Pub Date : 2023-09-01DOI: 10.1080/07494467.2023.2246315
Francisco Pessanha de Meneses
ABSTRACT Jorge Peixinho (1940–1995) was one of the most significant Portuguese composers of the second half of the twentieth century. His work encompasses several genres but focuses, in particular, on avant-garde chamber music. Between 1964 and 1993, Peixinho collaborated with several theatre directors, composing music for their productions, as well as writing music for other genres such as performance art, ‘happenings’, and some of the most innovative mixed-media experiments in Portugal at the time. During this period, avant-garde theatre and music were two worlds that were mutually unaware of each other. Avant-garde theatrical productions sought to be in line with what was happening in Europe, but the musical accompaniment was neglected, just as it was in opera. In the Portuguese context, Jorge Peixinho’s contribution sought to fill this gap. This article seeks to contextualise Jorge Peixinho’s stage work and to compile a list of the shows for which the composer wrote music.
{"title":"Notes on the Stage Music of Jorge Peixinho: Contributions Towards a Dialogue Between Theatre and Music","authors":"Francisco Pessanha de Meneses","doi":"10.1080/07494467.2023.2246315","DOIUrl":"https://doi.org/10.1080/07494467.2023.2246315","url":null,"abstract":"ABSTRACT Jorge Peixinho (1940–1995) was one of the most significant Portuguese composers of the second half of the twentieth century. His work encompasses several genres but focuses, in particular, on avant-garde chamber music. Between 1964 and 1993, Peixinho collaborated with several theatre directors, composing music for their productions, as well as writing music for other genres such as performance art, ‘happenings’, and some of the most innovative mixed-media experiments in Portugal at the time. During this period, avant-garde theatre and music were two worlds that were mutually unaware of each other. Avant-garde theatrical productions sought to be in line with what was happening in Europe, but the musical accompaniment was neglected, just as it was in opera. In the Portuguese context, Jorge Peixinho’s contribution sought to fill this gap. This article seeks to contextualise Jorge Peixinho’s stage work and to compile a list of the shows for which the composer wrote music.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41557104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-12DOI: 10.1080/07494467.2023.2239681
Isabel Pires
ABSTRACT This paper aims to highlight the originality and irreverence of José Lopes e Silva’s (1937–2019) music theatre works. Lopes e Silva was an exceptionally talented guitarist and an extremely inventive composer. However, while his work as a guitarist has received wide international recognition, his work as a composer has been largely overlooked and seems to be somewhat forgotten. Drawing on documents from the Lopes e Silva collection, we will discuss some of his compositional practices by focusing on two of his music theatre works, No Jardim das Delícias (1991–92) and Canticum Joviale (1993). These works belong to a trilogy inspired by a Hieronymus Bosch triptych. The first work, Tentações (1990), appears to be lost. We will examine in particular Lopes e Silva’s complex compositional strategies for articulating the various elements of these music theatre works. These elements include an electroacoustic layer that works as a general script, and to which everything is related (instrumental music, choreography, lighting, and so on); texts (poetry and prose) written by Lopes e Silva himself; different types of music reservoirs; meticulous instructions for improvisation; detailed schemes for dancing and acting; graphic scripts and scores.
{"title":"The Meticulous Irreverence of José Lopes e Silva: Some Comments on Two Staged Works","authors":"Isabel Pires","doi":"10.1080/07494467.2023.2239681","DOIUrl":"https://doi.org/10.1080/07494467.2023.2239681","url":null,"abstract":"ABSTRACT This paper aims to highlight the originality and irreverence of José Lopes e Silva’s (1937–2019) music theatre works. Lopes e Silva was an exceptionally talented guitarist and an extremely inventive composer. However, while his work as a guitarist has received wide international recognition, his work as a composer has been largely overlooked and seems to be somewhat forgotten. Drawing on documents from the Lopes e Silva collection, we will discuss some of his compositional practices by focusing on two of his music theatre works, No Jardim das Delícias (1991–92) and Canticum Joviale (1993). These works belong to a trilogy inspired by a Hieronymus Bosch triptych. The first work, Tentações (1990), appears to be lost. We will examine in particular Lopes e Silva’s complex compositional strategies for articulating the various elements of these music theatre works. These elements include an electroacoustic layer that works as a general script, and to which everything is related (instrumental music, choreography, lighting, and so on); texts (poetry and prose) written by Lopes e Silva himself; different types of music reservoirs; meticulous instructions for improvisation; detailed schemes for dancing and acting; graphic scripts and scores.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45444134","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-12DOI: 10.1080/07494467.2023.2243101
Alfonso Benetti, Francisco Monteiro
ABSTRACT In Portugal, the avant-garde experimental approaches of the 1960s were fruitful for the emancipation of the sound potential of musical instruments and non-instruments. Since then, prepared techniques—the use of objects as sound producers, or in the context of extended techniques, electronics, and other processes of sound engagement—brought along the potential for rethinking and reformulating the piano and relationships between musical bodies. These prepared (extended) techniques were then acculturated, integrated, and somehow accommodated as a new normalisation, becoming in certain musical spheres the ‘new normal’. Connected to these approaches, new perspectives on experimentation with regard to the piano seem to be taking shape in Portugal, encompassing significant aesthetic, creative, and technical differences from the previous experimental vanguards. This study addresses the piano as a disruptive element in the current Portuguese experimental context, with regard to approaches, contexts, and practices. These disruptions are marked by an association with digital media resources, innovative performative perspectives, and the creation of different aesthetic outputs. However, this is an unconventional disruption—not a disruption related to the past, but an occasional disruption with the past. The objectives of the present study are to identify how the piano is treated by past experimentalists and as a contemporary technological artefact—including influences, techniques, languages, writing/recording materials, and the role of the performer—verifying the impact of its production, new conceptual transmutations, mapping composers and representative works, repertoires and formations, and the different roles assumed by the instrument.
