Pub Date : 2024-06-05DOI: 10.1017/s1355771824000025
Gayle Magee
The National Film Board documentary Bing Bang Boom (1969) depicts Canadian composer R. Murray Schafer (1933–2021) teaching seventh-grade students in a suburban public school in Scarborough, Ontario. A close study of the film informs the larger trajectory of the composer’s previous and later writings and compositions over the next several decades, while a deeper dive into archival materials and concurrent productions from Canada’s National Film Board (NFB) illuminates the organisation’s strategy of nation-building at a crucial moment in the country’s history. Together, Schafer and the NFB illuminate Canada’s problematic relationship to Indigenous peoples, places and sounds.
国家电影局纪录片《Bing Bang Boom》（1969 年）描述了加拿大作曲家 R. Murray Schafer（1933-2021 年）在安大略省斯卡布罗市郊区公立学校教七年级学生的故事。仔细研究这部影片，可以了解作曲家在随后几十年中的创作轨迹，而深入研究加拿大国家电影局（NFB）的档案资料和同期制作的影片，则可以了解该组织在国家历史的关键时刻所采取的建国战略。舍费尔和加拿大国家电影局共同揭示了加拿大与土著民族、地方和声音之间的问题关系。
{"title":"‘To Explore the World of Sound’: Music, silence and nation-building in Bing Bang Boom (1969)","authors":"Gayle Magee","doi":"10.1017/s1355771824000025","DOIUrl":"https://doi.org/10.1017/s1355771824000025","url":null,"abstract":"<p>The National Film Board documentary <span>Bing Bang Boom</span> (1969) depicts Canadian composer R. Murray Schafer (1933–2021) teaching seventh-grade students in a suburban public school in Scarborough, Ontario. A close study of the film informs the larger trajectory of the composer’s previous and later writings and compositions over the next several decades, while a deeper dive into archival materials and concurrent productions from Canada’s National Film Board (NFB) illuminates the organisation’s strategy of nation-building at a crucial moment in the country’s history. Together, Schafer and the NFB illuminate Canada’s problematic relationship to Indigenous peoples, places and sounds.</p>","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"72 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2024-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141254253","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-03DOI: 10.1017/s1355771823000675
Luis Pérez-Valero
Based on the theories of radical education, this article discusses the education of electronic music in Venezuela. After a historiographical review of the state of music education in the country, which shows that there is little information on the subject, the institutional life that has promoted electroacoustic music in Venezuela is approached from a critical perspective. This documentary research gathers and analyses data provided by a bibliographic review and unstructured interviews with experts in the field. Among the most salient findings is the discontinuity in the teaching of electroacoustic music, as well as a critical review of the notions of radical education in the case of Venezuela, where the educational system shows stagnation in the face of the global context.
{"title":"Dissident Sounds: Electronic music in Venezuela from the notions of radical education","authors":"Luis Pérez-Valero","doi":"10.1017/s1355771823000675","DOIUrl":"https://doi.org/10.1017/s1355771823000675","url":null,"abstract":"Based on the theories of radical education, this article discusses the education of electronic music in Venezuela. After a historiographical review of the state of music education in the country, which shows that there is little information on the subject, the institutional life that has promoted electroacoustic music in Venezuela is approached from a critical perspective. This documentary research gathers and analyses data provided by a bibliographic review and unstructured interviews with experts in the field. Among the most salient findings is the discontinuity in the teaching of electroacoustic music, as well as a critical review of the notions of radical education in the case of Venezuela, where the educational system shows stagnation in the face of the global context.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"69 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2024-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140839961","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-20DOI: 10.1017/s1355771823000225
Michal Rataj
In 2003, a new radio programme called Radioatelier was launched as part of the Czech Radio 3 – Vltava broadcast, the national public service art channel. It was aimed at presenting experimental radio forms, something completely unprecedented at that time. With 213 new commissions by December 2022, the programme entered its third decade of existence, having won a number of major radio art awards, while facing threats of impending programme cancellation in 2023. The present article is quite personal, offering generational insights of the producer, who was privileged enough to set goals and scope of the programme in its initial stages and who went on to co-exist with it for the following two decades. It also presents the complete list of sound compositions commissioned by Radioatelier between 2003 and 2022.
