Pub Date : 2020-11-24DOI: 10.1177/1536600620973458
Morganne Aaberg
In this study I examined archival material relating to music lessons that aired on the Indiana School of the Sky during its inaugural season in the 1947–1948 school year. The Indiana School of the Sky was an educational radio program intended for use in the public schools and produced by Indiana University students and professors, in partnership with the State Department of Education. The purpose of this study was to illuminate details of the Indiana School of the Sky music program during its inaugural season in 1947–1948, such as the staff, repertoire, teaching strategies, and program structure. Of particular interest was Dorothy G. Kelley, who served as supervisor of the Indiana School of the Sky music episodes during its inaugural season, and was the first female to join the faculty of the Music Education Department at Indiana University. A secondary purpose was to examine the intersection of education and technology in the late 1940s through the lens of the Indiana School of the Sky and to afford contemporary music educators the opportunity to reflect on how they use current technologies in their classrooms. This study found that the program employed three main teaching strategies: singalong, call and response, and listening. Indiana University music and music education students performed in many music episodes alongside Kelley, and 34% of compositions that aired during the 1948–1949 school year comprised of music by composers from the United States, or folk music originating in the United States. Other countries represented by either composer or folk tradition included Australia, Austria, Czechoslovakia, England, Finland, France, Germany, Italy, Norway, Mexico, Russia, and Spain.
在这项研究中，我检查了与1947–1948学年印第安纳天空学校开学季播放的音乐课程有关的档案材料。《印第安纳天空学校》是一个旨在公立学校使用的教育广播节目，由印第安纳大学的学生和教授与州教育部合作制作。本研究的目的是阐明1947年至1948年印第安纳天空学院音乐项目成立季的细节，如人员、曲目、教学策略和项目结构。多萝西·G·凯利（Dorothy G.Kelley）尤其感兴趣，她在印第安纳天空音乐学院（Indiana School Of the Sky）的第一季担任音乐剧集的主管，也是第一位加入印第安纳大学音乐教育系的女性。第二个目的是通过印第安纳天空学校的镜头来审视20世纪40年代末教育和技术的交叉点，并为当代音乐教育工作者提供反思他们如何在课堂上使用当前技术的机会。研究发现，该课程采用了三种主要的教学策略：唱歌、呼叫和应答以及听力。印第安纳大学音乐和音乐教育专业的学生与凯利一起在许多音乐节目中表演，1948-1949学年播出的34%的作品由美国作曲家的音乐或源自美国的民间音乐组成。其他以作曲家或民间传统为代表的国家包括澳大利亚、奥地利、捷克斯洛伐克、英国、芬兰、法国、德国、意大利、挪威、墨西哥、俄罗斯和西班牙。
{"title":"Radio in Music Education: The Indiana School of the Sky Music Episodes, 1947–1948","authors":"Morganne Aaberg","doi":"10.1177/1536600620973458","DOIUrl":"https://doi.org/10.1177/1536600620973458","url":null,"abstract":"In this study I examined archival material relating to music lessons that aired on the Indiana School of the Sky during its inaugural season in the 1947–1948 school year. The Indiana School of the Sky was an educational radio program intended for use in the public schools and produced by Indiana University students and professors, in partnership with the State Department of Education. The purpose of this study was to illuminate details of the Indiana School of the Sky music program during its inaugural season in 1947–1948, such as the staff, repertoire, teaching strategies, and program structure. Of particular interest was Dorothy G. Kelley, who served as supervisor of the Indiana School of the Sky music episodes during its inaugural season, and was the first female to join the faculty of the Music Education Department at Indiana University. A secondary purpose was to examine the intersection of education and technology in the late 1940s through the lens of the Indiana School of the Sky and to afford contemporary music educators the opportunity to reflect on how they use current technologies in their classrooms. This study found that the program employed three main teaching strategies: singalong, call and response, and listening. Indiana University music and music education students performed in many music episodes alongside Kelley, and 34% of compositions that aired during the 1948–1949 school year comprised of music by composers from the United States, or folk music originating in the United States. Other countries represented by either composer or folk tradition included Australia, Austria, Czechoslovakia, England, Finland, France, Germany, Italy, Norway, Mexico, Russia, and Spain.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"44 1","pages":"26 - 44"},"PeriodicalIF":0.1,"publicationDate":"2020-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600620973458","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43461151","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 : 2020-10-01DOI: 10.1177/1536600619876112
Melissa L. Grady
This historical investigation explores the life of George N. Heller (1941–2004) and his influence on historical research in music education and music therapy. By means of primary source materials, including preserved presentation resources and outlines, publications, and interviews, this historical investigation explores Heller’s life and career and the influences that informed his work. This study argues that at a time when quantitative methods dominated music research journals, George Heller’s efforts coincided with the progress and acceptance of historical research in music education and music therapy. Through his historical research publications, his encouragement of student research, his mentoring of colleagues, and his position as founding editor of the Bulletin of Historical Research in Music Education, George Heller championed historical research at a critical juncture in music education scholarship.