{"title":"The Piano in the Portuguese Experimental Music Scene: Approaches, Contexts, and Practices","authors":"Alfonso Benetti, Francisco Monteiro","doi":"10.1080/07494467.2023.2243101","DOIUrl":"https://doi.org/10.1080/07494467.2023.2243101","url":null,"abstract":"ABSTRACT In Portugal, the avant-garde experimental approaches of the 1960s were fruitful for the emancipation of the sound potential of musical instruments and non-instruments. Since then, prepared techniques—the use of objects as sound producers, or in the context of extended techniques, electronics, and other processes of sound engagement—brought along the potential for rethinking and reformulating the piano and relationships between musical bodies. These prepared (extended) techniques were then acculturated, integrated, and somehow accommodated as a new normalisation, becoming in certain musical spheres the ‘new normal’. Connected to these approaches, new perspectives on experimentation with regard to the piano seem to be taking shape in Portugal, encompassing significant aesthetic, creative, and technical differences from the previous experimental vanguards. This study addresses the piano as a disruptive element in the current Portuguese experimental context, with regard to approaches, contexts, and practices. These disruptions are marked by an association with digital media resources, innovative performative perspectives, and the creation of different aesthetic outputs. However, this is an unconventional disruption—not a disruption related to the past, but an occasional disruption with the past. The objectives of the present study are to identify how the piano is treated by past experimentalists and as a contemporary technological artefact—including influences, techniques, languages, writing/recording materials, and the role of the performer—verifying the impact of its production, new conceptual transmutations, mapping composers and representative works, repertoires and formations, and the different roles assumed by the instrument.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48714906","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-04DOI: 10.1080/07494467.2023.2241236
Lee-Ching Cheng, I. Mcgregor
{"title":"Practices and Educational Affordances of Sound in the Postcolonial Hong Kong Protests","authors":"Lee-Ching Cheng, I. Mcgregor","doi":"10.1080/07494467.2023.2241236","DOIUrl":"https://doi.org/10.1080/07494467.2023.2241236","url":null,"abstract":"","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44040770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-02DOI: 10.1080/07494467.2023.2238157
Noah Leininger
{"title":"Soviet Sounds, Communist Pedagogy: Lessons for Today’s Musicians, Organisers, Educators","authors":"Noah Leininger","doi":"10.1080/07494467.2023.2238157","DOIUrl":"https://doi.org/10.1080/07494467.2023.2238157","url":null,"abstract":"","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42588578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.1080/07494467.2023.2234182
Andreia Nogueira
ABSTRACT Miguel and Paula Azguime are prominent figures in the contemporary art realm with a significant track record of interconnecting sound, text, poetry, movement, video, and live electronics. Together, they founded a new concept/project entitled New Op-Era that introduced a multimedia and creative collaboration in which the music and text of Miguel Azguime coexist with the staging and video composition of Paula Azguime in a truly symbiotic and innovative format. This paper examines whether the New Op-Era concept constitutes a new form of music theatre by reflecting upon the multimedia and electroacoustic opera Salt Itinerary created by Miguel and Paula Azguime between 1999 and 2006. This one-hour-long piece combines live audio and video processing along with an artistic, vocal, and theatrical performance by the composer himself to produce an extraordinary visual and sound experience that transcends traditional artistic conventions and crosses the boundaries prevailing between music, theatre, opera, performance, new media art, and sound poetry.
