Pub Date : 2023-10-11DOI: 10.1080/03007766.2023.2261124
Mathijs Peters
This article analyzes the ways in which Swiss experimental metal band Zeal & Ardor imagine an allohistory, according to which slaves in the American South embraced Satanism to resist white supremacism. Firstly, Svetlana Boym’s reflections on nostalgia are used to argue that Zeal & Ardor reject the restorative nostalgia that infuses black metal, instead generating an off-modern anti-linear temporality permeated with the trauma of slavery. Secondly, Frank Wilderson’s Afropessimism is employed to emphasize the homelessness that characterizes the band’s oeuvre. Thirdly, it is claimed that this off-modern turn distinguishes Zeal & Ardor from the futurism of transcendental black metal.
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Pub Date : 2023-10-02DOI: 10.1080/03007766.2023.2231266
Martin Cloonan, John Williamson
Recent years have seen notions of the “gig economy” become widespread. Hitherto most analyses of this phenomenon have centered on first defining the phenomenon, then tracing its extent and effects before considering the policy implications. However, few previous accounts have concerned themselves with the origins of the word “gig,” and none have focused on those workers whose lives revolve around gigs―musicians. This article seeks to address this lacuna and argues that a study of musicians’ working lives has much to teach those interested in the development and implications of the gig economy, but also that the peculiarities of musical work so mean that such lessons have to be learned selectively.
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Pub Date : 2023-10-02DOI: 10.1080/03007766.2023.2253520
Andrew Alter, Adrian Renzo
ABSTRACTThis paper interprets the use of the Auto-Tune effect (ATE) in popular music from northern India. The paper sets out to demonstrate the value of using YouTube channels to identify regionally calibrated listenerships and to demonstrate how three channels in the state of Uttarakhand use the Auto-Tune effect to contribute to regional identity through music. While processes of globalization spread the use of the ATE around the world, a closer examination of its local expression in the music markets of India and Uttarakhand demonstrates that local contexts and local/regional industries influence the way the ATE is applied.KEYWORDS: Auto-Tuneregional identitystudioUttarakhandYouTube Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1. The channel’s name would appear to be an imitation of India’s largest and most influential music company T-Series.2. The three major languages of Uttarakhand are Garhwali, Kumaoni, and Jaunsari. Videos in these languages comprise the videos available on the sites.3. Not surprisingly, all videos described here give credits for various “dancers,” “actors,” and “artists” in different ways. Even though the videos frequently show actors on screen rather than the singers themselves, we have chosen to refer to the characters using the singers’ names. In many examples, however, the singers themselves are shown in the recording studio itself at different moments during the video.4. Meena Rana is a singer who is well respected throughout the industry. She has sung with many leading male singers over the past thirty years. This, too, could have influenced the limited obvious levels of ATE used on her voice.5. For more detail of the history of the bagpipe in Uttarakhand, see Alter (1–16).6. For more detail of the projection of the flute into mediated Uttarakhandi songs, see Alter (65–79).Additional informationNotes on contributorsAndrew AlterAndrew Alter is Associate Professor in Music Studies at Macquarie University in Sydney. He teaches and undertakes research in a diverse range of sub-disciplines including popular music studies, ethnomusicology, composition, and music theory. His research is focused on traditional and popular music in India and Indonesia as well as World Music practice in Australia. He is an expert in music of the Himalayas. He has published two books on the topic: Dancing with Devtās: Drums, Power and Possession in the Music of Garhwal, North India (2008) and Musical Sound Spaces: Listening to History in the Uttarakhand Himalayas (2014).Adrian RenzoAdrian Renzo writes about popular music production, electronic dance music, and remix culture from a critical musicological perspective. His research includes work on the aesthetics of medley records, the construction of Spanish “megamixes,” audio mastering, and the working methods of amateur mash-up producers. His current research explores the intersection between Top 40 pop songs and rave tracks during the early 1990s. D
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Pub Date : 2023-09-27DOI: 10.1080/03007766.2023.2257046
Marco Roque de Freitas