{"title":"Radioatelier: Czech radio space for acoustic art 2003–2022","authors":"Michal Rataj","doi":"10.1017/s1355771823000225","DOIUrl":"https://doi.org/10.1017/s1355771823000225","url":null,"abstract":"<p>In 2003, a new radio programme called <span>Radioatelier</span> was launched as part of the Czech Radio 3 – Vltava broadcast, the national public service art channel. It was aimed at presenting experimental radio forms, something completely unprecedented at that time. With 213 new commissions by December 2022, the programme entered its third decade of existence, having won a number of major radio art awards, while facing threats of impending programme cancellation in 2023. The present article is quite personal, offering generational insights of the producer, who was privileged enough to set goals and scope of the programme in its initial stages and who went on to co-exist with it for the following two decades. It also presents the complete list of sound compositions commissioned by <span>Radioatelier</span> between 2003 and 2022.</p>","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"34 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2024-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140168076","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-15DOI: 10.1017/s1355771823000602
Dana Papachristou
As a medium for information, entertainment and communication, radio had taken precedence over television for decades, at least in terms of its accessibility in all households. Television and later the internet never completely annulled its aural condition, while its form altered to keep up with developments in terms of asynchrony or subject areas. Today it is considered the predominantly ‘cool medium’. Recent developments in television and the internet’s ways of operating render it a more detached medium than the alternative, given that a medium can change ‘temperature’ over time depending on the use (Levinson 2001: 108). But what about its accessibility to d/Deaf and Hard-of-hearing groups? Are these communities excluded by default from radio programmes and artistic creation through radiophonic media? In this article I analyse a case study, ‘Tangible Radio – Class on Air’ workshop, as part of B-AIR Creative Europe programme, as well as the convergences of sound art and the deaf experience in terms of co-creation, participation and educational processes. I will argue that radio as a medium can very successfully include the d/Deaf and Hard-of-hearing communities if relevant methodologies and technologies are encompassed to its processes.
{"title":"Tangible Radio: Deaf studies and sound studies coalitions","authors":"Dana Papachristou","doi":"10.1017/s1355771823000602","DOIUrl":"https://doi.org/10.1017/s1355771823000602","url":null,"abstract":"As a medium for information, entertainment and communication, radio had taken precedence over television for decades, at least in terms of its accessibility in all households. Television and later the internet never completely annulled its aural condition, while its form altered to keep up with developments in terms of asynchrony or subject areas. Today it is considered the predominantly ‘cool medium’. Recent developments in television and the internet’s ways of operating render it a more detached medium than the alternative, given that a medium can change ‘temperature’ over time depending on the use (Levinson 2001: 108). But what about its accessibility to d/Deaf and Hard-of-hearing groups? Are these communities excluded by default from radio programmes and artistic creation through radiophonic media? In this article I analyse a case study, ‘Tangible Radio – Class on Air’ workshop, as part of B-AIR Creative Europe programme, as well as the convergences of sound art and the deaf experience in terms of co-creation, participation and educational processes. I will argue that radio as a medium can very successfully include the d/Deaf and Hard-of-hearing communities if relevant methodologies and technologies are encompassed to its processes.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"51 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2024-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140150797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-15DOI: 10.1017/s135577182300064x
Kristoffer Raasted
Considered as an artistic medium, airwaves are not neutral, nor are they immaterial. The decision to broadcast is linked to the decision to activate electronic circuits. Radio holds both propagandistic and subversive potentials. But even the most experimental broad- or webcasts rely on electronic or digital technologies. Thus, responsible radio productions cannot shy away from a self-critical, and political positioning in this regard. What political implications does it have for radio art that transmission rests on a system of energy-consuming technologies? This question calls for a theorization that nuances the idea of podcasting as an ephemeral and intimate medium. This article proposes the term weightless infrastructures in rethinking satellites as atmospheric, free-floating and free-falling technological infrastructures. This notion is abbreviated and used interchangeably with the following terms: weightless technology, weightless hardware and free-floating infrastructure.
{"title":"Weightless Infrastructures","authors":"Kristoffer Raasted","doi":"10.1017/s135577182300064x","DOIUrl":"https://doi.org/10.1017/s135577182300064x","url":null,"abstract":"Considered as an artistic medium, airwaves are not neutral, nor are they immaterial. The decision to broadcast is linked to the decision to activate electronic circuits. Radio holds both propagandistic and subversive potentials. But even the most experimental broad- or webcasts rely on electronic or digital technologies. Thus, responsible radio productions cannot shy away from a self-critical, and political positioning in this regard. What political implications does it have for radio art that transmission rests on a system of energy-consuming technologies? This question calls for a theorization that nuances the idea of podcasting as an ephemeral and intimate medium. This article proposes the term <jats:italic>weightless infrastructures</jats:italic> in rethinking satellites as atmospheric, free-floating and free-falling technological infrastructures. This notion is abbreviated and used interchangeably with the following terms: <jats:italic>weightless technology</jats:italic>, <jats:italic>weightless hardware</jats:italic> and <jats:italic>free-floating infrastructure</jats:italic>.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"1 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2024-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140150748","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-15DOI: 10.1017/s1355771823000213
Sam Ridout
This article attends to the emergence of musique concrète as a theoretical object in Pierre Schaeffer’s writing between 1941 and 1952, seeing it as the logical endpoint of Schaeffer’s quest for an art proper to the radio. In this strong sense of the word, art is here positioned in opposition to entertainment, and as such Schaeffer seeks to separate the properly radiophonic from the impure, mercenary forms that radio had hitherto adopted. Schaeffer’s account of musique concrète follows this logic, seeking to cast off the vestiges of radio drama that remain audible in such works as Symphonie pour un homme seul. By way of conclusion, I suggest that grasping the entanglement of musique concrète with mass-cultural forms such as radio requires a mode of reading oriented not towards formalism or sonic ontology but towards the figure of the text.