{"title":"Miguel and Paula Azguime and the New Op-Era","authors":"Andreia Nogueira","doi":"10.1080/07494467.2023.2234182","DOIUrl":"https://doi.org/10.1080/07494467.2023.2234182","url":null,"abstract":"ABSTRACT Miguel and Paula Azguime are prominent figures in the contemporary art realm with a significant track record of interconnecting sound, text, poetry, movement, video, and live electronics. Together, they founded a new concept/project entitled New Op-Era that introduced a multimedia and creative collaboration in which the music and text of Miguel Azguime coexist with the staging and video composition of Paula Azguime in a truly symbiotic and innovative format. This paper examines whether the New Op-Era concept constitutes a new form of music theatre by reflecting upon the multimedia and electroacoustic opera Salt Itinerary created by Miguel and Paula Azguime between 1999 and 2006. This one-hour-long piece combines live audio and video processing along with an artistic, vocal, and theatrical performance by the composer himself to produce an extraordinary visual and sound experience that transcends traditional artistic conventions and crosses the boundaries prevailing between music, theatre, opera, performance, new media art, and sound poetry.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42162389","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-17DOI: 10.1080/07494467.2023.2196649
Wiebe Koopal, Thomas De Baets, J. Vlieghe
{"title":"Deine Zauber binden wieder, was die Mode streng geteilt … Conducting Beethoven’s Ninth as a Case of Public Music Education","authors":"Wiebe Koopal, Thomas De Baets, J. Vlieghe","doi":"10.1080/07494467.2023.2196649","DOIUrl":"https://doi.org/10.1080/07494467.2023.2196649","url":null,"abstract":"","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45648212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-16DOI: 10.1080/07494467.2023.2165766
Simone Sparks
{"title":"Reading Queer Continuums in Gymnopédie No. 3: A Conversation with Satie, and Cage, and Me (and You)","authors":"Simone Sparks","doi":"10.1080/07494467.2023.2165766","DOIUrl":"https://doi.org/10.1080/07494467.2023.2165766","url":null,"abstract":"","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49110768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/07494467.2023.2193090
K. Doyle, Agnese Toniutti
ABSTRACT The musical score can be a site for dynamic exchange between performance and analysis, a place for conversation about material and meaning. As is typical in conversation, conundrums or disagreements generate new ideas and new forms; problems become possibilities. Such is the case in navigating the scores of Lucia Dlugoszewski, who sought radical ways to produce and notate sound forms from around 1950 until her death in 2000. This article is not intended to serve as a survey of Dlugoszewski’s work but to document an exploration of the role that dialogue plays when performing and analysing musical repertoires. Its two authors will perform an excerpt of an ongoing dialogue about the challenges of navigating Dlugoszewski’s innovative scores. A circularity emerges as every potential solution is performed, evaluated, and questioned anew; through this cycle, analysis and performance become a unified, continual process. A thesis emerges from the dialogue: Dlugoszewski’s scores are a documentation of logic that is not present as much as one that is, a kind of notation in reverse, an ideal realised through performance at the edge of practical execution.
{"title":"Problem as Possibility: A Dialogue about Performance and Analysis with Lucia Dlugoszewski’s Experimental Notation as Case Study","authors":"K. Doyle, Agnese Toniutti","doi":"10.1080/07494467.2023.2193090","DOIUrl":"https://doi.org/10.1080/07494467.2023.2193090","url":null,"abstract":"ABSTRACT The musical score can be a site for dynamic exchange between performance and analysis, a place for conversation about material and meaning. As is typical in conversation, conundrums or disagreements generate new ideas and new forms; problems become possibilities. Such is the case in navigating the scores of Lucia Dlugoszewski, who sought radical ways to produce and notate sound forms from around 1950 until her death in 2000. This article is not intended to serve as a survey of Dlugoszewski’s work but to document an exploration of the role that dialogue plays when performing and analysing musical repertoires. Its two authors will perform an excerpt of an ongoing dialogue about the challenges of navigating Dlugoszewski’s innovative scores. A circularity emerges as every potential solution is performed, evaluated, and questioned anew; through this cycle, analysis and performance become a unified, continual process. A thesis emerges from the dialogue: Dlugoszewski’s scores are a documentation of logic that is not present as much as one that is, a kind of notation in reverse, an ideal realised through performance at the edge of practical execution.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"42 1","pages":"100 - 113"},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43376635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/07494467.2023.2199246
B. Duinker
