Pub Date : 2024-08-21DOI: 10.1177/15366006241257805
{"title":"WITHDRAWAL-Administrative Duplicate Publication: Book Review: Mary Stakelum, ed, Developing the Musician: Contemporary Perspectives on Teaching and Learning","authors":"","doi":"10.1177/15366006241257805","DOIUrl":"https://doi.org/10.1177/15366006241257805","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"46 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142178688","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 : 2024-08-06DOI: 10.1177/15366006241247581
{"title":"Corrigendum to “Challenges and Successes During the Early Years of the Nsukka Music School”","authors":"","doi":"10.1177/15366006241247581","DOIUrl":"https://doi.org/10.1177/15366006241247581","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"29 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141969320","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 : 2024-07-24DOI: 10.1177/15366006241259378
Timothy J. Groulx
Band repertoire lists for the National Band Contests evolved from a desire to make school bands “more educational” in the 1920s. The national band contest repertoire lists (1924–1943) formed the basis for the wind band canon during the first half of the twentieth century. Many state band organizations developed their own lists when national contests ended after World War II. This study was an analysis of the pieces and composers that were on the Florida band contest lists, how the lists evolved, and who influenced them, especially compared to the national lists. Findings include greater diversity in Florida’s concert music committee membership than National, but likely only since 1991. The percentage of original wind band works on Florida’s lists maintained the final proportions of the National Band Contest lists (approximately 50%–53%). White male composer representation over the 75 years of lists remained extremely high (98.08% of all works), though the proportion of women composers and composers of color on annual additions since 2015 has increased dramatically.
{"title":"A Century of Band Contest Literature Lists: From National Origins to the State of Florida","authors":"Timothy J. Groulx","doi":"10.1177/15366006241259378","DOIUrl":"https://doi.org/10.1177/15366006241259378","url":null,"abstract":"Band repertoire lists for the National Band Contests evolved from a desire to make school bands “more educational” in the 1920s. The national band contest repertoire lists (1924–1943) formed the basis for the wind band canon during the first half of the twentieth century. Many state band organizations developed their own lists when national contests ended after World War II. This study was an analysis of the pieces and composers that were on the Florida band contest lists, how the lists evolved, and who influenced them, especially compared to the national lists. Findings include greater diversity in Florida’s concert music committee membership than National, but likely only since 1991. The percentage of original wind band works on Florida’s lists maintained the final proportions of the National Band Contest lists (approximately 50%–53%). White male composer representation over the 75 years of lists remained extremely high (98.08% of all works), though the proportion of women composers and composers of color on annual additions since 2015 has increased dramatically.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"23 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141784101","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 : 2024-07-23DOI: 10.1177/15366006241259767
Nicholas Bannan
Music from every culture throughout history is now available at the click of a mouse. Prior to the development of recording, the unfamiliar largely separated musical cultures. This paper sets out a narrative to illustrate the framework through which a universalist approach to music emerged over the period 1871–1970, derived from placing in relation to one another accounts of the influence of three historical figures. The first is Darwin, whose theories of evolution embraced speculation on the origin and purpose of music, and who himself wrote about the effect on him of encountering unfamiliar musical styles in the Southern Hemisphere. The second is Grainger, influenced by Darwin’s work and persuasively concerned to open musical contact between all cultures. The third is Blacking, a pioneer in ethnomusicology and commentator on Grainger’s ideas. Tracing the links between these authors inevitably represents an English-language historical perspective on the issues of colonization, cultural appropriation, and the educational influence of a dominant culture. In offering such a historical account of fluctuating experience of ‘the other’ in music, the aim is to illustrate these authors’ contribution towards convergence on an open, informed position consistent with viewing musical exchange from a universalist perspective.
