This article explores manipulations of the nearly ever-present backbeat in rock music from the “long” 1980s. The status of the backbeat as not only metrically consonant but a defining feature of rock meter is discussed within the context of dual-aspect meter. Operating from the assumption that isochronous snare drum hits in rock are heard as a backbeat, placing those snare drum hits on beats other than 2 and 4 creates a particular kind of metrical dissonance, which I refer to as a backbeat switch. I examine two ways in which a backbeat switch occurs, the quick flip and the polymetric pogo. A quick flip usually occurs at a phrase break, where the drummer apparently (but intentionally) “drops a beat” and then resumes the backbeat pattern, thus shifting it “to the left.” A polymetric pogo involves a situation where the backbeat-insistent drummer is pitted against the rest of the band playing in an odd-cardinality meter, resulting in snare hits that bounce back and forth between even-numbered beats and odd-numbered beats every other measure. Short examples by The Cars, Paul Weller, Steve Vai, and Sting are used to demonstrate the article’s fundamental concepts, and longer examples by Tesla, Jerry Goldsmith, and Extreme place these concepts into larger contexts.
{"title":"Switching the Backbeat","authors":"Zachary A. Cairns","doi":"10.30535/mto.28.1.2","DOIUrl":"https://doi.org/10.30535/mto.28.1.2","url":null,"abstract":"This article explores manipulations of the nearly ever-present backbeat in rock music from the “long” 1980s. The status of the backbeat as not only metrically consonant but a defining feature of rock meter is discussed within the context of dual-aspect meter. Operating from the assumption that isochronous snare drum hits in rock are heard as a backbeat, placing those snare drum hits on beats other than 2 and 4 creates a particular kind of metrical dissonance, which I refer to as a backbeat switch. I examine two ways in which a backbeat switch occurs, the quick flip and the polymetric pogo. A quick flip usually occurs at a phrase break, where the drummer apparently (but intentionally) “drops a beat” and then resumes the backbeat pattern, thus shifting it “to the left.” A polymetric pogo involves a situation where the backbeat-insistent drummer is pitted against the rest of the band playing in an odd-cardinality meter, resulting in snare hits that bounce back and forth between even-numbered beats and odd-numbered beats every other measure. Short examples by The Cars, Paul Weller, Steve Vai, and Sting are used to demonstrate the article’s fundamental concepts, and longer examples by Tesla, Jerry Goldsmith, and Extreme place these concepts into larger contexts.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46618545","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}
Saul Bass and Bernard Herrmann provided the visuals and music, respectively, for the main title of Alfred Hitchcock’s 1958 movie Vertigo. These artworks correspond with one another in three ways. First, when aligning two dimensions of visual and pitch brightness, a portion of each artwork moves through this two-dimensional space using a similar path. Second, when arranging some of the tonal materials onto a certain space, these materials transform into each other using transformations similar to those that animate some of the visual designs. Third, under partial enharmonic equivalence, these pitch spaces curl into a partly-closed and partly-open shape that closely resembles manipulated visual forms whose looped closure is partially obscured. The first and third ways shed significant light on the film’s narrative, and the first way in particular parallels the film’s central dramatic form.
{"title":"Three Audiovisual Correspondences in the Main Title for Vertigo","authors":"Scott Murphy","doi":"10.30535/mto.28.1.6","DOIUrl":"https://doi.org/10.30535/mto.28.1.6","url":null,"abstract":"Saul Bass and Bernard Herrmann provided the visuals and music, respectively, for the main title of Alfred Hitchcock’s 1958 movie Vertigo. These artworks correspond with one another in three ways. First, when aligning two dimensions of visual and pitch brightness, a portion of each artwork moves through this two-dimensional space using a similar path. Second, when arranging some of the tonal materials onto a certain space, these materials transform into each other using transformations similar to those that animate some of the visual designs. Third, under partial enharmonic equivalence, these pitch spaces curl into a partly-closed and partly-open shape that closely resembles manipulated visual forms whose looped closure is partially obscured. The first and third ways shed significant light on the film’s narrative, and the first way in particular parallels the film’s central dramatic form.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48790305","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}
Light shows at contemporary rock concerts generally create an immersive, multi-sensory experience. In their most sophisticated forms, however, they provide a visual analysis of the music as it unfolds. This paper presents a case study of what I call the analytical light show, by examining how the intricate light shows of extreme metal band Meshuggah contribute an interpretive layer that not only promotes multi-sensory engagement, but also actively guides listeners through songs’ formal structures. Meshuggah’s light shows, created by lighting designer Edvard Hansson, are exhaustively synchronized to the rhythmic patterns of the guitars and drums. Meticulous use of color, brightness, directionality, placement pattern, and beam movement provide additional information about gesture, articulation, and pitch. These analytical light shows provide a three-dimensional visual score that dramatizes rhythms while guiding listeners through each riff. Through this lighting, spatial and bodily metaphors of musical movement—high and low, moving and holding still—are transmuted into visual representation. By presenting analysis and performance simultaneously and as each other, Meshuggah combines technical virtuosity with rock authenticity, and provides another example of what I have called “coercive synesthesia” (Lucas 2014), as the lighting becomes an inextricable part of the musical experience. Beyond the confines of metal culture, I study the analytical light show as an expression of vernacular musical analysis that combines specific analytical and technical expertise with the intuitive, embodied knowledge that experienced music listeners possess.