{"title":"“Who Are These People and Why Are They Saying These Things?”: George Heller and the Growth of Historical Research in Music Education","authors":"Melissa L. Grady","doi":"10.1177/1536600619876112","DOIUrl":"https://doi.org/10.1177/1536600619876112","url":null,"abstract":"This historical investigation explores the life of George N. Heller (1941–2004) and his influence on historical research in music education and music therapy. By means of primary source materials, including preserved presentation resources and outlines, publications, and interviews, this historical investigation explores Heller’s life and career and the influences that informed his work. This study argues that at a time when quantitative methods dominated music research journals, George Heller’s efforts coincided with the progress and acceptance of historical research in music education and music therapy. Through his historical research publications, his encouragement of student research, his mentoring of colleagues, and his position as founding editor of the Bulletin of Historical Research in Music Education, George Heller championed historical research at a critical juncture in music education scholarship.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"42 1","pages":"28 - 6"},"PeriodicalIF":0.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600619876112","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46111633","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 : 2020-10-01DOI: 10.1177/1536600619853885
Carol L. Shansky
Once referred to as “the most maligned musical instrument on earth,” the harmonica holds an important historical place in music education as an instrument around which bands were formed, solo and ensemble competitions were held, and in some cases, careers were born. Much of this activity centered itself on city recreation programs as well as public schools. The instrument’s size, low price, and relative ease of sound production were appealing for these organizations. The boys and girls that lived and studied at the Hebrew Orphan Asylum of New York City were engaged participants in these contests as well as performing in radio broadcasts of harmonica band playing. This paper examines the history of this ensemble as a representative of the incredible activity in this underresearched area of music education.
{"title":"“We Are Aiming for Quality and Good Music”: The Hebrew Orphan Asylum Harmonica band (NYC) and Music Education, 1924–1930","authors":"Carol L. Shansky","doi":"10.1177/1536600619853885","DOIUrl":"https://doi.org/10.1177/1536600619853885","url":null,"abstract":"Once referred to as “the most maligned musical instrument on earth,” the harmonica holds an important historical place in music education as an instrument around which bands were formed, solo and ensemble competitions were held, and in some cases, careers were born. Much of this activity centered itself on city recreation programs as well as public schools. The instrument’s size, low price, and relative ease of sound production were appealing for these organizations. The boys and girls that lived and studied at the Hebrew Orphan Asylum of New York City were engaged participants in these contests as well as performing in radio broadcasts of harmonica band playing. This paper examines the history of this ensemble as a representative of the incredible activity in this underresearched area of music education.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"42 1","pages":"46 - 70"},"PeriodicalIF":0.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600619853885","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48339187","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 : 2020-10-01DOI: 10.1177/1536600619864703
Elizabeth Mitchell Wallace
The purpose of this article is to describe the development, mission, and events of the Festival of the Arts at Southwest Virginia Community College (1995–2018) with special emphasis on community involvement and community enrichment. The festival serves as a tool in fulfilling the cultural enrichment mission and community service function of the college. Southwest Virginia Community College (SWCC) is a rural community college located in Richlands, VA, with a service area of more than 1,800 square miles, and a service area population of approximately 107,000 people. SWCC acts as the cultural center of its geographically broad service area, which is reflected in the mission of the college and is realized through initiatives such as the Festival of the Arts. After a regional performance by Pavlina Dokovska nearly a decade earlier, Dokovska became more involved in the arts community of Southwest Virginia, and she was instrumental in the official launch of the Festival of the Arts 1995. The Festival continued to evolve to an annual two-week event hosted by the college, bringing in nationally and internationally acclaimed artists for workshops, performances, and multicultural-centered education open to the public.
