Pub Date : 2018-12-30DOI: 10.17990/RPF/2018_74_4_1565
Cristiane Pieterzack
{"title":"Book Review - Por uma Sensibilidade além da Essência: Lévinas interpela Platão","authors":"Cristiane Pieterzack","doi":"10.17990/RPF/2018_74_4_1565","DOIUrl":"https://doi.org/10.17990/RPF/2018_74_4_1565","url":null,"abstract":"","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"24 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85179680","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 : 2018-12-30DOI: 10.17990/rpf/2018_74_4_0983
C. Gontijo
The concept of the ineffable, employed by Vladimir Jankélévitch’s philosophy of music, seems to imply, besides a limit to verbal expression, the idea of immateriality. This article will initially consider the immaterial tenor of the ineffable in two strands which particularly influenced the philosopher: Christian mysticism and Neoplatonism. A second and larger section will be devoted to the investigation of the theme in Jankélévitchian philosophy of music. Firstly, some “immaterial” features of musical experience and auditory perception, such as its indivisible, non-locatable, non-storable and non-objectifiable character will be identified. Secondly, it will focus on the intentional search of immateriality by Debussy and Fauré, who enhance the immateriality of music through specific procedures, such as the choice of diaphanous motifs, the nocturnal setting, the absence of external references, the exploration of veiled timbers and of sonorities of minimal intensity, the special use of modality and modulation. These aspects will be summed up in the conclusion, which will also question the possibility of inferring the alleged essential immateriality of music from the poetics that cultivate intangible sonorous atmospheres.
{"title":"A Imaterialidade do Inefável: Traços Imponderáveis da Percepção Auditiva e da Experiência Musical em Vladimir Jankélévitch","authors":"C. Gontijo","doi":"10.17990/rpf/2018_74_4_0983","DOIUrl":"https://doi.org/10.17990/rpf/2018_74_4_0983","url":null,"abstract":"The concept of the ineffable, employed by Vladimir Jankélévitch’s philosophy of music, seems to imply, besides a limit to verbal expression, the idea of immateriality. This article will initially consider the immaterial tenor of the ineffable in two strands which particularly influenced the philosopher: Christian mysticism and Neoplatonism. A second and larger section will be devoted to the investigation of the theme in Jankélévitchian philosophy of music. Firstly, some “immaterial” features of musical experience and auditory perception, such as its indivisible, non-locatable, non-storable and non-objectifiable character will be identified. Secondly, it will focus on the intentional search of immateriality by Debussy and Fauré, who enhance the immateriality of music through specific procedures, such as the choice of diaphanous motifs, the nocturnal setting, the absence of external references, the exploration of veiled timbers and of sonorities of minimal intensity, the special use of modality and modulation. These aspects will be summed up in the conclusion, which will also question the possibility of inferring the alleged essential immateriality of music from the poetics that cultivate intangible sonorous atmospheres.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"22 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82146442","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 : 2018-12-30DOI: 10.17990/rpf/2018_74_4_1355
Elzė Sigutė Mikalonytė
The aim of this paper is to analyze the possibility of semantic content in pure music. The paper argues that pure music does not have semantic content. This conclusion relies on the Gricean analysis of meaning in terms of speakers’ intentions and on Peter Kivy’s argument that pure music does not meet the Gricean requirement for the composers’ intention. First, we analyze the results of empirical studies of metaphorical conceptualization of music; they show that the connections between properties of sound and various metaphors are not “one-to-one” but “one-to-many”. These results support a further argument that it is not possible for a composer to have an intention to communicate by his work of music what is, as we know from the empirical studies, perceived in music by the listeners; and if he has an intention to communicate something more specific than what is perceived by the listeners, the communication is bound to fail. This failure shows the absence of a Gricean communicative intention in the composer, even if an informative intention would be present.
