Pub Date : 2023-11-24DOI: 10.1017/s1355771823000456
Tiernan Cross
This paper examines Smalley’s preliminary taxonomy of the sound shape and the subsequent application of graphical notation in electroacoustic music. It will demonstrate ways in which spatial categorisations of the morphological sound shape have remained relatively untouched in academia, despite a codependency of frequency, space and time. Theoretical examples and existing visualisations of the sound shape will be considered as a starting point, to determine why the holistic visualisation of space is warranted. A notational system addressing the codependency between spatial and spectral sound shapes will be presented, with reference to its context in Cartesian-coordinate sound environments. This method of electroacoustic notation will incorporate the visualisation of Smalley’s categorisation of spatial sound shapes and ideas of spatial gesture, texture and distribution within Smalley’s composed and listening spaces. This visualisation and notation of composed and listening spaces will demonstrate that audio technologies are imperative drivers in the future analysis and understanding of the sound shape. It will measure the modulation of spatial sound shape properties for Cartesian (height, width, depth) and spherical (azimuth and altitude) across linear temporality, to better represent the complete form of Smalley’s sound shape. This spatial notation will aid the rounded visualisation of Smalley’s morphology, motion, texture, gesture, structure and form. Use of this notational framework will illustrate ways in which a new tool to score electroacoustic sound shapes can inform new practices in computer music composition.
{"title":"Reframing Sound Shapes in Spectromorphological Composition: Notating perspectival space through spherical, Euclidean and Cartesian-coordinate systems","authors":"Tiernan Cross","doi":"10.1017/s1355771823000456","DOIUrl":"https://doi.org/10.1017/s1355771823000456","url":null,"abstract":"This paper examines Smalley’s preliminary taxonomy of the <jats:italic>sound shape</jats:italic> and the subsequent application of graphical notation in electroacoustic music. It will demonstrate ways in which spatial categorisations of the morphological sound shape have remained relatively untouched in academia, despite a codependency of frequency, space and time. Theoretical examples and existing visualisations of the sound shape will be considered as a starting point, to determine why the holistic visualisation of space is warranted. A notational system addressing the codependency between spatial and spectral sound shapes will be presented, with reference to its context in Cartesian-coordinate sound environments. This method of electroacoustic notation will incorporate the visualisation of Smalley’s categorisation of spatial sound shapes and ideas of <jats:italic>spatial gesture</jats:italic>, <jats:italic>texture</jats:italic> and <jats:italic>distribution</jats:italic> within Smalley’s <jats:italic>composed</jats:italic> and <jats:italic>listening spaces</jats:italic>. This visualisation and notation of <jats:italic>composed</jats:italic> and <jats:italic>listening spaces</jats:italic> will demonstrate that audio technologies are imperative drivers in the future analysis and understanding of the sound shape. It will measure the modulation of spatial sound shape properties for Cartesian (<jats:italic>height, width, depth</jats:italic>) and spherical (<jats:italic>azimuth</jats:italic> and <jats:italic>altitude</jats:italic>) across linear temporality, to better represent the complete form of Smalley’s sound shape. This spatial notation will aid the rounded visualisation of Smalley’s <jats:italic>morphology</jats:italic>, <jats:italic>motion</jats:italic>, <jats:italic>texture</jats:italic>, <jats:italic>gesture</jats:italic>, <jats:italic>structure</jats:italic> and <jats:italic>form</jats:italic>. Use of this notational framework will illustrate ways in which a new tool to score electroacoustic sound shapes can inform new practices in computer music composition.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"174 6","pages":""},"PeriodicalIF":0.6,"publicationDate":"2023-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138512990","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 : 2023-11-24DOI: 10.1017/s1355771823000596
Tomasz Misiak, Marcin Olejniczak
This article explores the role of the radio as an artistic instrument. It discusses both contemporary and historical art experiments, namely those where the sound of the radio or the form of radio reception is an important aspect of the final work. We examine the question, ‘What does it mean for a radio to be an instrument?’ And to clarify, we mean any kind of instrument, not just a musical one. To answer this question, this article focuses on the concepts and theory of those Polish artists who have used radio in their artwork, either as the source of a particular type of sound or as a medium that collects and transmits the sound of its surroundings.