{"title":"Charles Darwin, Percy Grainger, and John Blacking: Reflections on the Historical Emergence of Music as a Human Universal","authors":"Nicholas Bannan","doi":"10.1177/15366006241259767","DOIUrl":"https://doi.org/10.1177/15366006241259767","url":null,"abstract":"Music from every culture throughout history is now available at the click of a mouse. Prior to the development of recording, the unfamiliar largely separated musical cultures. This paper sets out a narrative to illustrate the framework through which a universalist approach to music emerged over the period 1871–1970, derived from placing in relation to one another accounts of the influence of three historical figures. The first is Darwin, whose theories of evolution embraced speculation on the origin and purpose of music, and who himself wrote about the effect on him of encountering unfamiliar musical styles in the Southern Hemisphere. The second is Grainger, influenced by Darwin’s work and persuasively concerned to open musical contact between all cultures. The third is Blacking, a pioneer in ethnomusicology and commentator on Grainger’s ideas. Tracing the links between these authors inevitably represents an English-language historical perspective on the issues of colonization, cultural appropriation, and the educational influence of a dominant culture. In offering such a historical account of fluctuating experience of ‘the other’ in music, the aim is to illustrate these authors’ contribution towards convergence on an open, informed position consistent with viewing musical exchange from a universalist perspective.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"42 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141784104","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 : 2023-09-29DOI: 10.1177/15366006231196330
Rachel M. Schuck
{"title":"Book Review: From the Tanjore Court to the Madras Music Academy: A Social History of Music in South India by Lakshmi Subramanian","authors":"Rachel M. Schuck","doi":"10.1177/15366006231196330","DOIUrl":"https://doi.org/10.1177/15366006231196330","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135247306","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 : 2023-09-29DOI: 10.1177/15366006231196333
Mara Culp
Karnatic repertoire in which some performers and pedagogues specialize (18). Here, Subramanian’s warnings could be applied to the standardization of any musical practice in a classroom setting, a trend which many ethnomusicologists and music educators have previously addressed. For example, consider the rising, yet challenging, standardization of “hip hop pedagogy” in US music classrooms. Subramanian supplies ample and detailed cultural context for Karnatic music performance and pedagogy. She successfully provides clear reminders that Karnatic music may not be separated from its moral function and the moral aims of its practitioners (19). Despite its rootedness as a socio-political study, Subramanian might supplement the key themes of the book with a centralized case study of influential Karnatic educators and their impact on the movements and policies explained therein. Discussions of privilege and access to music are essential in the context of Karnatic teaching and learning but equally essential wherever classical music is taught in a global context. Music educators in the U.S. who wish to learn about, demonstrate, or teach Karnatic music have the responsibility to become as informed as possible about the social, historical, and political context of this music. To this end, Lakshmi Subramanian’s book provides a compact and thorough background into relevant contexts of Karnatic music, offering any interested music educators a valuable “starting point” towards developing culturally situated and appropriate methodology. This book will be useful for students and teachers of South Indian music, ethnomusicology, South Asian studies, and any general reader interested in the directions and institutionalization of art music traditions. Historians of music pedagogy will also be pleased to note that Subramanian’s book includes a compact timeline of the development of Karnatic music from court practice during the reign of Serfoji II to contemporary teaching and learning taking place at theMadrasMusic Academy in Chennai. Given these considerations, this book is a valuable reference for educators preparing to teach “world music” survey courses and related activities, host guest artists and musicians, or designing immersive curricula for students of regional South Asian music.
{"title":"Book Review: Developing the Musician: Contemporary Perspectives on Teaching and Learning","authors":"Mara Culp","doi":"10.1177/15366006231196333","DOIUrl":"https://doi.org/10.1177/15366006231196333","url":null,"abstract":"Karnatic repertoire in which some performers and pedagogues specialize (18). Here, Subramanian’s warnings could be applied to the standardization of any musical practice in a classroom setting, a trend which many ethnomusicologists and music educators have previously addressed. For example, consider the rising, yet challenging, standardization of “hip hop pedagogy” in US music classrooms. Subramanian supplies ample and detailed cultural context for Karnatic music performance and pedagogy. She successfully provides clear reminders that Karnatic music may not be separated from its moral function and the moral aims of its practitioners (19). Despite its rootedness as a socio-political study, Subramanian might supplement the key themes of the book with a centralized case study of influential Karnatic educators and their impact on the movements and policies explained therein. Discussions of privilege and access to music are essential in the context of Karnatic teaching and learning but equally essential wherever classical music is taught in a global context. Music educators in the U.S. who wish to learn about, demonstrate, or teach Karnatic music have the responsibility to become as informed as possible about the social, historical, and political context of this music. To this end, Lakshmi Subramanian’s book provides a compact and thorough background into relevant contexts of Karnatic music, offering any interested music educators a valuable “starting point” towards developing culturally situated and appropriate methodology. This book will be useful for students and teachers of South Indian music, ethnomusicology, South Asian studies, and any general reader interested in the directions and institutionalization of art music traditions. Historians of music pedagogy will also be pleased to note that Subramanian’s book includes a compact timeline of the development of Karnatic music from court practice during the reign of Serfoji II to contemporary teaching and learning taking place at theMadrasMusic Academy in Chennai. Given these considerations, this book is a valuable reference for educators preparing to teach “world music” survey courses and related activities, host guest artists and musicians, or designing immersive curricula for students of regional South Asian music.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135247013","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 : 2023-09-29DOI: 10.1177/15366006231196331
Sondra Wieland Howe
project wherein teachers incorporated playing by ear strategies into instrumental lessons. Developing the Musician is suitable for a diverse audience with interests in music teaching and learning and readers comfortable with an academic format. At times the content can be rather dense—particularly chapters using primarily quantitative analysis to report complex statistics—but the consistent format and conclusion sections help readers navigate the chapters. Readers with musical backgrounds or research backgrounds or both with interests in contemporary music teaching and learning would benefit most from this title. Interested audiences and their views regarding music teaching and learning have changed throughout the years. This title provides an excellent resource for researchers, musicians, parents, and music educators as well as individuals with interests regarding contemporary issues in music and music education. Chapters pertaining to popular music, learners with special needs, ear-playing, and music identity make this a timely resource that addresses issues currently impacting the music teaching and learning field. Pertinent information within each chapter is easy to locate, as all authors organized their material in a similar fashion. Contemporary approaches to music teaching and learning are rooted in history, and music educators with an interest in history will likely be able to appreciate the implications of important historical events on contemporary practice. Researchers may also find inspiration to (re)examine the historical narratives surrounding certain topics or approaches described in order to provide additional insights and interpretations to the field of music education. As the knowledge base on these complex issues increases, it remains important for researchers in all music fields to continue to seek publications such as Developing the Musician to stay on the cutting-edge of a varied and dynamic field.