{"title":"Performing Analysis, Performing Metal","authors":"Olivia R. Lucas","doi":"10.30535/mto.27.4.8","DOIUrl":"https://doi.org/10.30535/mto.27.4.8","url":null,"abstract":"Light shows at contemporary rock concerts generally create an immersive, multi-sensory experience. In their most sophisticated forms, however, they provide a visual analysis of the music as it unfolds. This paper presents a case study of what I call the analytical light show, by examining how the intricate light shows of extreme metal band Meshuggah contribute an interpretive layer that not only promotes multi-sensory engagement, but also actively guides listeners through songs’ formal structures.\u0000\u0000 Meshuggah’s light shows, created by lighting designer Edvard Hansson, are exhaustively synchronized to the rhythmic patterns of the guitars and drums. Meticulous use of color, brightness, directionality, placement pattern, and beam movement provide additional information about gesture, articulation, and pitch. These analytical light shows provide a three-dimensional visual score that dramatizes rhythms while guiding listeners through each riff. Through this lighting, spatial and bodily metaphors of musical movement—high and low, moving and holding still—are transmuted into visual representation. By presenting analysis and performance simultaneously and as each other, Meshuggah combines technical virtuosity with rock authenticity, and provides another example of what I have called “coercive synesthesia” (Lucas 2014), as the lighting becomes an inextricable part of the musical experience. Beyond the confines of metal culture, I study the analytical light show as an expression of vernacular musical analysis that combines specific analytical and technical expertise with the intuitive, embodied knowledge that experienced music listeners possess.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44441099","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}
Onset (metric position) and contiguity (pitch adjacency and time proximity) are two melodic features that contribute to the salience of individual notes (core tones) in a monophonic voice or polyphonic texture. Our approach to reductions prioritizes contextual features like onset and contiguity. By awarding points to notes with such features, our process selects core tones from melodic surfaces to produce a reduction. Through this reduction, a new form of musical pattern discovery is possible that has similarities to Gjerdingen’s (".fn_cite_year($gjerdingen_2007).") galant schemata. Recurring n-grams (scale degree skeletons) are matched in an algorithmic approach that we have tested manually (with a printed score and pen and paper) and implemented computationally (with symbolic data and scripted algorithms in MATLAB). A relatively simple method successfully identifies the location of all statements of the subject in Bach’s Fugue in C Minor (BWV 847) identified by Bruhn (".fn_cite_year($bruhn_1993).") and the location of all instances of the Prinner and Meyer schemata in Mozart’s Sonata in C Major (K. 545/i) identified by Gjerdingen (".fn_cite_year($gjerdingen_2007)."). We also apply the method to an excerpt by Kirnberger analyzed in Rabinovitch (".fn_cite_year($rabinovitch_2019)."). Analysts may use this flexible method for pattern discovery in reduced textures through software freely accessible at https://www.atavizm.org. While our case studies in the present article are from eighteenth-century European music, we believe our approach to reduction and pattern discovery is extensible to a variety of musics.
