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139354013","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 : 2023-07-28DOI: 10.5429/2079-3871(2023)v13i1.2en
Ingrid M. Tolstad
The established industry practices of collaborative songwriting sessions and camps are vital sites for the acquisition and transferal of songwriting skills and knowledge. While there is a limited body of research into collaborative songwriting and writing camps as such, there is even less academic work done on their role as (informal) settings for training and education of songwriters. Based on fieldwork in an international songwriting camp, the article maps out and explores how aspiring songwriters are socialized into the creative practices of songwriting. Understanding collaborative songwriting as a form of social interaction, and thus inherently characterized by unequal distributions of and negotiations over (creative) power, it analyzes its frameworks of knowledge as an assemblage that is continuously (re-)produced through its ongoing interactional practices.
{"title":"“Bring Your A-game and Leave your Ego at the Door!”","authors":"Ingrid M. Tolstad","doi":"10.5429/2079-3871(2023)v13i1.2en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i1.2en","url":null,"abstract":"The established industry practices of collaborative songwriting sessions and camps are vital sites for the acquisition and transferal of songwriting skills and knowledge. While there is a limited body of research into collaborative songwriting and writing camps as such, there is even less academic work done on their role as (informal) settings for training and education of songwriters. Based on fieldwork in an international songwriting camp, the article maps out and explores how aspiring songwriters are socialized into the creative practices of songwriting. Understanding collaborative songwriting as a form of social interaction, and thus inherently characterized by unequal distributions of and negotiations over (creative) power, it analyzes its frameworks of knowledge as an assemblage that is continuously (re-)produced through its ongoing interactional practices.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"92 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139354079","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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