Performance issues have engaged the discipline of music theory and analysis for as long as this discipline has been institutionalised in Europe and North America. Such lasting engagement has culminated in several seminal publications over the past few decades, among them Nicholas Cook’s Beyond the Score (2013), Daphne Leong’s Performing Knowledge (2019), and Philip Auslander’s In Concert (2021). Taken together, these publications (and others) have encouraged analytical looks beyond the score, attention to the experience of performers themselves, and consideration of musical/performative acts beyond sound itself. Having travelled far from the era where theorists and musicologists wrote prescriptively to ‘diagnose and cure the performer’s “malady”’ (Latham 2005, 137), we now experience a landscape where bilateral exchange between performing musicians and music theorists/musicologists generates provoking avenues of discussion, which can be formulated as broad questions. How can the concerns, choices, and pursuits of music performance and music analysis inform one another? And what sites of intersection provide promise for collaborative research between music theorists, musicologists, composers, and performers? To explore these questions, the Faculty of Music at the University of Toronto hosted the inaugural symposium Dialogues: Analysis and Performance in October 2021. The symposium convened artists and scholars, spurring interdisciplinary dialogue on topics such as structural analysis, criticism, interpretation, technology, performance practice, and embodied knowledge. Presenters responded to a call for proposals that situated analysis and performance as distinct but related activities, with a specific focus on contemporary music and musical practices. What quickly became apparent among the accepted presentations, however, was that for many artist/scholars specialising in contemporary music, analysis and performance are essentially inseparable, if not entirely one and the same. What began as a symposium seeking to uncover shared strategies for two distinct pursuits—analysis and performance— became a forum on how those pursuits are tightly connected through a network of elements: score, instrument, performer, and environment. The seven articles presented in this special issue reflect this inseparable network. As such, two prevailing themes emerge through the articles. The acts of analysis and performance are often indistinguishable. Many artists and scholars whose research connects performance and analysis might argue that one is not fully defined without consideration of the other. The work presented here goes even further, suggesting that one cannot fully exist without the other. Timothy Roth’s article on the reconstruction of obsolete technology to perform Stockhausen’s Mikrophone I (1964) foregrounds the analytical detail required to perform this work today, when the composer’s preferred sound filter is not readily available. Roth argues that, i
{"title":"Engaging Analysis and Performance","authors":"B. Duinker","doi":"10.1080/07494467.2023.2199246","DOIUrl":"https://doi.org/10.1080/07494467.2023.2199246","url":null,"abstract":"Performance issues have engaged the discipline of music theory and analysis for as long as this discipline has been institutionalised in Europe and North America. Such lasting engagement has culminated in several seminal publications over the past few decades, among them Nicholas Cook’s Beyond the Score (2013), Daphne Leong’s Performing Knowledge (2019), and Philip Auslander’s In Concert (2021). Taken together, these publications (and others) have encouraged analytical looks beyond the score, attention to the experience of performers themselves, and consideration of musical/performative acts beyond sound itself. Having travelled far from the era where theorists and musicologists wrote prescriptively to ‘diagnose and cure the performer’s “malady”’ (Latham 2005, 137), we now experience a landscape where bilateral exchange between performing musicians and music theorists/musicologists generates provoking avenues of discussion, which can be formulated as broad questions. How can the concerns, choices, and pursuits of music performance and music analysis inform one another? And what sites of intersection provide promise for collaborative research between music theorists, musicologists, composers, and performers? To explore these questions, the Faculty of Music at the University of Toronto hosted the inaugural symposium Dialogues: Analysis and Performance in October 2021. The symposium convened artists and scholars, spurring interdisciplinary dialogue on topics such as structural analysis, criticism, interpretation, technology, performance practice, and embodied knowledge. Presenters responded to a call for proposals that situated analysis and performance as distinct but related activities, with a specific focus on contemporary music and musical practices. What quickly became apparent among the accepted presentations, however, was that for many artist/scholars specialising in contemporary music, analysis and performance are essentially inseparable, if not entirely one and the same. What began as a symposium seeking to uncover shared strategies for two distinct pursuits—analysis and performance— became a forum on how those pursuits are tightly connected through a network of elements: score, instrument, performer, and environment. The seven articles presented in this special issue reflect this inseparable network. As such, two prevailing themes emerge through the articles. The acts of analysis and performance are often indistinguishable. Many artists and scholars whose research connects performance and analysis might argue that one is not fully defined without consideration of the other. The work presented here goes even further, suggesting that one cannot fully exist without the other. Timothy Roth’s article on the reconstruction of obsolete technology to perform Stockhausen’s Mikrophone I (1964) foregrounds the analytical detail required to perform this work today, when the composer’s preferred sound filter is not readily available. Roth argues that, i","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"42 1","pages":"1 - 3"},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46360550","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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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