{"title":"Onset and Contiguity","authors":"Aaron Carter-Enyi, Gilad Rabinovitch","doi":"10.30535/mto.27.4.2","DOIUrl":"https://doi.org/10.30535/mto.27.4.2","url":null,"abstract":"Onset (metric position) and contiguity (pitch adjacency and time proximity) are two melodic features that contribute to the salience of individual notes (core tones) in a monophonic voice or polyphonic texture. Our approach to reductions prioritizes contextual features like onset and contiguity. By awarding points to notes with such features, our process selects core tones from melodic surfaces to produce a reduction. Through this reduction, a new form of musical pattern discovery is possible that has similarities to Gjerdingen’s (\".fn_cite_year($gjerdingen_2007).\") galant schemata. Recurring n-grams (scale degree skeletons) are matched in an algorithmic approach that we have tested manually (with a printed score and pen and paper) and implemented computationally (with symbolic data and scripted algorithms in MATLAB). A relatively simple method successfully identifies the location of all statements of the subject in Bach’s Fugue in C Minor (BWV 847) identified by Bruhn (\".fn_cite_year($bruhn_1993).\") and the location of all instances of the Prinner and Meyer schemata in Mozart’s Sonata in C Major (K. 545/i) identified by Gjerdingen (\".fn_cite_year($gjerdingen_2007).\"). We also apply the method to an excerpt by Kirnberger analyzed in Rabinovitch (\".fn_cite_year($rabinovitch_2019).\"). Analysts may use this flexible method for pattern discovery in reduced textures through software freely accessible at https://www.atavizm.org. While our case studies in the present article are from eighteenth-century European music, we believe our approach to reduction and pattern discovery is extensible to a variety of musics.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43129660","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}
This study applies Kofi Agawu’s proposed method for analyzing texted music (1992), in which the music and the text are analyzed separately before they are considered together, to an early madrigal by Willaert. Focusing primarily on counterpoint, I offer a detailed study of Willaert’s complex compositional technique. I show that he responded to the poem in many ways, but at the same time he made many purely musical decisions. Finally, I consider what his motivations for these decisions might have been and enumerate musical means he used to respond to the different aspects of his text.
{"title":"Sometimes the Music Wins","authors":"Peter Schubert","doi":"10.30535/mto.27.4.9","DOIUrl":"https://doi.org/10.30535/mto.27.4.9","url":null,"abstract":"This study applies Kofi Agawu’s proposed method for analyzing texted music (1992), in which the music and the text are analyzed separately before they are considered together, to an early madrigal by Willaert. Focusing primarily on counterpoint, I offer a detailed study of Willaert’s complex compositional technique. I show that he responded to the poem in many ways, but at the same time he made many purely musical decisions. Finally, I consider what his motivations for these decisions might have been and enumerate musical means he used to respond to the different aspects of his text.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46505359","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}
AABA form was in decline in popular music in the 1960s, yet the Rolling Stones made extensive use of it at a crucial point in their career. In this article I examine the relationship between Jagger-Richards AABA songs released between 1963 and 1971 and established AABA norms. I use a corpus of 138 AABA songs (112 by other artists and 26 by Jagger-Richards) to compare the Stones’ approach to elements such as starting and ending bridge harmonies and verse melodic form with existing defaults. The analysis shows that the band’s approach to AABA in this time period bifurcates into two strategies, each associated with a tempo extreme: either (1) using the form ironically to critique wealth and privilege, or (2) employing it in a sincere way that invokes soul and gospel artists and thereby claims authenticity for the band.
{"title":"Generic Norms, Irony, and Authenticity in the AABA Songs of the Rolling Stones, 1963–1971","authors":"D. Carter","doi":"10.30535/mto.27.4.1","DOIUrl":"https://doi.org/10.30535/mto.27.4.1","url":null,"abstract":"AABA form was in decline in popular music in the 1960s, yet the Rolling Stones made extensive use of it at a crucial point in their career. In this article I examine the relationship between Jagger-Richards AABA songs released between 1963 and 1971 and established AABA norms. I use a corpus of 138 AABA songs (112 by other artists and 26 by Jagger-Richards) to compare the Stones’ approach to elements such as starting and ending bridge harmonies and verse melodic form with existing defaults. The analysis shows that the band’s approach to AABA in this time period bifurcates into two strategies, each associated with a tempo extreme: either (1) using the form ironically to critique wealth and privilege, or (2) employing it in a sincere way that invokes soul and gospel artists and thereby claims authenticity for the band.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42741058","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}
Harmonic analyses of popular music typically take the minor tonic to be Roman numeral “one.” By nature, this “one-based” approach requires a new numbering scheme when songs shift between relative key centers. Recent scholarship has argued, however, that popular music often involves ambiguity between relative tonalities, as exemplified in the “Axis” progression, if not sometimes a tonal fusion of two relative keys. I thus argue for the utility of a “six-based” approach to the minor tonic, where the minor tonic is taken to be scale-degree 6. This six-based approach, common among practitioners of popular music as seen in the Nashville number system, avoids the forced choice of a single tonic, and it thus offers a consistent way to track chord function and behavior across shifts between relative key centers. After considering these shifts in a diatonic context on the levels of both phrase and song form, I posit that popular music involves three possible tonalities, together which form a “triple-tonic complex” akin to Stephenson’s three harmonic palettes: a major system, a parallel-minor system, and a relative-minor system. I conclude by considering how chromatic chords common in a major key, such as II and ".fn_flat('')."VII, correspond to their counterparts in the relative minor, IV and ".fn_flat('')."II, thereby collapsing the landscape of diatonic modes into three modal complexes. Overall, the paper serves to reveal the logic of six-based minor—why it is useful, what issues it resolves, and what insights it can afford us about harmonic syntax in popular music.