{"title":"Radio: An instrument in art – with reference to selected works by Polish artists","authors":"Tomasz Misiak, Marcin Olejniczak","doi":"10.1017/s1355771823000596","DOIUrl":"https://doi.org/10.1017/s1355771823000596","url":null,"abstract":"This article explores the role of the radio as an artistic instrument. It discusses both contemporary and historical art experiments, namely those where the sound of the radio or the form of radio reception is an important aspect of the final work. We examine the question, ‘What does it mean for a radio to be an instrument?’ And to clarify, we mean any kind of instrument, not just a musical one. To answer this question, this article focuses on the concepts and theory of those Polish artists who have used radio in their artwork, either as the source of a particular type of sound or as a medium that collects and transmits the sound of its surroundings.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"176 3","pages":""},"PeriodicalIF":0.6,"publicationDate":"2023-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138513000","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 : 2023-11-20DOI: 10.1017/s1355771823000584
Jean-Baptiste Masson
This article traces the history of the use and reception of field recordings on radio, in France and Britain, outside the categories considered as art or music such as hörspiel or musique concrète. It shows that radio producers had diverse reactions to the use of sonic ambiences recorded in the field. There was an opposition between a ‘Pure Sound School’, which promoted the use of field recordings instead of voice to depict the environment where the reporter was, and a school that privileged voice. If the use of recordings of sonic ambiences was not new, their utilisation on radio as elements autonomous in themselves was. They were falling between categories: they were not reports (because of the absence of voice), they were not musique concrète (because sounds were not modified and were presented within their context, that is, not as sound objects), they were not sound effects (because they lasted several minutes and could be composed through editing), and they were not wildlife recordings (because wildlife could be absent). Sonic ambiences were new sonic objects that took time to digest. This time also represented a listening mutation, and this will be analysed through the beginnings of radio documentaries and the works of sound hunters.
{"title":"On the Use of Field Recordings on Radio: A history of the beginnings","authors":"Jean-Baptiste Masson","doi":"10.1017/s1355771823000584","DOIUrl":"https://doi.org/10.1017/s1355771823000584","url":null,"abstract":"This article traces the history of the use and reception of field recordings on radio, in France and Britain, outside the categories considered as art or music such as <jats:italic>hörspiel</jats:italic> or musique concrète. It shows that radio producers had diverse reactions to the use of sonic ambiences recorded in the field. There was an opposition between a ‘Pure Sound School’, which promoted the use of field recordings instead of voice to depict the environment where the reporter was, and a school that privileged voice. If the use of recordings of sonic ambiences was not new, their utilisation on radio as elements autonomous in themselves was. They were falling <jats:italic>between</jats:italic> categories: they were not reports (because of the absence of voice), they were not musique concrète (because sounds were not modified and were presented within their context, that is, not as sound objects), they were not sound effects (because they lasted several minutes and could be composed through editing), and they were not wildlife recordings (because wildlife could be absent). Sonic ambiences were new sonic objects that took time to digest. This time also represented a listening mutation, and this will be analysed through the beginnings of radio documentaries and the works of sound hunters.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"175 7","pages":""},"PeriodicalIF":0.6,"publicationDate":"2023-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138513001","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 : 2023-11-20DOI: 10.1017/s1355771823000201
Jesús Tejada, Adolf Murillo, José Manuel Berenguer
Acouscapes is a software designed as a simple educational solution for the creation of soundscapes and their use in the composition of soundscape music in primary and secondary education. The software has slots in which the user must place the sounds that will make up the desired soundscape, allowing them to make different soundwalks by interacting with the graphic interface. Acouscapes allows the content of these soundscapes to be modified by means of sound and structural processing, and includes a recording function. This article aims to present the conceptual and educational foundations of Acouscapes, to describe the software technically and functionally, and to offer some applications of this software as a mediation artefact in educational processes.