{"title":"Book Review: Revolutions in Music Education: Historical and Social Explorations, edited by Andrew Sutherland, Jane Southcott, and Leon de Bruin","authors":"Sondra Wieland Howe","doi":"10.1177/15366006231196331","DOIUrl":"https://doi.org/10.1177/15366006231196331","url":null,"abstract":"project wherein teachers incorporated playing by ear strategies into instrumental lessons. Developing the Musician is suitable for a diverse audience with interests in music teaching and learning and readers comfortable with an academic format. At times the content can be rather dense—particularly chapters using primarily quantitative analysis to report complex statistics—but the consistent format and conclusion sections help readers navigate the chapters. Readers with musical backgrounds or research backgrounds or both with interests in contemporary music teaching and learning would benefit most from this title. Interested audiences and their views regarding music teaching and learning have changed throughout the years. This title provides an excellent resource for researchers, musicians, parents, and music educators as well as individuals with interests regarding contemporary issues in music and music education. Chapters pertaining to popular music, learners with special needs, ear-playing, and music identity make this a timely resource that addresses issues currently impacting the music teaching and learning field. Pertinent information within each chapter is easy to locate, as all authors organized their material in a similar fashion. Contemporary approaches to music teaching and learning are rooted in history, and music educators with an interest in history will likely be able to appreciate the implications of important historical events on contemporary practice. Researchers may also find inspiration to (re)examine the historical narratives surrounding certain topics or approaches described in order to provide additional insights and interpretations to the field of music education. As the knowledge base on these complex issues increases, it remains important for researchers in all music fields to continue to seek publications such as Developing the Musician to stay on the cutting-edge of a varied and dynamic field.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135247453","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 : 2023-08-01DOI: 10.1177/15366006231178563
Veronica Boulton
There are currently very few brass bands in schools in Australia, however they were the predominant music ensemble in Australian schools up to the 1970s. The aim of this article is to document the popularity of British-style brass bands in Australia, and the corresponding development of brass bands in schools during the 20th century. The history of the brass band in Australia and its decline is explored, drawing significantly on the historical research of Dr Duncan Bythell, Dr Thomas Fraschillo, Dr Dave Russell, and Dr John Whiteoak. In addition, various primary sources are examined, such as newspaper articles and photographs. British immigration to Australia played a significant role in shaping the brass band movement, which was distinctly male-dominated and had strong links to the military culture of the first half of the 20th century. These societal trends followed into the school brass band setting. The article concludes with an overview of the factors that influenced the shift away from the all-brass ensemble in schools. This research provides a better understanding of the brass band tradition within the context of the school environment in Australia and calls for further research and scholarly inclusion in the literature of music education.
