Written teaching philosophies are a common part of applications for music teaching positions. However, their contents are not commonly addressed in the music-education research literature. At the present study, I aim to explore the beliefs in practicing the profession as expressed in those statements and based on the case of last-year pre-service music teachers at a Swedish university. The results showed four different areas of concern: methodology-related, self-related, curriculum-related and student-related aspects. Furthermore, I discuss the impossibility to classify the underlying philosophies within the traditional ones in music education and the implications for the professional world.
{"title":"What music teacher will I be? A case study on the teaching philosophies of last-year pre-service Swedish music teachers","authors":"Daniel Mateos-Moreno","doi":"10.5216/mh.v22.74137","DOIUrl":"https://doi.org/10.5216/mh.v22.74137","url":null,"abstract":"Written teaching philosophies are a common part of applications for music teaching positions. However, their contents are not commonly addressed in the music-education research literature. At the present study, I aim to explore the beliefs in practicing the profession as expressed in those statements and based on the case of last-year pre-service music teachers at a Swedish university. The results showed four different areas of concern: methodology-related, self-related, curriculum-related and student-related aspects. Furthermore, I discuss the impossibility to classify the underlying philosophies within the traditional ones in music education and the implications for the professional world.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46395126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The research is devoted to study the influence of emotional singing on the listeners' perception of vocal mastery in the process of intercultural musical dialogue. In the context of studying the influence of emotional singing on the quality of perception by listeners, an experiment was conducted; it involved 11 student vocalists from China, Russia, Italy, Brazil, Azerbaijan, Hungary, Greece, India, Canada, Korea, Nigeria, 5 independent listeners, and 5 music experts. The analytical experiment created an opportunity to reveal the impact of the vocalist's emotional expression when performing a national folk song on the listener perception. The percentage of coherence between emotional production and listener perception ranged from 62.8% to 76.2%. Vocal skills of a singer can reveal the emotional aspects of a piece of music to the public, which are of great value in contemporary art; they determine the popularity of a performer on the world stage.
{"title":"Emotional expression in vocal skill from the perspective of multiculturalism","authors":"Di-hua Wang","doi":"10.5216/mh.v22.73655","DOIUrl":"https://doi.org/10.5216/mh.v22.73655","url":null,"abstract":"The research is devoted to study the influence of emotional singing on the listeners' perception of vocal mastery in the process of intercultural musical dialogue. In the context of studying the influence of emotional singing on the quality of perception by listeners, an experiment was conducted; it involved 11 student vocalists from China, Russia, Italy, Brazil, Azerbaijan, Hungary, Greece, India, Canada, Korea, Nigeria, 5 independent listeners, and 5 music experts. The analytical experiment created an opportunity to reveal the impact of the vocalist's emotional expression when performing a national folk song on the listener perception. The percentage of coherence between emotional production and listener perception ranged from 62.8% to 76.2%. Vocal skills of a singer can reveal the emotional aspects of a piece of music to the public, which are of great value in contemporary art; they determine the popularity of a performer on the world stage.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42233076","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Frederico Pedrosa, Cybelle Maria Veiga Loureiro, Frederico Duarte Garcia
As dependências químicas são doenças de cunho cognitivo, social e neurológico causadas pelo abuso de qualquer substância não produzida pelo organismo que tenha propriedades de atuar sobre um ou mais de seus sistemas. Esta Revisão Integrativa buscou literatura científica que evidencie quais mudanças podem ser avaliadas através do uso de protocolos, em abordagens sistematizadas em musicoterapia, no contexto da dependência química. Foram identificados 24 textos que apontaram falta de padronização dos desfechos avaliados pelos estudos, limitando sua comparabilidade. Ainda assim, puderam-se concluir alguns pontos sobre a ação da musicoterapia sobre aspectos psicológicos de pacientes acometidos por uma dependência química.
{"title":"Musicoterapia na Dependência Química","authors":"Frederico Pedrosa, Cybelle Maria Veiga Loureiro, Frederico Duarte Garcia","doi":"10.5216/mh.v22.70651","DOIUrl":"https://doi.org/10.5216/mh.v22.70651","url":null,"abstract":"As dependências químicas são doenças de cunho cognitivo, social e neurológico causadas pelo abuso de qualquer substância não produzida pelo organismo que tenha propriedades de atuar sobre um ou mais de seus sistemas. Esta Revisão Integrativa buscou literatura científica que evidencie quais mudanças podem ser avaliadas através do uso de protocolos, em abordagens sistematizadas em musicoterapia, no contexto da dependência química. Foram identificados 24 textos que apontaram falta de padronização dos desfechos avaliados pelos estudos, limitando sua comparabilidade. Ainda assim, puderam-se concluir alguns pontos sobre a ação da musicoterapia sobre aspectos psicológicos de pacientes acometidos por uma dependência química.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48265025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
En las pedagogías musicales, se aboga por el uso del cuerpo como instrumento musical ya que, al ser innato en el humano, es ideal como acercamiento a la práctica instrumental. La percusión corporal está dedicada a ello e incorporarla en la etapa de Educación Primaria, aporta numerosos beneficios al alumnado. Pero, como toda práctica instrumental, los alumnos/as no deben realizar su aprendizaje de forma autónoma. Así, este estudio propone una aplicación informática capaz de ayudar a los estudiantes en la práctica de la percusión corporal, fuera del ámbito docente. Todo desde el potencial de una metodología activa mediante el uso de la gamificación, en la que el componente lúdico es clave para incrementar la motivación. La unión TIC, gamificación y percusión corporal se convierte en un trinomio sustancial para mejorar este proceso de enseñanza-aprendizaje.