{"title":"Acouscapes: A software for ecoacoustic education and soundscape composition in primary and secondary education","authors":"Jesús Tejada, Adolf Murillo, José Manuel Berenguer","doi":"10.1017/s1355771823000201","DOIUrl":"https://doi.org/10.1017/s1355771823000201","url":null,"abstract":"Acouscapes is a software designed as a simple educational solution for the creation of soundscapes and their use in the composition of soundscape music in primary and secondary education. The software has slots in which the user must place the sounds that will make up the desired soundscape, allowing them to make different soundwalks by interacting with the graphic interface. Acouscapes allows the content of these soundscapes to be modified by means of sound and structural processing, and includes a recording function. This article aims to present the conceptual and educational foundations of Acouscapes, to describe the software technically and functionally, and to offer some applications of this software as a mediation artefact in educational processes.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"18 2","pages":""},"PeriodicalIF":0.6,"publicationDate":"2023-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138513021","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 : 2023-11-20DOI: 10.1017/s1355771823000572
Jøran Rudi
{"title":"Jennifer Iverson, Electronic Inspirations – Technologies of the Cold War Musical Avant-Garde. New York: Oxford University Press, 2019. ISBN: 9780190868192.","authors":"Jøran Rudi","doi":"10.1017/s1355771823000572","DOIUrl":"https://doi.org/10.1017/s1355771823000572","url":null,"abstract":"","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"281 7","pages":""},"PeriodicalIF":0.6,"publicationDate":"2023-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139258522","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 : 2023-11-16DOI: 10.1017/s1355771823000286
Andrea Giomi
During the past decade, embodied knowledge has provided novel important insights to rethink mediation technology, thereby paving the way for a transdisciplinary approach to wearable technologies. Stemming from a phenomenological-based approach and considering current trends in sonic interaction design, this article proposes an extensive account on embodied approaches to mediation technology and underlines the increasing importance of somatic knowledge within the field. It also presents an autoethnographic analysis of my own performance, which provides an original contribution to the artistic application of wearable technologies. Stemming from an ongoing research-creation on musical improvisation with biophysical technologies, the case study emphasises how an embodied and visceral approach to interaction can transform wearable devices into an active sensory-perceptual mode of experiencing, which is capable of stimulating the performer’s sensorimotor metaplasticity. The reconfiguration of a body’s automations through the use of sound feedback is a process that unfolds with a high degree of sensitivity in which the body can be poetically understood as an emergent territoriality, inhabited and transfigured by the sound.
{"title":"A Phenomenological Approach to Wearable Technologies and Viscerality: From embodied interaction to biophysical music performance","authors":"Andrea Giomi","doi":"10.1017/s1355771823000286","DOIUrl":"https://doi.org/10.1017/s1355771823000286","url":null,"abstract":"During the past decade, embodied knowledge has provided novel important insights to rethink mediation technology, thereby paving the way for a transdisciplinary approach to wearable technologies. Stemming from a phenomenological-based approach and considering current trends in sonic interaction design, this article proposes an extensive account on embodied approaches to mediation technology and underlines the increasing importance of somatic knowledge within the field. It also presents an autoethnographic analysis of my own performance, which provides an original contribution to the artistic application of wearable technologies. Stemming from an ongoing research-creation on musical improvisation with biophysical technologies, the case study emphasises how an embodied and visceral approach to interaction can transform wearable devices into an active sensory-perceptual mode of experiencing, which is capable of stimulating the performer’s sensorimotor metaplasticity. The reconfiguration of a body’s automations through the use of sound feedback is a process that unfolds with a high degree of sensitivity in which the body can be poetically understood as an emergent territoriality, inhabited and transfigured by the sound.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"19 6","pages":""},"PeriodicalIF":0.6,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138513016","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 : 2023-10-11DOI: 10.1017/s1355771823000535
Hubert Howe
This article describes the ways in which the spectra of electroacoustic music compositions can be structured coherently. It begins by describing the straightjacket that composers and listeners are constrained by when using the concept of ‘source bonding’ and how this needs to be discarded for effective listening. It then describes the concept of spectral merging and how ideas of musical timbre are formed, and finally discusses the many ways that spectra can be structured with both harmonic and inharmonic components. Examples are given from the author’s own music and other well-known works in the literature of electroacoustic music.
