Pub Date : 2018-01-02DOI: 10.1080/17494060.2018.1532921
Lukas Gabric
ABSTRACT The 2014 album Blue by the group MOPDTK (Mostly Other People do the Killing) is an exact, musical one-to-one reproduction of Miles Davis’s iconic and best-selling recording Kind of Blue (1959). In this project, I argue that while Blue sounds and appears as jazz, it is much rather a conceptual idea borrowed from a literary example, in the disguise of Jazz. Blue raises questions that are central to the understanding of the mens auctoris, genre, and art in general. In regard to the mens auctoris, the question mainly pertains to intent and originality. In the scope of art in general, we are faced with the question about the relationship between replication and value (monetary and artistic). Blue also evoked typical reactions associated with a work that questions assumptions about genre. Upon its initial reception, many listeners seemed unable to place it confidently and categorize the album according to genre.
MOPDTK乐队2014年的专辑《Blue》是迈尔斯·戴维斯标志性的畅销唱片《Kind of Blue》(1959)的精确、音乐的一对一复制。在这个项目中，我认为，虽然蓝色听起来和看起来像爵士乐，但它更像是借用了一个文学例子的概念，在爵士乐的伪装下。蓝色提出了一些问题，这些问题对于理解男性作家、流派和艺术来说是至关重要的。就行为主体而言，问题主要在于意图和原创性。在一般的艺术范围内，我们面临着复制和价值(金钱和艺术)之间关系的问题。蓝色也引起了与质疑体裁假设的作品有关的典型反应。在它最初的接收，许多听众似乎无法自信地放置它，并根据流派对专辑进行分类。
{"title":"“Beyond the Surface”: Hermeneutic Implications of Blue by MOPDTK","authors":"Lukas Gabric","doi":"10.1080/17494060.2018.1532921","DOIUrl":"https://doi.org/10.1080/17494060.2018.1532921","url":null,"abstract":"ABSTRACT The 2014 album Blue by the group MOPDTK (Mostly Other People do the Killing) is an exact, musical one-to-one reproduction of Miles Davis’s iconic and best-selling recording Kind of Blue (1959). In this project, I argue that while Blue sounds and appears as jazz, it is much rather a conceptual idea borrowed from a literary example, in the disguise of Jazz. Blue raises questions that are central to the understanding of the mens auctoris, genre, and art in general. In regard to the mens auctoris, the question mainly pertains to intent and originality. In the scope of art in general, we are faced with the question about the relationship between replication and value (monetary and artistic). Blue also evoked typical reactions associated with a work that questions assumptions about genre. Upon its initial reception, many listeners seemed unable to place it confidently and categorize the album according to genre.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2018.1532921","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41620485","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 : 2018-01-02DOI: 10.1080/17494060.2018.1528996
Kelsey A. K. Klotz
ABSTRACT In this article, I reveal the ways in which musical value, as marked by methods and places of listening, is intricately connected to race. I focus on John Lewis in his role as pianist and artistic director of the Modern Jazz Quartet, an African American jazz group formed in 1952 with members Milt Jackson (vibraphone), Percy Heath (bass), and Kenny Clarke (drums) (replaced by Connie Kay in 1955). To understand Lewis’s approach toward listening and place with the quartet, I explore the concepts of structural listening and the politics of respectability. European modernists Arnold Schoenberg and Theodor Adorno privileged structural listening, a mode of listening highlighting concentration on structure and form, in the process of aligning musical and social value. The equation of musical and social value resulted in a privileging of whiteness in three aspects: (1) musical genre; (2) places of musical performance; and (3) modes of listening audiences engaged in. I argue that Lewis privileged musical values stemming from the European classical music tradition. While others have argued that doing so demonstrates Lewis’s engagement in a broader politics of respectability at mid-century, I interrogate the inherent disconnect between the musical values of structural listening and respectability politics.