{"title":"Why Does Pure Music Not Have Semantic Content?","authors":"Elzė Sigutė Mikalonytė","doi":"10.17990/rpf/2018_74_4_1355","DOIUrl":"https://doi.org/10.17990/rpf/2018_74_4_1355","url":null,"abstract":"The aim of this paper is to analyze the possibility of semantic content in pure music. The paper argues that pure music does not have semantic content. This conclusion relies on the Gricean analysis of meaning in terms of speakers’ intentions and on Peter Kivy’s argument that pure music does not meet the Gricean requirement for the composers’ intention. First, we analyze the results of empirical studies of metaphorical conceptualization of music; they show that the connections between properties of sound and various metaphors are not “one-to-one” but “one-to-many”. These results support a further argument that it is not possible for a composer to have an intention to communicate by his work of music what is, as we know from the empirical studies, perceived in music by the listeners; and if he has an intention to communicate something more specific than what is perceived by the listeners, the communication is bound to fail. This failure shows the absence of a Gricean communicative intention in the composer, even if an informative intention would be present.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"12 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79841971","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 : 2018-12-30DOI: 10.17990/RPF/2018_74_4_1537
Dimitar Ginev
The paper presents the tenets of a hermeneutic theory of social practices. At stake is the ontological distinctiveness of properly arranged practices. The claim is defended that an ensemble of such practices is capable of disclosing and articulating an authentic cultural lifeform. This ensemble is distinguished by autonomy, but it does not have an actual (static) presence. Properly arranged practices that disclose a cultural lifeform are ontologically characterized by hermeneutic circularity and potentiality-for-being. It is argued that practices project their being upon a horizon of possible contextual configurations. Since this horizon is constantly shifting, there is ongoing interplay of practices and possibilities. A single practice within an ensemble of such practices has a dual way of being. It can partly be described in terms of strongly located – and determined by agency – entity, and partly as something dispersed over the changing configurations of practices. In other words, a given single practice is capable of exhibiting under the conditions of its intrinsic teleological organization the features of locality and self-sufficiency, and under the conditions of the interplay of practices and possibilities the features of indeterminacy and nonlocality. Because of this duality, the use of a proper principle of complementarity in constructing practice theory proves to be indispensable.
{"title":"Ensembles Practices and Cultural Forms of Life","authors":"Dimitar Ginev","doi":"10.17990/RPF/2018_74_4_1537","DOIUrl":"https://doi.org/10.17990/RPF/2018_74_4_1537","url":null,"abstract":"The paper presents the tenets of a hermeneutic theory of social practices. At stake is the ontological distinctiveness of properly arranged practices. The claim is defended that an ensemble of such practices is capable of disclosing and articulating an authentic cultural lifeform. This ensemble is distinguished by autonomy, but it does not have an actual (static) presence. Properly arranged practices that disclose a cultural lifeform are ontologically characterized by hermeneutic circularity and potentiality-for-being. It is argued that practices project their being upon a horizon of possible contextual configurations. Since this horizon is constantly shifting, there is ongoing interplay of practices and possibilities. A single practice within an ensemble of such practices has a dual way of being. It can partly be described in terms of strongly located – and determined by agency – entity, and partly as something dispersed over the changing configurations of practices. In other words, a given single practice is capable of exhibiting under the conditions of its intrinsic teleological organization the features of locality and self-sufficiency, and under the conditions of the interplay of practices and possibilities the features of indeterminacy and nonlocality. Because of this duality, the use of a proper principle of complementarity in constructing practice theory proves to be indispensable.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"6 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81926631","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 : 2018-12-30DOI: 10.17990/RPF/2018_74_4_1013
L. Tomás, R. Lopes
The purpose of this article is to talk about the issues related to music in Abbé Dubos’ work, Critical Reflections on Poetry and Painting, specifically on the imitative theories in eighteenth – century French opera. For this, through the translations of paragraphs 45 and 47 of the first part of his work, we made an overview of the historical panorama of this work in front of the French Enlightenment and its correspondence with the literary aspect, important element so that the music possessed some meaning, and their relations with the concept of nature, reason and feeling. The imitative theories had fundamental importance in the artistic making up to century XVIII, being left of side when the aspect of the feeling entered as an important data for the notion of taste in music.
{"title":"Abbé Dubos e a Reflexão Crítica sobre o Conceito de Imitação em Música","authors":"L. Tomás, R. Lopes","doi":"10.17990/RPF/2018_74_4_1013","DOIUrl":"https://doi.org/10.17990/RPF/2018_74_4_1013","url":null,"abstract":"The purpose of this article is to talk about the issues related to music in Abbé Dubos’ work, Critical Reflections on Poetry and Painting, specifically on the imitative theories in eighteenth – century French opera. For this, through the translations of paragraphs 45 and 47 of the first part of his work, we made an overview of the historical panorama of this work in front of the French Enlightenment and its correspondence with the literary aspect, important element so that the music possessed some meaning, and their relations with the concept of nature, reason and feeling. The imitative theories had fundamental importance in the artistic making up to century XVIII, being left of side when the aspect of the feeling entered as an important data for the notion of taste in music.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"29 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80396458","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 : 2018-12-30DOI: 10.17990/RPF/2018_74_4_1307
J. Shand
It is often taken for granted that music, whatever else it is able to do, cannot articulate ideas. This paper aims to refute that formalist claim and present an anti-formalist one showing why thinking formalism true is based on a fallacy and involves a misunderstanding of ordinary language. By ‘idea’ is meant a view, and reflection on that view, which in the limiting case may be a worldview, a Weltanschauung. That in this sense ideas are articulated in music is to say that they are, among other things, presented, conveyed and considered. This goes well beyond the usual anti-formalist claim that music may express emotions. The paper goes on to show how ideas may be articulated in music. This follows from properly understanding how it is that any idea may be articulated. Without music being able to include articulating ideas, the high artistic and cultural value we place upon music, as well as the way people actually talk about music, while being compatible with music having other features that we value, is inexplicable. In this sense the question is raised as to how it is possible to articulate ideas in music.