{"title":"Gamificación y percusión corporal","authors":"Paloma Bravo Fuentes","doi":"10.5216/mh.v22.73147","DOIUrl":"https://doi.org/10.5216/mh.v22.73147","url":null,"abstract":"En las pedagogías musicales, se aboga por el uso del cuerpo como instrumento musical ya que, al ser innato en el humano, es ideal como acercamiento a la práctica instrumental. La percusión corporal está dedicada a ello e incorporarla en la etapa de Educación Primaria, aporta numerosos beneficios al alumnado. Pero, como toda práctica instrumental, los alumnos/as no deben realizar su aprendizaje de forma autónoma. Así, este estudio propone una aplicación informática capaz de ayudar a los estudiantes en la práctica de la percusión corporal, fuera del ámbito docente. Todo desde el potencial de una metodología activa mediante el uso de la gamificación, en la que el componente lúdico es clave para incrementar la motivación. La unión TIC, gamificación y percusión corporal se convierte en un trinomio sustancial para mejorar este proceso de enseñanza-aprendizaje.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44147916","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Nowadays, music demands constantly change respectively to listeners’ needs. Owing to this fact, old music genres fade into the background. However, traditional music leaves a mark largely imprinted in not only Chinese music, but also world music. Thus, it is important to investigate contribution of traditional Chinese music to the modern European music. Respondents from various Chinese music departments were surveyed to examine the contribution of traditional Chinese culture to various types of contemporary European music. A list of Chinese folk music identification factors was also compiled to better understand the perception of Chinese traditional motifs in contemporary European music. To study this problem, at the first stage of the study a large number of musical works from different European countries was analyzed (the music of such countries as Great Britain, Germany and France was analyzed within the framework of this work). The finding shows that common features of traditional Chinese motifs are domination of monophonic performance, enormous variation of percussion, "contemplative mood", pentatonic scale without semitones, and availability of stringed instruments. In addition, the second step of investigation shed light on the contribution of Chinese tradition music to music of different European countries. In the last stage, tracks in which respondents thought Chinese folk motifs existed were examined by means of a quantitative analysis of musical scores to identify common characteristics (rhythm, skips, and similar melodies). This analysis helped to better understand the main characteristics of Chinese folk music's contribution to contemporary European music. As the analysis showed, regardless of the country to which this or that track belongs, there are common characteristics - the singing of steady steps and the descending melody with a subsequent rise by one tone or semitone. According to the result, British modern music has more Chinese folk motifs (15 from 50 randomly chosen works), whereas German music contains only 9 from 50 works. At the same time, French music has only 1 out of 50 Chinese folk motifs. Also, all respondents were interviewed to determine common adjectives, which help to characterize Chinese folk music. The finding shows that the most popular adjectives are "mesmerizing", "intriguing", "intricate", "calm", "mysterious", "sublime" and "soothing". Obtained results contribute to the research of Chinese traditional music perception and its contribution to European contemporary music. Furthermore, the framework used in this research is new and can be applied in subsequent works in this area of research.