{"title":"On Musical Value: John Lewis, Structural Listening, and the Politics of Respectability","authors":"Kelsey A. K. Klotz","doi":"10.1080/17494060.2018.1528996","DOIUrl":"https://doi.org/10.1080/17494060.2018.1528996","url":null,"abstract":"ABSTRACT In this article, I reveal the ways in which musical value, as marked by methods and places of listening, is intricately connected to race. I focus on John Lewis in his role as pianist and artistic director of the Modern Jazz Quartet, an African American jazz group formed in 1952 with members Milt Jackson (vibraphone), Percy Heath (bass), and Kenny Clarke (drums) (replaced by Connie Kay in 1955). To understand Lewis’s approach toward listening and place with the quartet, I explore the concepts of structural listening and the politics of respectability. European modernists Arnold Schoenberg and Theodor Adorno privileged structural listening, a mode of listening highlighting concentration on structure and form, in the process of aligning musical and social value. The equation of musical and social value resulted in a privileging of whiteness in three aspects: (1) musical genre; (2) places of musical performance; and (3) modes of listening audiences engaged in. I argue that Lewis privileged musical values stemming from the European classical music tradition. While others have argued that doing so demonstrates Lewis’s engagement in a broader politics of respectability at mid-century, I interrogate the inherent disconnect between the musical values of structural listening and respectability politics.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2018.1528996","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48607349","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 : 2018-01-02DOI: 10.1080/17494060.2018.1532922
Colter Harper
ABSTRACT This article examines jazz musicians as Black musical laborers in the context of urban redevelopment and the Civil Rights era. I focus specifically on the activities of Local 471: Pittsburgh’s Black Local of the American Federation of Musicians (AFM), which was founded in 1908 and merged with its white counterpart, Local 60, in 1966. As labor leaders, Local 471 presidents Carl Arter (1955–1962) and Joseph Westray (1962–1965) used their positions to challenge discriminatory practices in Pittsburgh’s musical workplaces with Westray negotiating the 1965 merger of Locals 471 and 60. I examine how Local 471’s members struggled to both challenge workplace discrimination and maintain autonomy within the union system, actions that were both resultant of and resistant to segregation. When the merged local failed to elect any Black musicians to it executive board in 1970 and again in 1972, the activist group Black Musicians of Pittsburgh (BMOP) was formed to address the lack of Black union representation. The ongoing racial tensions and BMOP’s unsuccessful lawsuit against Local 60-471 presented a central paradox for Black leadership and activism in Pittsburgh’s musical labor as the promises of progress resulted in widespread abandonment of the union by Black musicians in Pittsburgh.
{"title":"The Paradox of Progress: Jazz, Resistance, and Black Musical Labor in Pittsburgh (1955–1974)","authors":"Colter Harper","doi":"10.1080/17494060.2018.1532922","DOIUrl":"https://doi.org/10.1080/17494060.2018.1532922","url":null,"abstract":"ABSTRACT This article examines jazz musicians as Black musical laborers in the context of urban redevelopment and the Civil Rights era. I focus specifically on the activities of Local 471: Pittsburgh’s Black Local of the American Federation of Musicians (AFM), which was founded in 1908 and merged with its white counterpart, Local 60, in 1966. As labor leaders, Local 471 presidents Carl Arter (1955–1962) and Joseph Westray (1962–1965) used their positions to challenge discriminatory practices in Pittsburgh’s musical workplaces with Westray negotiating the 1965 merger of Locals 471 and 60. I examine how Local 471’s members struggled to both challenge workplace discrimination and maintain autonomy within the union system, actions that were both resultant of and resistant to segregation. When the merged local failed to elect any Black musicians to it executive board in 1970 and again in 1972, the activist group Black Musicians of Pittsburgh (BMOP) was formed to address the lack of Black union representation. The ongoing racial tensions and BMOP’s unsuccessful lawsuit against Local 60-471 presented a central paradox for Black leadership and activism in Pittsburgh’s musical labor as the promises of progress resulted in widespread abandonment of the union by Black musicians in Pittsburgh.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2018.1532922","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49336501","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 : 2018-01-02DOI: 10.1080/17494060.2018.1550240
Peter A. Williams
{"title":"“Missing the Trane: Two John Coltrane Documentaries”","authors":"Peter A. Williams","doi":"10.1080/17494060.2018.1550240","DOIUrl":"https://doi.org/10.1080/17494060.2018.1550240","url":null,"abstract":"","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2018.1550240","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41311583","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 : 2018-01-02DOI: 10.1080/17494060.2018.1550231
Ken Prouty
{"title":"Letter from the Editor","authors":"Ken Prouty","doi":"10.1080/17494060.2018.1550231","DOIUrl":"https://doi.org/10.1080/17494060.2018.1550231","url":null,"abstract":"","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2018.1550231","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48993472","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 : 2017-09-01DOI: 10.1080/17494060.2017.1408480
T. Holmes
ABSTRACT The history of jazz is one of cascading events and styles that continually inform and influence what follows. This transformation is an accumulation over time of styles, methods, and techniques. During the 1950s and 1960s, electronic music gradually left the confines of the institution and migrated into the hands of independent musicians. Among the early explorers were jazz musicians who laid a foundation of experiment for later musicians to model and emulate. This article discusses two types of such experiments: (1) Jazz incorporating prerecorded electronic music on tape (1960–1970) and (2) Jazz using live electronics other than synthesizers (early years from 1965–1970). A discography is provided.