{"title":"Ideas in Music","authors":"J. Shand","doi":"10.17990/RPF/2018_74_4_1307","DOIUrl":"https://doi.org/10.17990/RPF/2018_74_4_1307","url":null,"abstract":"It is often taken for granted that music, whatever else it is able to do, cannot articulate ideas. This paper aims to refute that formalist claim and present an anti-formalist one showing why thinking formalism true is based on a fallacy and involves a misunderstanding of ordinary language. By ‘idea’ is meant a view, and reflection on that view, which in the limiting case may be a worldview, a Weltanschauung. That in this sense ideas are articulated in music is to say that they are, among other things, presented, conveyed and considered. This goes well beyond the usual anti-formalist claim that music may express emotions. The paper goes on to show how ideas may be articulated in music. This follows from properly understanding how it is that any idea may be articulated. Without music being able to include articulating ideas, the high artistic and cultural value we place upon music, as well as the way people actually talk about music, while being compatible with music having other features that we value, is inexplicable. In this sense the question is raised as to how it is possible to articulate ideas in music.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"4 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89502501","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 : 2018-12-30DOI: 10.17990/rpf/2018_74_4_1437
C. Faul
Gilles Deleuze and Félix Guattari frequently discuss Western classical music, referencing such diverse traditions as medieval polyphony and 20th century modernism. In their work, however, they have an intense focus, common among philosophers, on composition, with very little consideration given to performance. Nevertheless, I find that their work resonates with questions of performance in important ways. In this paper, I bring Deleuze and Guattari’s work to bear on the practices and processes of musical interpretation and performance, transposing into this musical domain the concepts of the smooth and the striated that they explicate in A Thousand Plateaus. The basic claim is that there exist smooth and striated methods of interpreting and performing music and that these concepts allow us to articulate afresh important differences in performance practice. Ultimately, I claim that the smooth is perhaps the privileged term, but that a good performance necessarily includes both smooth and striated elements.
{"title":"Voyagers in Sound: On the Smooth and the Striated in Musical Interpretation and Performance","authors":"C. Faul","doi":"10.17990/rpf/2018_74_4_1437","DOIUrl":"https://doi.org/10.17990/rpf/2018_74_4_1437","url":null,"abstract":"Gilles Deleuze and Félix Guattari frequently discuss Western classical music, referencing such diverse traditions as medieval polyphony and 20th century modernism. In their work, however, they have an intense focus, common among philosophers, on composition, with very little consideration given to performance. Nevertheless, I find that their work resonates with questions of performance in important ways. In this paper, I bring Deleuze and Guattari’s work to bear on the practices and processes of musical interpretation and performance, transposing into this musical domain the concepts of the smooth and the striated that they explicate in A Thousand Plateaus. The basic claim is that there exist smooth and striated methods of interpreting and performing music and that these concepts allow us to articulate afresh important differences in performance practice. Ultimately, I claim that the smooth is perhaps the privileged term, but that a good performance necessarily includes both smooth and striated elements.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"119 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83224428","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 : 2018-12-30DOI: 10.17990/RPF/2018_74_4_1213
Juan José Pastor Comín
El canto de las sirenas (2007) and La imaginación sonora (2010) are the last two works that Eugenio Trías has devoted to the study of musical experience –both from the perspective of expression and perception– as a form of knowledge –gnosis– where reason appears powerless. This essay will examine how the instruments of historical, harmonic, formal or aesthetic analysis are not sufficient to understand the significance of musical discourse. To achieve this end, we will first set out the bases of his musical thought within the broad framework of the theory of the limit; secondly, we will confront the musical categories proposed by Trias with the Mass in E minor (WAB 27) composed by Anton Bruckner –one of the composers to whom he devoted most attention. We will therefore try to see how the system proposed by the philosopher helps us to understand the ontological and transcendent dimension of a musical work that is still alive, recently performed in the Spanish music scene, and not explicitly mentioned in philosopher’s writings.