{"title":"The Logic of Six-Based Minor for Harmonic Analyses of Popular Music","authors":"Trevor de Clercq","doi":"10.30535/mto.27.4.4","DOIUrl":"https://doi.org/10.30535/mto.27.4.4","url":null,"abstract":"Harmonic analyses of popular music typically take the minor tonic to be Roman numeral “one.” By nature, this “one-based” approach requires a new numbering scheme when songs shift between relative key centers. Recent scholarship has argued, however, that popular music often involves ambiguity between relative tonalities, as exemplified in the “Axis” progression, if not sometimes a tonal fusion of two relative keys. I thus argue for the utility of a “six-based” approach to the minor tonic, where the minor tonic is taken to be scale-degree 6. This six-based approach, common among practitioners of popular music as seen in the Nashville number system, avoids the forced choice of a single tonic, and it thus offers a consistent way to track chord function and behavior across shifts between relative key centers. After considering these shifts in a diatonic context on the levels of both phrase and song form, I posit that popular music involves three possible tonalities, together which form a “triple-tonic complex” akin to Stephenson’s three harmonic palettes: a major system, a parallel-minor system, and a relative-minor system. I conclude by considering how chromatic chords common in a major key, such as II and \".fn_flat('').\"VII, correspond to their counterparts in the relative minor, IV and \".fn_flat('').\"II, thereby collapsing the landscape of diatonic modes into three modal complexes. Overall, the paper serves to reveal the logic of six-based minor—why it is useful, what issues it resolves, and what insights it can afford us about harmonic syntax in popular music.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44041374","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}
{"title":"Review of Megan Kaes Long, Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century (Oxford University Press, 2020)","authors":"G. Barnett","doi":"10.30535/mto.27.4.10","DOIUrl":"https://doi.org/10.30535/mto.27.4.10","url":null,"abstract":"<jats:p />","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42771381","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}
This article examines the transformation of the period in the early Romantic era. While in Classical periods the end of the antecedent phrase is harmonically closed off from the beginning of the consequent phrase, Romantic periods often join the end of the antecedent to the beginning of the consequent, creating an undivided progression. Voice-leading analyses illustrate three different means of joining the antecedent to the consequent: 1) by overlapping the two phrases, 2) by prolonging and resolving the antecedent’s closing dominant, and 3) by ending the antecedent on a predominant. All three procedures involve converting a dividing dominant into a progressive dominant.
{"title":"Romantic Periods","authors":"Diego Cubero","doi":"10.30535/mto.27.4.3","DOIUrl":"https://doi.org/10.30535/mto.27.4.3","url":null,"abstract":"This article examines the transformation of the period in the early Romantic era. While in Classical periods the end of the antecedent phrase is harmonically closed off from the beginning of the consequent phrase, Romantic periods often join the end of the antecedent to the beginning of the consequent, creating an undivided progression. Voice-leading analyses illustrate three different means of joining the antecedent to the consequent: 1) by overlapping the two phrases, 2) by prolonging and resolving the antecedent’s closing dominant, and 3) by ending the antecedent on a predominant. All three procedures involve converting a dividing dominant into a progressive dominant.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47590720","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}
This paper presents a comparative recording analysis of the seminal work for solo percussion Rebonds (Iannis Xenakis, 1989), in order to demonstrate how performances of a musical work can reveal—or even create—aspects of musical structure that score-centered analysis cannot illuminate. In doing so I engage with the following questions. What does a pluralistic, dynamic conception of structure look like for Rebonds? How do interpretive decisions recast performers as agents of musical structure? When performances diverge from the score in the omission of notes, the softening of accents, the insertion of dramatic tempo changes, or the altering of entire passages, do conventions that arise out of those performance practices become part of the structural fabric of the work? Are these conventions thus part of the Rebonds “text”?
{"title":"Rebonds: Structural Affordances, Negotiation, and Creation","authors":"B. Duinker","doi":"10.30535/mto.27.4.5","DOIUrl":"https://doi.org/10.30535/mto.27.4.5","url":null,"abstract":"This paper presents a comparative recording analysis of the seminal work for solo percussion Rebonds (Iannis Xenakis, 1989), in order to demonstrate how performances of a musical work can reveal—or even create—aspects of musical structure that score-centered analysis cannot illuminate. In doing so I engage with the following questions. What does a pluralistic, dynamic conception of structure look like for Rebonds? How do interpretive decisions recast performers as agents of musical structure? When performances diverge from the score in the omission of notes, the softening of accents, the insertion of dramatic tempo changes, or the altering of entire passages, do conventions that arise out of those performance practices become part of the structural fabric of the work? Are these conventions thus part of the Rebonds “text”?","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42700061","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：