{"title":"The Roots of Electronic Jazz, 1950–1970","authors":"T. Holmes","doi":"10.1080/17494060.2017.1408480","DOIUrl":"https://doi.org/10.1080/17494060.2017.1408480","url":null,"abstract":"ABSTRACT The history of jazz is one of cascading events and styles that continually inform and influence what follows. This transformation is an accumulation over time of styles, methods, and techniques. During the 1950s and 1960s, electronic music gradually left the confines of the institution and migrated into the hands of independent musicians. Among the early explorers were jazz musicians who laid a foundation of experiment for later musicians to model and emulate. This article discusses two types of such experiments: (1) Jazz incorporating prerecorded electronic music on tape (1960–1970) and (2) Jazz using live electronics other than synthesizers (early years from 1965–1970). A discography is provided.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2017.1408480","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45269769","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 : 2017-09-01DOI: 10.1080/17494060.2017.1408479
Brandan P. Buck
ABSTRACT Willis Conover was arguably the most famous American in the pre-internet age. This Voice of America radio program, Music U.S.A. beamed popular music and jazz into people's lives all over the world from 1956 to his death in 1996. His program was part of a broader effort on the part of the US government to use jazz as diplomatic tool in their struggle against communism. This paper argues that Willis Conover's Music U.S.A. became the “mortar between the bricks” of the globalized jazz community, a cultural medium which simultaneously served US foreign policy interests, furthered the spread of jazz and fostered communication between physically and ideologically separated peoples. Conover achieved because his program was the nexus between uninterrupted government support, the power of mass radio and commercialized recording companies. This paper makes use of varied sources to include US government documents, Conover’s personal papers, periodicals, fan letters, production materials as well as oral histories and contemporary interviews.
{"title":"‘The Mortar Between the Bricks’: Willis Conover and Global Jazz","authors":"Brandan P. Buck","doi":"10.1080/17494060.2017.1408479","DOIUrl":"https://doi.org/10.1080/17494060.2017.1408479","url":null,"abstract":"ABSTRACT Willis Conover was arguably the most famous American in the pre-internet age. This Voice of America radio program, Music U.S.A. beamed popular music and jazz into people's lives all over the world from 1956 to his death in 1996. His program was part of a broader effort on the part of the US government to use jazz as diplomatic tool in their struggle against communism. This paper argues that Willis Conover's Music U.S.A. became the “mortar between the bricks” of the globalized jazz community, a cultural medium which simultaneously served US foreign policy interests, furthered the spread of jazz and fostered communication between physically and ideologically separated peoples. Conover achieved because his program was the nexus between uninterrupted government support, the power of mass radio and commercialized recording companies. This paper makes use of varied sources to include US government documents, Conover’s personal papers, periodicals, fan letters, production materials as well as oral histories and contemporary interviews.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2017.1408479","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49276650","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 : 2017-09-01DOI: 10.1080/17494060.2017.1408481
Marian Jago
ABSTRACT West Coast jazz practices following World War II have often been positioned as diametrically opposed to jazz practices in New York and other Eastern cities. In comparison to the dominant New York scene, the “West Coast sound” has routinely been dismissed as being too laid back, too informed by Western art music, too unswinging, and, more often than not, too white. Yet, it seems rather obvious that sociocultural and environmental factors unique to California would have had an affective impact upon musicians and musical expression in the region; an attitude frequently reflected in discussions of popular music. In an exploration of the West Coast sound that attempts to reach beyond considerations of racial authenticity, this paper draws attention to the similar ways in which notions of authenticity and differences in sound and expression in the debate surrounding East Coast versus West Coast hip hop (1980s-1990s) can be seen to mirror those surrounding the West Coast/East Coast jazz divide some 40 years earlier, and suggests that the aesthetic and regional concerns expressed by the hip hop community may provide a means to reconsider and reassess the jazz sounds emerging from California in the 1940s–1950s.