{"title":"Eugenio Trías al Encuentro de Anton Bruckner: Lecturas Fronterizas de la Misa en mi menor (WAB 27)","authors":"Juan José Pastor Comín","doi":"10.17990/RPF/2018_74_4_1213","DOIUrl":"https://doi.org/10.17990/RPF/2018_74_4_1213","url":null,"abstract":"El canto de las sirenas (2007) and La imaginación sonora (2010) are the last two works that Eugenio Trías has devoted to the study of musical experience –both from the perspective of expression and perception– as a form of knowledge –gnosis– where reason appears powerless. This essay will examine how the instruments of historical, harmonic, formal or aesthetic analysis are not sufficient to understand the significance of musical discourse. To achieve this end, we will first set out the bases of his musical thought within the broad framework of the theory of the limit; secondly, we will confront the musical categories proposed by Trias with the Mass in E minor (WAB 27) composed by Anton Bruckner –one of the composers to whom he devoted most attention. We will therefore try to see how the system proposed by the philosopher helps us to understand the ontological and transcendent dimension of a musical work that is still alive, recently performed in the Spanish music scene, and not explicitly mentioned in philosopher’s writings.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"22 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85229418","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 : 2018-12-30DOI: 10.17990/RPF/2018_74_4_1043
E. A. G. Gatto
The purpose of this paper is to elaborate some considerations about the musical issue from the poetic-hermeneutic ontology started by Heidegger. It has for support, among others, the essay ‘Der Ursprung des Kunstwerkes’ (The Origin of the Work of Art), but during our discussion, other works and authors will appear as possibilities of dialogue from the necessities of the path. Under the musical perspective, the paper takes on principle the thesis which affirms the music in a pre-representational condition as original poetic responding to the primordial question that starts all philosophy. Having it in focus, we structure the text in three main pillars of inquiry based on the musical happening: a) the reference between music and musical works; b) the role of the musicians and the audience-listeners; c) the musical knowledge. Guided by both, thesis and principles, we structure four parts interrelated whose titles are: 1) work and sound/sonority; 2) music and musical creation; 3) work, musical performing interpretation, and musical composition; 4) knowledge [coda]. The present way of organization has the intention of merging the issues proposed by the titles in order for them to be thought from the own perspectives of each section.
本文旨在从海德格尔开创的诗学本体论出发，阐述对音乐问题的一些思考。它得到了《艺术作品的起源》(Der Ursprung des Kunstwerkes)等文章的支持，但在我们的讨论中，其他作品和作者将从这条道路的必要性中作为对话的可能性出现。在音乐的视角下，本文的主要观点是肯定前表征状态下的音乐是对一切哲学起源的原始问题的原始诗性回应。以此为中心，我们以音乐事件为基础，以三个主要的探究支柱来构建文本:a)音乐与音乐作品之间的参考;B)音乐家和听众的角色;C)音乐知识。在论文和原则的指导下，我们构建了四个相互关联的部分，它们的标题是:1)作品与声音/声音;2)音乐与音乐创作;(三)作品、音乐表演演绎、音乐创作;4)知识[结尾]。目前的组织方式的目的是合并题目提出的问题，以便从每一节自己的角度来思考这些问题。
{"title":"Considerações a Respeito de Música a partir do Pensamento de Heidegger","authors":"E. A. G. Gatto","doi":"10.17990/RPF/2018_74_4_1043","DOIUrl":"https://doi.org/10.17990/RPF/2018_74_4_1043","url":null,"abstract":"The purpose of this paper is to elaborate some considerations about the musical issue from the poetic-hermeneutic ontology started by Heidegger. It has for support, among others, the essay ‘Der Ursprung des Kunstwerkes’ (The Origin of the Work of Art), but during our discussion, other works and authors will appear as possibilities of dialogue from the necessities of the path. Under the musical perspective, the paper takes on principle the thesis which affirms the music in a pre-representational condition as original poetic responding to the primordial question that starts all philosophy. Having it in focus, we structure the text in three main pillars of inquiry based on the musical happening: a) the reference between music and musical works; b) the role of the musicians and the audience-listeners; c) the musical knowledge. Guided by both, thesis and principles, we structure four parts interrelated whose titles are: 1) work and sound/sonority; 2) music and musical creation; 3) work, musical performing interpretation, and musical composition; 4) knowledge [coda]. The present way of organization has the intention of merging the issues proposed by the titles in order for them to be thought from the own perspectives of each section.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"124 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78477126","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 : 2018-12-30DOI: 10.17990/RPF/2018_74_4_1571
R. Batista
{"title":"Book Review - Thomas Aquinas and his Predecessors: the Philosophers and the Church Fathers in his Work","authors":"R. Batista","doi":"10.17990/RPF/2018_74_4_1571","DOIUrl":"https://doi.org/10.17990/RPF/2018_74_4_1571","url":null,"abstract":"","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"15 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73732250","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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