{"title":"Structuring Spectra in Electroacoustic Music","authors":"Hubert Howe","doi":"10.1017/s1355771823000535","DOIUrl":"https://doi.org/10.1017/s1355771823000535","url":null,"abstract":"This article describes the ways in which the spectra of electroacoustic music compositions can be structured coherently. It begins by describing the straightjacket that composers and listeners are constrained by when using the concept of ‘source bonding’ and how this needs to be discarded for effective listening. It then describes the concept of spectral merging and how ideas of musical timbre are formed, and finally discusses the many ways that spectra can be structured with both harmonic and inharmonic components. Examples are given from the author’s own music and other well-known works in the literature of electroacoustic music.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136208637","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 : 2023-08-22DOI: 10.1017/s1355771823000523
Dario Sanfilippo
This article introduces the history and aesthetics of feedback-based music, from early practitioners to more advanced methods and state-of-the-art works based on adaptation. Some of the most relevant techniques developed over almost six decades of investigations in the area of recursive systems for electronic music are discussed to show the variety and richness that a single specialised domain can have, providing examples of how scientific and philosophical principles can be translated into music. The historical context is key to understanding the evolution of the field: feedback-based music arose during the same years in which cybernetics, together with other disciplines, were experiencing a profound transformation. I will provide an overview of how such disciplines changed, highlighting the connections between seemingly distant areas such as philosophy, biology and engineering, and the fact that the development of feedback-based music appears to have followed somewhat closely the evolution of systems thinking. Finally, the article explores questions of musical aesthetics and music theory related to the use of complex autonomous systems in live performance through observations on the author’s creative practice.
{"title":"The Aesthetics of Musical Complex Systems","authors":"Dario Sanfilippo","doi":"10.1017/s1355771823000523","DOIUrl":"https://doi.org/10.1017/s1355771823000523","url":null,"abstract":"This article introduces the history and aesthetics of feedback-based music, from early practitioners to more advanced methods and state-of-the-art works based on adaptation. Some of the most relevant techniques developed over almost six decades of investigations in the area of recursive systems for electronic music are discussed to show the variety and richness that a single specialised domain can have, providing examples of how scientific and philosophical principles can be translated into music. The historical context is key to understanding the evolution of the field: feedback-based music arose during the same years in which cybernetics, together with other disciplines, were experiencing a profound transformation. I will provide an overview of how such disciplines changed, highlighting the connections between seemingly distant areas such as philosophy, biology and engineering, and the fact that the development of feedback-based music appears to have followed somewhat closely the evolution of systems thinking. Finally, the article explores questions of musical aesthetics and music theory related to the use of complex autonomous systems in live performance through observations on the author’s creative practice.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":" ","pages":""},"PeriodicalIF":0.6,"publicationDate":"2023-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44908819","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 : 2023-08-22DOI: 10.1017/s1355771823000389
Raul Masu, Francesco Ardan Dal Rì
In live coding, the code can be considered as an archetypal form of score that notates formal processes. We aimed at investigating the possibility of using graphic visuals as a complementary form of descriptive score by visualising sound events using different time representations. To this end, we devised two visualisation systems (Time_X and Time_Z). Time_X represents time along the x-axis, while in Time_Z the objects overlap along an imaginary z-axis. Based on our previous personal experience with the system, such forms of visual scores can help to develop new musicking strategies while live coding. In this article, we wanted to broaden such reflections, and we used them as probes in a study with three live coders. After tailoring the two systems to the usual practice of the three participants, we asked them to use the systems for three weeks and keep a diary. At the end, we interviewed them. Based on their comments, we present some reflections on the use of graphic forms of visualisation in live coding, on how they can support musicking process, and to what extent such visuals can be considered scores.