本文论述了皮埃尔-谢弗在 1941 年至 1952 年间的著作中将 "无伴奏音乐 "作为理论对象的情况，并将其视为谢弗追求广播艺术的逻辑终点。从这个强烈的意义上讲，艺术在这里被定位为与娱乐相对立，因此，谢弗试图将正确的无线电音乐与迄今为止广播所采用的不纯粹的、唯利是图的形式区分开来。谢弗对无伴奏音乐的论述也遵循了这一逻辑，试图摒弃广播剧的残余，而这些残余在《单身交响曲》（Symphonie pour un homme seul）等作品中依然清晰可闻。最后，我认为，要把握简约音乐与广播等大众文化形式之间的纠葛，需要一种不是面向形式主义或声音本体论，而是面向文本形象的解读模式。
{"title":"An Art of the Radio: Musique concrète and mass culture, 1941–1952","authors":"Sam Ridout","doi":"10.1017/s1355771823000213","DOIUrl":"https://doi.org/10.1017/s1355771823000213","url":null,"abstract":"This article attends to the emergence of musique concrète as a theoretical object in Pierre Schaeffer’s writing between 1941 and 1952, seeing it as the logical endpoint of Schaeffer’s quest for an art proper to the radio. In this strong sense of the word, art is here positioned in opposition to entertainment, and as such Schaeffer seeks to separate the properly radiophonic from the impure, mercenary forms that radio had hitherto adopted. Schaeffer’s account of musique concrète follows this logic, seeking to cast off the vestiges of radio drama that remain audible in such works as <jats:italic>Symphonie pour un homme seul</jats:italic>. By way of conclusion, I suggest that grasping the entanglement of musique concrète with mass-cultural forms such as radio requires a mode of reading oriented not towards formalism or sonic ontology but towards the figure of the text.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"12 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2024-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140150747","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-30DOI: 10.1017/s1355771823000651
Luzilei Aliel, Ivan Simurra, Marcello Messina, Damián Keller
Through an ecological approach to creative practice (henceforth ecomprovisation), this project deals with the expansion of the creative strategies applicable to everyday contexts. Within ubiquitous music (ubimus), we target the convergence of sonification methods with the application of ecological models within the context of comprovisation. These conceptual frameworks inform the technological and aesthetic approaches applied in the making of Markarian 335. We describe the creative procedures and the implications of the design choices involved in this artwork. The contributions and shortcomings of our ecomprovisational approach are situated within the context of the current efforts to foster expanded creative possibilities in ubimus endeavours.
{"title":"Ecomprovisation: Project Markarian 335","authors":"Luzilei Aliel, Ivan Simurra, Marcello Messina, Damián Keller","doi":"10.1017/s1355771823000651","DOIUrl":"https://doi.org/10.1017/s1355771823000651","url":null,"abstract":"<p>Through an ecological approach to creative practice (henceforth ecomprovisation), this project deals with the expansion of the creative strategies applicable to everyday contexts. Within ubiquitous music (ubimus), we target the convergence of sonification methods with the application of ecological models within the context of comprovisation. These conceptual frameworks inform the technological and aesthetic approaches applied in the making of <span>Markarian 335</span>. We describe the creative procedures and the implications of the design choices involved in this artwork. The contributions and shortcomings of our ecomprovisational approach are situated within the context of the current efforts to foster expanded creative possibilities in ubimus endeavours.</p>","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"172 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2024-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139590557","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-25DOI: 10.1017/s1355771823000638
Andrew R. Brown, Andy Bennett, John Ferguson, Catherine Strong
Examining the role of arts and culture in regional Australia often focuses on economic aspects within the creative industries. However, this perspective tends to disregard the value of unconventional practices and fails to recognise the influence of regional ecological settings and the well-being advantages experienced by amateur and hobbyist musicians who explore ubiquitous methods of music creation. This article presents the results of a survey conducted among practitioners in regional Australia, exploring their utilisation of creative technology ecosystems. This project marks the first independent, evidence-based study of experimental electronic music practices in regional Australia and how local and digital resource ecosystems support those activities. Spanning the years 2021 and 2022, the study involved interviewing 11 participants from many Australian states. In this article, we share the study’s findings, outlining the diverse range of experimental electronic music practices taking place across regional Australia and how practitioners navigate the opportunities and challenges presented by their local context.