{"title":"Towards a Spatial Reconsideration of “West Coast” and “East Coast” in Jazz: Hip Hop Parallels and Notions of the Local","authors":"Marian Jago","doi":"10.1080/17494060.2017.1408481","DOIUrl":"https://doi.org/10.1080/17494060.2017.1408481","url":null,"abstract":"ABSTRACT West Coast jazz practices following World War II have often been positioned as diametrically opposed to jazz practices in New York and other Eastern cities. In comparison to the dominant New York scene, the “West Coast sound” has routinely been dismissed as being too laid back, too informed by Western art music, too unswinging, and, more often than not, too white. Yet, it seems rather obvious that sociocultural and environmental factors unique to California would have had an affective impact upon musicians and musical expression in the region; an attitude frequently reflected in discussions of popular music. In an exploration of the West Coast sound that attempts to reach beyond considerations of racial authenticity, this paper draws attention to the similar ways in which notions of authenticity and differences in sound and expression in the debate surrounding East Coast versus West Coast hip hop (1980s-1990s) can be seen to mirror those surrounding the West Coast/East Coast jazz divide some 40 years earlier, and suggests that the aesthetic and regional concerns expressed by the hip hop community may provide a means to reconsider and reassess the jazz sounds emerging from California in the 1940s–1950s.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2017.1408481","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47366200","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 : 2017-09-01DOI: 10.1080/17494060.2018.1492243
Teófilo Espada-Brignoni
ABSTRACT During the twentieth century, jazz was at the center of multiple debates about social life and American experience. Jazz music and its performers were framed in both positive and negative manners. The autobiographies of New Orleans musicians Sidney Bechet and Warren Dodds provide insight into the general frames they used to frame jazz experience and agency sometimes at odds with dominant discourses. Through Michel Foucault’s notion of ethical substance, I analyze the way in which jazz is constructed in their autobiographies. Several themes are used by both autobiographers to frame their actions, which are constructed in a complex and ambivalent manner revealing both the ethics of jazz and its covert culture.
{"title":"Complexity and Ambivalence: The Ethics of Jazz in Sidney Bechet’s and Warren Dodds’s Autobiographies","authors":"Teófilo Espada-Brignoni","doi":"10.1080/17494060.2018.1492243","DOIUrl":"https://doi.org/10.1080/17494060.2018.1492243","url":null,"abstract":"ABSTRACT During the twentieth century, jazz was at the center of multiple debates about social life and American experience. Jazz music and its performers were framed in both positive and negative manners. The autobiographies of New Orleans musicians Sidney Bechet and Warren Dodds provide insight into the general frames they used to frame jazz experience and agency sometimes at odds with dominant discourses. Through Michel Foucault’s notion of ethical substance, I analyze the way in which jazz is constructed in their autobiographies. Several themes are used by both autobiographers to frame their actions, which are constructed in a complex and ambivalent manner revealing both the ethics of jazz and its covert culture.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2018.1492243","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42722621","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 : 2017-09-01DOI: 10.1080/17494060.2018.1443966
S. Provost
ABSTRACT Creativity is often denied to women, and female jazz instrumentalists have been accused, openly or subtly, of lacking their own innovations. These critiques can reveal the manner in which jazz historians and critics, past and present, discuss creativity and how these ways fundamentally disadvantage historical and current jazz women. Several areas of jazz scholarship have benefited from investigations of the female and the feminine. What has previously been underplayed, though, was the manner in which women created musical spaces for themselves by using methods that were often considered uncreative. Despite feminism’s successes in reclaiming the historical value of female jazz instrumentalists such as Lil Hardin and Mary Lou Williams, these women confound modern women by insisting on describing their own playing as masculine. Some jazz women took their comparisons with men a step further, associating themselves with specific performers; for example, Valaida Snow, a trumpeter and singer, marketed herself as “Little Louis,” thus encouraging listeners to connect her performances with Louis Armstrong. This work details the reasons that women jazz instrumentalists utilized mimicry to gain access to masculine musical spaces and the successes that they experienced as a result. In reclaiming women’s imitative techniques, I recast women as creative entities.
{"title":"Bringing Something New: Female Jazz Instrumentalists’ Use of Imitation and Masculinity","authors":"S. Provost","doi":"10.1080/17494060.2018.1443966","DOIUrl":"https://doi.org/10.1080/17494060.2018.1443966","url":null,"abstract":"ABSTRACT Creativity is often denied to women, and female jazz instrumentalists have been accused, openly or subtly, of lacking their own innovations. These critiques can reveal the manner in which jazz historians and critics, past and present, discuss creativity and how these ways fundamentally disadvantage historical and current jazz women. Several areas of jazz scholarship have benefited from investigations of the female and the feminine. What has previously been underplayed, though, was the manner in which women created musical spaces for themselves by using methods that were often considered uncreative. Despite feminism’s successes in reclaiming the historical value of female jazz instrumentalists such as Lil Hardin and Mary Lou Williams, these women confound modern women by insisting on describing their own playing as masculine. Some jazz women took their comparisons with men a step further, associating themselves with specific performers; for example, Valaida Snow, a trumpeter and singer, marketed herself as “Little Louis,” thus encouraging listeners to connect her performances with Louis Armstrong. This work details the reasons that women jazz instrumentalists utilized mimicry to gain access to masculine musical spaces and the successes that they experienced as a result. In reclaiming women’s imitative techniques, I recast women as creative entities.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2018.1443966","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46230238","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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