{"title":"Chinese traditional motifs in contemporary European music","authors":"Wei Chai","doi":"10.5216/mh.v22.73677","DOIUrl":"https://doi.org/10.5216/mh.v22.73677","url":null,"abstract":"Nowadays, music demands constantly change respectively to listeners’ needs. Owing to this fact, old music genres fade into the background. However, traditional music leaves a mark largely imprinted in not only Chinese music, but also world music. Thus, it is important to investigate contribution of traditional Chinese music to the modern European music. Respondents from various Chinese music departments were surveyed to examine the contribution of traditional Chinese culture to various types of contemporary European music. A list of Chinese folk music identification factors was also compiled to better understand the perception of Chinese traditional motifs in contemporary European music. To study this problem, at the first stage of the study a large number of musical works from different European countries was analyzed (the music of such countries as Great Britain, Germany and France was analyzed within the framework of this work). The finding shows that common features of traditional Chinese motifs are domination of monophonic performance, enormous variation of percussion, \"contemplative mood\", pentatonic scale without semitones, and availability of stringed instruments. In addition, the second step of investigation shed light on the contribution of Chinese tradition music to music of different European countries. In the last stage, tracks in which respondents thought Chinese folk motifs existed were examined by means of a quantitative analysis of musical scores to identify common characteristics (rhythm, skips, and similar melodies). This analysis helped to better understand the main characteristics of Chinese folk music's contribution to contemporary European music. As the analysis showed, regardless of the country to which this or that track belongs, there are common characteristics - the singing of steady steps and the descending melody with a subsequent rise by one tone or semitone. According to the result, British modern music has more Chinese folk motifs (15 from 50 randomly chosen works), whereas German music contains only 9 from 50 works. At the same time, French music has only 1 out of 50 Chinese folk motifs. Also, all respondents were interviewed to determine common adjectives, which help to characterize Chinese folk music. The finding shows that the most popular adjectives are \"mesmerizing\", \"intriguing\", \"intricate\", \"calm\", \"mysterious\", \"sublime\" and \"soothing\". Obtained results contribute to the research of Chinese traditional music perception and its contribution to European contemporary music. Furthermore, the framework used in this research is new and can be applied in subsequent works in this area of research.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43938698","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As formas de difusão das pedagogias musicais europeias da primeira metade do século XX são multifacetadas. São notáveis as pedagogias de Dalcroze, Kodály, Willems e Orff não apenas em seus países de origem. Este trabalho visa contextualizar as referidas pedagogias, problematizando-as em uma perspectiva intercultural e reconfigurando suas potencialidades nas práticas pedagógico-musicais atuais. Por meio de uma pesquisa bibliográfica, buscou-se elucidar os assuntos ligados às múltiplas dimensões da interface entre educação e interculturalidade, e às pedagogias musicais europeias. Concluímos que Dalcroze, Kodály, Willems e Orff consolidam práticas musicais vivas, constroem pontes para atividades pessoais de criação e delineiam experiências musicais significativas na atualidade.
{"title":"Aproximações Culturais nas Pedagogias Musicais de Dalcroze, Kodály, Willems e Orff","authors":"N. Protásio","doi":"10.5216/mh.v22.71134","DOIUrl":"https://doi.org/10.5216/mh.v22.71134","url":null,"abstract":"As formas de difusão das pedagogias musicais europeias da primeira metade do século XX são multifacetadas. São notáveis as pedagogias de Dalcroze, Kodály, Willems e Orff não apenas em seus países de origem. Este trabalho visa contextualizar as referidas pedagogias, problematizando-as em uma perspectiva intercultural e reconfigurando suas potencialidades nas práticas pedagógico-musicais atuais. Por meio de uma pesquisa bibliográfica, buscou-se elucidar os assuntos ligados às múltiplas dimensões da interface entre educação e interculturalidade, e às pedagogias musicais europeias. Concluímos que Dalcroze, Kodály, Willems e Orff consolidam práticas musicais vivas, constroem pontes para atividades pessoais de criação e delineiam experiências musicais significativas na atualidade.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43812160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
El hallazgo del libreto de la comedia de música "La entrada de Baco en Tebas" (1705), desconocido hasta la fecha, permite completar la historia del teatro lírico en la ciudad de Valencia (España) a principios del siglo XVIII. La obra hereda todavía las formas y la expresión de la zarzuela primitiva, pero, al mismo tiempo, adelanta algunos rasgos de la evolución del género. La intensa participación musical sugerida por el libreto permite, asimismo, formular hipótesis sobre la relación entre métrica y canto, o sobre la participación instrumental y coral en la zarzuela barroca.
{"title":"Música y texto en el teatro barroco español: La entrada de Baco en Tebas (Valencia, 1705)","authors":"N. Pascual","doi":"10.5216/mh.v22.69294","DOIUrl":"https://doi.org/10.5216/mh.v22.69294","url":null,"abstract":"El hallazgo del libreto de la comedia de música \"La entrada de Baco en Tebas\" (1705), desconocido hasta la fecha, permite completar la historia del teatro lírico en la ciudad de Valencia (España) a principios del siglo XVIII. La obra hereda todavía las formas y la expresión de la zarzuela primitiva, pero, al mismo tiempo, adelanta algunos rasgos de la evolución del género. La intensa participación musical sugerida por el libreto permite, asimismo, formular hipótesis sobre la relación entre métrica y canto, o sobre la participación instrumental y coral en la zarzuela barroca.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44748698","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the 20th and 21st centuries, after the advent of electroacoustic music and its influences in instrumental music, the expansion of the sound palette employed in musical compositions is considerable. Moreover, with recording techniques and technological advances available, a new culture centered on sound became relevant. Along with the expansion of compositional possibilities, new problems in musical analysis arise, such as how to incorporate sound-feature and form emergences in the analysis work. We present a methodology of musical analysis that aims to represent these emergent phenomena that arise through perception by computer-aided tools based on acoustic and psychoacoustic descriptors. These tools developed are discussed, and the information achieved is interpreted from two biases: 1) the emergence of sound features related to the interaction of spectral components, and 2) the emergence of macroform of the musical works by perception. As a conclusion, this research aims to give interpretations of those emergence features in music by means of the analysis of the singularities (saliences and pregnancies) that arise in the works analysed.