{"title":"Diverse Sound Practices: An exploration of experimental electronic music in regional Australia","authors":"Andrew R. Brown, Andy Bennett, John Ferguson, Catherine Strong","doi":"10.1017/s1355771823000638","DOIUrl":"https://doi.org/10.1017/s1355771823000638","url":null,"abstract":"Examining the role of arts and culture in regional Australia often focuses on economic aspects within the creative industries. However, this perspective tends to disregard the value of unconventional practices and fails to recognise the influence of regional ecological settings and the well-being advantages experienced by amateur and hobbyist musicians who explore ubiquitous methods of music creation. This article presents the results of a survey conducted among practitioners in regional Australia, exploring their utilisation of creative technology ecosystems. This project marks the first independent, evidence-based study of experimental electronic music practices in regional Australia and how local and digital resource ecosystems support those activities. Spanning the years 2021 and 2022, the study involved interviewing 11 participants from many Australian states. In this article, we share the study’s findings, outlining the diverse range of experimental electronic music practices taking place across regional Australia and how practitioners navigate the opportunities and challenges presented by their local context.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"36 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139578430","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-08DOI: 10.1017/s1355771823000626
Thomas McConville
This article aims to explore the concept of patched/versioned musical works as creative ecologies. It identifies how the internet’s involvement in music creation and dissemination influences choices related to the release of such works. Throughout this writing, the author looks at the increasingly volatile structures surrounding recorded music in the early twenty-first century as a result of streaming platforms such as Spotify and video-based social media sites such as TikTok becoming the primary means for music consumption. It explores this volatility as a method for approaching the release of new music within dynamic musical ecosystems and looks at the growing art scene focusing on this way of working, drawing parallels between artistry and subscription-based services where content continually evolves over time.
{"title":"The Artist as a Subscription: Patching music as an artistic device","authors":"Thomas McConville","doi":"10.1017/s1355771823000626","DOIUrl":"https://doi.org/10.1017/s1355771823000626","url":null,"abstract":"<p>This article aims to explore the concept of patched/versioned musical works as creative ecologies. It identifies how the internet’s involvement in music creation and dissemination influences choices related to the release of such works. Throughout this writing, the author looks at the increasingly volatile structures surrounding recorded music in the early twenty-first century as a result of streaming platforms such as Spotify and video-based social media sites such as TikTok becoming the primary means for music consumption. It explores this volatility as a method for approaching the release of new music within dynamic musical ecosystems and looks at the growing art scene focusing on this way of working, drawing parallels between artistry and subscription-based services where content continually evolves over time.</p>","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"11 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2024-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139398306","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-06DOI: 10.1017/s1355771823000547
Martin K. Koszolko, Thomas Studley
This article explores strategies that allow electronic music performers to engage their audiences and environments in live acts of co-creation. We outline our existing musical practice relying on site-specific sampling and digital mobile technologies that have been tested across a range of participatory music performances. Salient challenges within this performance context are identified and several tools and techniques are proposed as solutions. We then consider how setting-based and sample-based participatory performances can be expanded through gamification strategies. After exploring how notions of playful experience can offer new insights into the nature of audience engagement, we propose several approaches for introducing gamified elements into performative music practices that can expand the scope of audience participation while preserving key aspects of using concert location recordings and musical improvisation. We conclude by discussing the implications of these approaches for the performer–audience relationship and the prospect of musical engagement with the environment before suggesting directions for future research.
{"title":"From Site-Specific Sampling to Gamification: An exploration of performative engagement with the environment","authors":"Martin K. Koszolko, Thomas Studley","doi":"10.1017/s1355771823000547","DOIUrl":"https://doi.org/10.1017/s1355771823000547","url":null,"abstract":"This article explores strategies that allow electronic music performers to engage their audiences and environments in live acts of co-creation. We outline our existing musical practice relying on site-specific sampling and digital mobile technologies that have been tested across a range of participatory music performances. Salient challenges within this performance context are identified and several tools and techniques are proposed as solutions. We then consider how setting-based and sample-based participatory performances can be expanded through gamification strategies. After exploring how notions of playful experience can offer new insights into the nature of audience engagement, we propose several approaches for introducing gamified elements into performative music practices that can expand the scope of audience participation while preserving key aspects of using concert location recordings and musical improvisation. We conclude by discussing the implications of these approaches for the performer–audience relationship and the prospect of musical engagement with the environment before suggesting directions for future research.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"19 8","pages":""},"PeriodicalIF":0.6,"publicationDate":"2023-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138513015","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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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