{"title":"Brass Bands: The Foundation of Music Education in Australian Schools","authors":"Veronica Boulton","doi":"10.1177/15366006231178563","DOIUrl":"https://doi.org/10.1177/15366006231178563","url":null,"abstract":"There are currently very few brass bands in schools in Australia, however they were the predominant music ensemble in Australian schools up to the 1970s. The aim of this article is to document the popularity of British-style brass bands in Australia, and the corresponding development of brass bands in schools during the 20th century. The history of the brass band in Australia and its decline is explored, drawing significantly on the historical research of Dr Duncan Bythell, Dr Thomas Fraschillo, Dr Dave Russell, and Dr John Whiteoak. In addition, various primary sources are examined, such as newspaper articles and photographs. British immigration to Australia played a significant role in shaping the brass band movement, which was distinctly male-dominated and had strong links to the military culture of the first half of the 20th century. These societal trends followed into the school brass band setting. The article concludes with an overview of the factors that influenced the shift away from the all-brass ensemble in schools. This research provides a better understanding of the brass band tradition within the context of the school environment in Australia and calls for further research and scholarly inclusion in the literature of music education.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46168926","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 : 2023-07-13DOI: 10.1177/15366006231187659
Georgia Pike-Rowney
This paper focuses on the Pelagian Debate of the late 4th Century CE between Augustine of Hippo and the British cleric Pelagius, and its little known or understood relevance to music education practice and scholarship. A transdisciplinary review of theological, historical, pedagogical, and musicological texts suggests that Augustinian notions of sin, goodness, and human nature reflect assumptions embedded in traditional classical music education paradigms. As a contrast, Pelagius’ notions of the importance of the “laity,” and criticism of church hierarchy, later suppressed and deemed heretical, can be related to tensions between amateur and professional musicians in music and education contexts. This paper will explore this debate, and Augustine’s victory, as a means of questioning assumptions embedded in music education discourse concerning talent, discipline, and human capacity for music. In this way, the debate is made relevant not only as a means of enhancing understanding of historical conceptions but also as a lens through which contemporary music education might be interrogated.
{"title":"The ‘Distant Music of Social Radicalism’: The debate between Pelagius and Augustine of the 4th Century CE and its Relevance to Music Education","authors":"Georgia Pike-Rowney","doi":"10.1177/15366006231187659","DOIUrl":"https://doi.org/10.1177/15366006231187659","url":null,"abstract":"This paper focuses on the Pelagian Debate of the late 4th Century CE between Augustine of Hippo and the British cleric Pelagius, and its little known or understood relevance to music education practice and scholarship. A transdisciplinary review of theological, historical, pedagogical, and musicological texts suggests that Augustinian notions of sin, goodness, and human nature reflect assumptions embedded in traditional classical music education paradigms. As a contrast, Pelagius’ notions of the importance of the “laity,” and criticism of church hierarchy, later suppressed and deemed heretical, can be related to tensions between amateur and professional musicians in music and education contexts. This paper will explore this debate, and Augustine’s victory, as a means of questioning assumptions embedded in music education discourse concerning talent, discipline, and human capacity for music. In this way, the debate is made relevant not only as a means of enhancing understanding of historical conceptions but also as a lens through which contemporary music education might be interrogated.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45657889","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 : 2023-07-13DOI: 10.1177/15366006231188386
Haley J. Nutt
In 1950, percussionist and pedagogue Paul Price established an accredited collegiate percussion ensemble course at the University of Illinois Urbana-Champaign, the first of its kind in the country. In this article, I argue that Price’s accreditation of the genre, coupled with his many other entrepreneurial initiatives, was made possible by the higher education’s renewed desire for democracy and intellectual achievement that emerged after World War II and ultimately led to percussion’s own ‘Golden Age’ that endured until the late 1970s. I achieve this objective by highlighting Price’s role as an institutional entrepreneur, as demonstrated through his relationships and compositional collaborations with two American composers of midcentury percussion works, Michael Colgrass and Vivian Fine. By advocating for new standards of learning, musicianship, and composition, Price negotiated institutionalized norms to help turn percussion into an art form worthy of professional performance standards, accredited courses, a thriving repertory, and institutional recognition in the United States. An investigation of the correlations between midcentury collegiate percussion practices and the patterns of change and growth evident in higher education at the time help illuminate the powerful influence of educational institutions on music discourse in the postwar era.
{"title":"Paul Price and American percussion practices during the ‘Golden Age’ of higher education","authors":"Haley J. Nutt","doi":"10.1177/15366006231188386","DOIUrl":"https://doi.org/10.1177/15366006231188386","url":null,"abstract":"In 1950, percussionist and pedagogue Paul Price established an accredited collegiate percussion ensemble course at the University of Illinois Urbana-Champaign, the first of its kind in the country. In this article, I argue that Price’s accreditation of the genre, coupled with his many other entrepreneurial initiatives, was made possible by the higher education’s renewed desire for democracy and intellectual achievement that emerged after World War II and ultimately led to percussion’s own ‘Golden Age’ that endured until the late 1970s. I achieve this objective by highlighting Price’s role as an institutional entrepreneur, as demonstrated through his relationships and compositional collaborations with two American composers of midcentury percussion works, Michael Colgrass and Vivian Fine. By advocating for new standards of learning, musicianship, and composition, Price negotiated institutionalized norms to help turn percussion into an art form worthy of professional performance standards, accredited courses, a thriving repertory, and institutional recognition in the United States. An investigation of the correlations between midcentury collegiate percussion practices and the patterns of change and growth evident in higher education at the time help illuminate the powerful influence of educational institutions on music discourse in the postwar era.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48295384","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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