{"title":"Musical Analysis of Sound Feature Emergences Using Acoustic and Psychoacoustic Descriptors","authors":"Danilo Rossetti, Micael Antunes, J. Manzolli","doi":"10.5216/mh.v22.73261","DOIUrl":"https://doi.org/10.5216/mh.v22.73261","url":null,"abstract":"In the 20th and 21st centuries, after the advent of electroacoustic music and its influences in instrumental music, the expansion of the sound palette employed in musical compositions is considerable. Moreover, with recording techniques and technological advances available, a new culture centered on sound became relevant. Along with the expansion of compositional possibilities, new problems in musical analysis arise, such as how to incorporate sound-feature and form emergences in the analysis work. We present a methodology of musical analysis that aims to represent these emergent phenomena that arise through perception by computer-aided tools based on acoustic and psychoacoustic descriptors. These tools developed are discussed, and the information achieved is interpreted from two biases: 1) the emergence of sound features related to the interaction of spectral components, and 2) the emergence of macroform of the musical works by perception. As a conclusion, this research aims to give interpretations of those emergence features in music by means of the analysis of the singularities (saliences and pregnancies) that arise in the works analysed. ","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43939086","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The research aims to study the influence of group singing on students' general well-being, as well as their psychological and emotional state. The study involved 180 students between the ages of 18 and 20. Group 1 consisted of students, who have never practiced vocal. Group 2 consisted of students, who have been practicing group singing regularly. Group 2 had a more favorable psycho-emotional state with significantly lower levels of depression, anxiety, stress, neuroticism, emotional detachment. After three months of group vocal training, the 1st group students had a 1.45-fold decrease in depression (p<0.05) compared to the initial level, anxiety - 1.46 times (p<0.05), stress - 1.33 times (p<0.05), neuroticism - 1.42 times (p<0.05), emotional detachment - 1.50 times (p<0.05). Thus, group singing helps to improve the general and psycho-emotional state of students.
{"title":"The impact of group singing on students' psycho-emotional state","authors":"Yuanshuo Zhang","doi":"10.5216/mh.v22.69631","DOIUrl":"https://doi.org/10.5216/mh.v22.69631","url":null,"abstract":"The research aims to study the influence of group singing on students' general well-being, as well as their psychological and emotional state. The study involved 180 students between the ages of 18 and 20. Group 1 consisted of students, who have never practiced vocal. Group 2 consisted of students, who have been practicing group singing regularly. Group 2 had a more favorable psycho-emotional state with significantly lower levels of depression, anxiety, stress, neuroticism, emotional detachment. After three months of group vocal training, the 1st group students had a 1.45-fold decrease in depression (p<0.05) compared to the initial level, anxiety - 1.46 times (p<0.05), stress - 1.33 times (p<0.05), neuroticism - 1.42 times (p<0.05), emotional detachment - 1.50 times (p<0.05). Thus, group singing helps to improve the general and psycho-emotional state of students.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48538663","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The key objective of the research is to determine a correlation between the level of creativity of students and their experience of jamming in groups on the basis of pre- and post-tests. A total of 260 respondents were divided into control and experimental groups (130 people each). In the course of the research, the students took a creativity test in the first, second, and third weeks of the experiment. Students from the experimental group rated the jamming process extremely positively. In particular, they reported that these practices improve mood and musical skills. The results obtained can be useful in the field of psychology and musicology and also serve as an argument for the introduction of jam sessions into the curriculum of higher educational institutions.
{"title":"Creativity level of students in the course of collaborative flute jamming","authors":"Yang Li","doi":"10.5216/mh.v22.70327","DOIUrl":"https://doi.org/10.5216/mh.v22.70327","url":null,"abstract":"The key objective of the research is to determine a correlation between the level of creativity of students and their experience of jamming in groups on the basis of pre- and post-tests. A total of 260 respondents were divided into control and experimental groups (130 people each). In the course of the research, the students took a creativity test in the first, second, and third weeks of the experiment. Students from the experimental group rated the jamming process extremely positively. In particular, they reported that these practices improve mood and musical skills. The results obtained can be useful in the field of psychology and musicology and also serve as an argument for the introduction of jam sessions into the curriculum of higher educational institutions.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45914357","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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