{"title":"A History of the “Festival of the Arts” at Southwest Virginia Community College (1995–2018): Community Service through Music","authors":"Elizabeth Mitchell Wallace","doi":"10.1177/1536600619864703","DOIUrl":"https://doi.org/10.1177/1536600619864703","url":null,"abstract":"The purpose of this article is to describe the development, mission, and events of the Festival of the Arts at Southwest Virginia Community College (1995–2018) with special emphasis on community involvement and community enrichment. The festival serves as a tool in fulfilling the cultural enrichment mission and community service function of the college. Southwest Virginia Community College (SWCC) is a rural community college located in Richlands, VA, with a service area of more than 1,800 square miles, and a service area population of approximately 107,000 people. SWCC acts as the cultural center of its geographically broad service area, which is reflected in the mission of the college and is realized through initiatives such as the Festival of the Arts. After a regional performance by Pavlina Dokovska nearly a decade earlier, Dokovska became more involved in the arts community of Southwest Virginia, and she was instrumental in the official launch of the Festival of the Arts 1995. The Festival continued to evolve to an annual two-week event hosted by the college, bringing in nationally and internationally acclaimed artists for workshops, performances, and multicultural-centered education open to the public.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"42 1","pages":"71 - 87"},"PeriodicalIF":0.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600619864703","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47095208","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 : 2020-10-01DOI: 10.1177/1536600620939706
M. Mccarthy
{"title":"Editorial","authors":"M. Mccarthy","doi":"10.1177/1536600620939706","DOIUrl":"https://doi.org/10.1177/1536600620939706","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"42 1","pages":"3 - 4"},"PeriodicalIF":0.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600620939706","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44261396","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 : 2020-10-01DOI: 10.1177/1536600619848104
Jane Southcott
In the 1840s, massed singing classes led by charismatic pioneer music educators such as Joseph Mainzer (1801–1851) sprang up across the United Kingdom. Mainzer was a much respected composer, music journalist, and music educator. Born in Trèves (Prussia), he traveled across Europe and settled in Paris, where he was part of the revolutionary Association Polytechnique that offered free education to the working classes. His mass singing classes were a remarkable success but aroused the suspicions of authorities. Mainzer left Paris for political reasons and moved to England, and after teaching across the United Kingdom, settled in Edinburgh. His arrival in Scotland was greeted with a degree of adulation reserved for celebrities. Across Scotland classes were established to disseminate his new system that was taught in larger centers and most small towns. Although Mainzer’s fixed-doh system did not long survive him and the subsequent arrival of the tonic sol-fa method in the 1850s, his work (and that of others) created an environment in which popular singing classes in schools, churches and the community could flourish. Mainzer was a skilled and charismatic educator. He advocated tirelessly for lifelong music education for all. Mainzer has been overlooked and deserves recognition.
{"title":"Egalitarian Music Education in the Nineteenth Century: Joseph Mainzer and Singing for the Million","authors":"Jane Southcott","doi":"10.1177/1536600619848104","DOIUrl":"https://doi.org/10.1177/1536600619848104","url":null,"abstract":"In the 1840s, massed singing classes led by charismatic pioneer music educators such as Joseph Mainzer (1801–1851) sprang up across the United Kingdom. Mainzer was a much respected composer, music journalist, and music educator. Born in Trèves (Prussia), he traveled across Europe and settled in Paris, where he was part of the revolutionary Association Polytechnique that offered free education to the working classes. His mass singing classes were a remarkable success but aroused the suspicions of authorities. Mainzer left Paris for political reasons and moved to England, and after teaching across the United Kingdom, settled in Edinburgh. His arrival in Scotland was greeted with a degree of adulation reserved for celebrities. Across Scotland classes were established to disseminate his new system that was taught in larger centers and most small towns. Although Mainzer’s fixed-doh system did not long survive him and the subsequent arrival of the tonic sol-fa method in the 1850s, his work (and that of others) created an environment in which popular singing classes in schools, churches and the community could flourish. Mainzer was a skilled and charismatic educator. He advocated tirelessly for lifelong music education for all. Mainzer has been overlooked and deserves recognition.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"42 1","pages":"29 - 45"},"PeriodicalIF":0.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600619848104","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48387487","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 : 2020-10-01DOI: 10.1177/1536600620937482
Mark Fonder
{"title":"Book Review: Making the March King: John Philip Sousa’s Washington Years 1854-1893, by Patrick Warfield. Urbana, IL: University of Illinois Press, 2016.","authors":"Mark Fonder","doi":"10.1177/1536600620937482","DOIUrl":"https://doi.org/10.1177/1536600620937482","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"42 1","pages":"88 - 89"},"PeriodicalIF":0.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600620937482","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42260113","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 : 2020-10-01DOI: 10.1177/1536600620939711
{"title":"Patrice Madura Ward-Steinman (1952–2020)","authors":"","doi":"10.1177/1536600620939711","DOIUrl":"https://doi.org/10.1177/1536600620939711","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"42 1","pages":"5 - 5"},"PeriodicalIF":0.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600620939711","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44366797","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 : 2020-09-10DOI: 10.1177/1536600620955133
Patrice Madura Ward-Steinman
The 2020 bicentennial year of Indiana University (IU) Bloomington is a fitting time to recognize the 100-year legacy of the faculty members of the IU Music Education Department. This legacy has not been heretofore documented, exposing a gap in the knowledge of historical traditions and influences. The purpose of this study was to create a comprehensive list of the faculty names, and years of service, and to identify publications, leadership roles, curriculum development, and biographical insights. The historical narrative was created through immersion in the following primary sources found in the IU Archives: The annual Indiana University Bulletins, the Trustees Minutes, and miscellaneous clippings files containing photographs, news items, and obituaries. First edition hard copies of books and published articles by the faculty were examined. Greatest detail is provided for those IU professors of the distant past, including Edward Bailey Birge, Samuel T. Burns, Thurber H. Madison, Jack M. Watson, Dorothy G. Kelley, Newell H. Long, Miriam P. Gelvin, Charles R. Hoffer, and Robert H. Klotman. This study illustrates how one-storied Music Education Department is inextricably linked to its past and suggests that other legacy studies are needed for comparison and contrast.