{"title":"Visual Representations to Stimulate New Musicking Strategies in Live Coding","authors":"Raul Masu, Francesco Ardan Dal Rì","doi":"10.1017/s1355771823000389","DOIUrl":"https://doi.org/10.1017/s1355771823000389","url":null,"abstract":"In live coding, the code can be considered as an archetypal form of score that notates formal processes. We aimed at investigating the possibility of using graphic visuals as a complementary form of descriptive score by visualising sound events using different time representations. To this end, we devised two visualisation systems (Time_X and Time_Z). Time_X represents time along the x-axis, while in Time_Z the objects overlap along an imaginary z-axis. Based on our previous personal experience with the system, such forms of visual scores can help to develop new musicking strategies while live coding. In this article, we wanted to broaden such reflections, and we used them as probes in a study with three live coders. After tailoring the two systems to the usual practice of the three participants, we asked them to use the systems for three weeks and keep a diary. At the end, we interviewed them. Based on their comments, we present some reflections on the use of graphic forms of visualisation in live coding, on how they can support musicking process, and to what extent such visuals can be considered scores.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":" ","pages":""},"PeriodicalIF":0.6,"publicationDate":"2023-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41830063","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 : 2023-08-18DOI: 10.1017/s1355771823000420
Elizabeth Wilson, György Fazekas, Geraint A. Wiggins
Co-creation strategies for human–machine collaboration have recently been explored in various creative disciplines and more opportunities for human–machine collaborations are materialising. In this article, we outline how to augment musical live coding by considering how human live coders can effectively collaborate with a machine agent imbued with the ability to produce its own patterns of executable code. Using machine agents allows live coders to explore not-yet conceptualised patterns of code and supports them in asking new questions. We argue that to move away from scenarios where machine agents are used in a merely generative way, or only as creative impetus for the human, and towards a more collaborative relationship with the machine agent, consideration is needed for system designers around the aspects of reflection, aesthetics and evaluation. Furthermore, owing to live coding’s close relationship with exposing processes, using agents in such a way can be a useful manner to explore how to make artificial intelligence processes more open and explainable to an audience. Finally, some speculative futures of co-creative and artificially intelligent systems and what opportunities they might afford the live coder are discussed.
{"title":"On the Integration of Machine Agents into Live Coding","authors":"Elizabeth Wilson, György Fazekas, Geraint A. Wiggins","doi":"10.1017/s1355771823000420","DOIUrl":"https://doi.org/10.1017/s1355771823000420","url":null,"abstract":"Co-creation strategies for human–machine collaboration have recently been explored in various creative disciplines and more opportunities for human–machine collaborations are materialising. In this article, we outline how to augment musical live coding by considering how human live coders can effectively collaborate with a machine agent imbued with the ability to produce its own patterns of executable code. Using machine agents allows live coders to explore not-yet conceptualised patterns of code and supports them in asking new questions. We argue that to move away from scenarios where machine agents are used in a merely generative way, or only as creative impetus for the human, and towards a more collaborative relationship with the machine agent, consideration is needed for system designers around the aspects of reflection, aesthetics and evaluation. Furthermore, owing to live coding’s close relationship with exposing processes, using agents in such a way can be a useful manner to explore how to make artificial intelligence processes more open and explainable to an audience. Finally, some speculative futures of co-creative and artificially intelligent systems and what opportunities they might afford the live coder are discussed.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":" ","pages":""},"PeriodicalIF":0.6,"publicationDate":"2023-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41579723","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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