{"title":"“Be True to Your School”: A 100-Year Legacy of Music Education Faculty at the Indiana University School of Music","authors":"Patrice Madura Ward-Steinman","doi":"10.1177/1536600620955133","DOIUrl":"https://doi.org/10.1177/1536600620955133","url":null,"abstract":"The 2020 bicentennial year of Indiana University (IU) Bloomington is a fitting time to recognize the 100-year legacy of the faculty members of the IU Music Education Department. This legacy has not been heretofore documented, exposing a gap in the knowledge of historical traditions and influences. The purpose of this study was to create a comprehensive list of the faculty names, and years of service, and to identify publications, leadership roles, curriculum development, and biographical insights. The historical narrative was created through immersion in the following primary sources found in the IU Archives: The annual Indiana University Bulletins, the Trustees Minutes, and miscellaneous clippings files containing photographs, news items, and obituaries. First edition hard copies of books and published articles by the faculty were examined. Greatest detail is provided for those IU professors of the distant past, including Edward Bailey Birge, Samuel T. Burns, Thurber H. Madison, Jack M. Watson, Dorothy G. Kelley, Newell H. Long, Miriam P. Gelvin, Charles R. Hoffer, and Robert H. Klotman. This study illustrates how one-storied Music Education Department is inextricably linked to its past and suggests that other legacy studies are needed for comparison and contrast.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"44 1","pages":"45 - 70"},"PeriodicalIF":0.1,"publicationDate":"2020-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600620955133","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43354530","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 : 2020-07-15DOI: 10.1177/1536600620937973
C. Resta
Charles Fowler (1931–1995) was an important thinker whose reconstructionist philosophy of music education represents an untold view worthy of examination in the modern context. Fowler described the philosophy in his dissertation completed in 1964, based on the reconstructionist theory of Theodore Brameld. He outlined seven major objectives stating how music education can impact students, schools, and communities, and can serve as an agent of social change. This perspective was the basis for Fowler’s pragmatic and progressive outlook throughout his 45-year career as teacher, researcher, writer, and arts advocate. His philosophy is presented here as another critical viewpoint of music teaching and learning, and for its impact on those who experience it. Following an introduction to Fowler and his connections to reconstructionism, his seven objectives for music education are presented, along with samples of writing showing his consistent philosophical beliefs over time, concluding with a review of his thinking while considering the future through a lens of the past. While prevailing viewpoints center on aesthetic, praxial, and pedagogical views, Fowler’s reconstructionist philosophy is worthy of inclusion in the history of music education as he argued for a sociological perspective that predates most viewpoints commonly read in the field today.
{"title":"Looking Back to Move Forward: Charles Fowler and His Reconstructionist Philosophy of Music Education","authors":"C. Resta","doi":"10.1177/1536600620937973","DOIUrl":"https://doi.org/10.1177/1536600620937973","url":null,"abstract":"Charles Fowler (1931–1995) was an important thinker whose reconstructionist philosophy of music education represents an untold view worthy of examination in the modern context. Fowler described the philosophy in his dissertation completed in 1964, based on the reconstructionist theory of Theodore Brameld. He outlined seven major objectives stating how music education can impact students, schools, and communities, and can serve as an agent of social change. This perspective was the basis for Fowler’s pragmatic and progressive outlook throughout his 45-year career as teacher, researcher, writer, and arts advocate. His philosophy is presented here as another critical viewpoint of music teaching and learning, and for its impact on those who experience it. Following an introduction to Fowler and his connections to reconstructionism, his seven objectives for music education are presented, along with samples of writing showing his consistent philosophical beliefs over time, concluding with a review of his thinking while considering the future through a lens of the past. While prevailing viewpoints center on aesthetic, praxial, and pedagogical views, Fowler’s reconstructionist philosophy is worthy of inclusion in the history of music education as he argued for a sociological perspective that predates most viewpoints commonly read in the field today.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":"43 1","pages":"79 - 97"},"PeriodicalIF":0.1,"publicationDate":"2020-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600620937973","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43626316","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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