ABSTRACTThis article analyzes the musician’s social status in Mozambique during the so-called socialist period (1974–1994), focusing on música ligeira (popular music) artists and groups. Using “ethnography of the past” and “subject-centered ethnography” as primary methodological strategies, this article explores relevant topics such as the relationship between musicians and entrepreneurs, the creation of the musician’s union, the consequences of the lack of copyright laws, and the effect of the civil war on musical activity. It also details the experience of three musicians—António Marcos, Mingas, and José Mucavele—who, in turn, represent three different solutions regarding musicians’ adaptation to the social and political changes that characterized the first years after Mozambique’s independence.KEYWORDS: EthnomusicologyMozambiquemusicmusiciannation building Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1. This and all subsequent cited documentation were translated into English by the author. This article revisits and extends the material initially introduced in the seventh chapter of my Ethnomusicology PhD thesis A Construção Sonora de Moçambique: Política Cultural, Radiodifusão e Indústrias da Música no Processo de Formação da Nação (1974-1994) (NOVA FCSH, Lisbon).2. The Mozambique Liberation Front (FRELIMO) was founded on June 25, 1962, in Dar es Salaam, Tanzania. Eduardo Mondlane (1920–1969) assumed the presidency of FRELIMO until his assassination on February 3, 1969. Initially, Mondlane pursued diplomatic negotiations for Mozambique’s independence. However, faced with resistance from Portuguese authorities, he organized an armed guerrilla struggle. The first attacks took place on September 25, 1964, in the provinces of Cabo Delgado and Niassa, marking the beginning of a liberation war that endured for nearly a decade until the signing of the Lusaka Accords on September 7, 1974. Following a transitional government, Mozambique’s independence was formally declared on June 25, 1975, with Samora Moisés Machel (1933–1986) assuming the first presidency. For more information, please refer to Machel; and Basto.3. RENAMO, or Mozambican National Resistance (Resistência Nacional Moçambicana), was initially established as an armed opposition movement during the country’s civil war, which lasted from 1977 to 1992. It was formed in 1976 by the Rhodesian intelligence service and received support from South Africa’s apartheid government, especially from 1980 onwards. In its formative years, RENAMO was led by André Matsangaissa (1950–1979), who was succeeded by Afonso Dhlakama (1953–2018) in 1979. In 1992, a peace agreement was signed between RENAMO and FRELIMO, effectively ending the civil war. RENAMO was then transformed into a political party and participated in all subsequent elections. For more information, see Morgan; and Emerson.4. Música ligeira is the Mozambican equivalent of the anglophone designation “po
摘要本文分析了莫桑比克在所谓的社会主义时期(1974-1994)音乐家的社会地位，重点分析了música ligeira(流行音乐)艺术家和团体。本文以“过去的民族志”和“以主题为中心的民族志”作为主要的方法论策略，探讨了音乐家和企业家之间的关系、音乐家联盟的创建、缺乏版权法的后果以及内战对音乐活动的影响等相关主题。它还详细介绍了三位musicians-António Marcos、Mingas和jos<s:1> mucavele的经历，他们依次代表了三种不同的解决方案，即音乐家如何适应莫桑比克独立后最初几年的社会和政治变化。关键词:民族音乐学莫桑比克音乐化建设披露声明作者未报告潜在利益冲突。这个和所有随后引用的文档都由作者翻译成英文。本文回顾并扩展了我的民族音乐学博士论文第七章中最初介绍的材料:Política文化，radiodifus<e:1> o e Indústrias da Música no Processo de forma<e:1> o da na<e:1> (1974-1994) (NOVA FCSH，里斯本)。莫桑比克解放阵线于1962年6月25日在坦桑尼亚的达累斯萨拉姆成立。爱德华多·蒙德兰(Eduardo Mondlane, 1920-1969)在1969年2月3日被暗杀之前一直担任解放阵线主席。最初，蒙德兰为莫桑比克的独立寻求外交谈判。然而，面对葡萄牙当局的抵抗，他组织了武装游击战。第一次袭击发生在1964年9月25日的德尔加多角省和尼亚萨省，标志着一场持续了近十年的解放战争的开始，直到1974年9月7日签署了《卢萨卡协定》。过渡政府成立后，莫桑比克于1975年6月25日正式宣布独立，萨莫拉·莫伊萨梅斯·马谢尔(1933-1986)担任第一任总统。欲了解更多信息，请参考Machel;和Basto.3。抵运，即莫桑比克全国抵抗运动(Resistência Nacional moambicana)，最初是在该国1977年至1992年内战期间成立的一个武装反对运动。它于1976年由罗德西亚情报部门成立，并得到南非种族隔离政府的支持，特别是从1980年开始。在抵运的形成时期，由安德烈·马桑盖萨(1950-1979)领导，1979年由阿方索·德拉卡马(1953-2018)接替。1992年，抵运和解运签署了一项和平协定，有效地结束了内战。抵运随后转变为一个政党，并参加了后来的所有选举。欲了解更多信息，请参见Morgan;和Emerson.4。Música ligeira是莫桑比克语中“流行音乐”的对应词，理查德·米德尔顿将其定义为与大众媒体和音乐产业的目标直接一致(米德尔顿和曼纽尔)。Rádio电视广播俱乐部成立于1934年，在第二次世界大战后得到了极大的发展，成为非洲最著名的商业广播公司之一。1974年，它拥有三个管弦乐队和一个合唱团，除此之外，它还以14种语言每年传播超过6万小时。其中一个频道——lm电台——直接面向南非听众，用英语和南非荷兰语播报，播放来自英语国家的音乐。Rádio俱乐部还投资推广歌唱比赛，甚至建立了歌手培训中心。著名的选手包括卡洛斯·吉列尔梅、纳塔姆·巴雷托、罗莎·菲特拉·费雷拉和玛丽亚·乔斯·坎霍托(弗雷塔斯，《葡萄牙之海》453-54)。“Xiconhoca”这个词由两个名字组成，Xico和Nhoca。第一个来自弗朗西斯科·兰加(Francisco Langa)，他是一名政治警察(PIDE-DGS)雇员，以在马查瓦监狱的酷刑而闻名。在大多数莫桑比克语言中，Nhoca的意思是“蛇”。解运的新闻和宣传部利用这个臭名昭著的人物在报纸上描绘所谓“革命的敌人”的许多行为或评价方面的特征(梅内塞斯)。“动员小组”是由选出的解解阵线成员和同情者(通常是12人)组成的组织，其主要职能是发展群众的政治意识。他们还具有监视功能，试图谴责“革命的敌人”，灌输革命过程的价值观，并解决地方冲突。他们的活动发生在过渡政府(1974-1975)和独立后的最初几年(阿泽维多、恩纳多齐和约<e:1>奥)。有关莫桑比克音乐分类模型的更多信息，请参阅Freitas和Carvalho 8-9.9。 基金会旨在支持艺术领域内的倡议、计划和项目。在1980年6月16日之前，莫桑比克的官方货币是莫桑比克埃斯库多(殖民货币)。1980年6月16日，梅蒂克成为莫桑比克的官方货币。在日常用语中，“1 conto”相当于1000埃斯库多(1980年以前)或1000梅蒂卡尔(1980年以后)。下面是一个年度MZM美元汇率每1983年1月之间和1995:1983:1 MZM = 24.89 1984美元:1 MZM = 23.56 1985美元:1 MZM = 23.16 1986美元:1 MZM = 24.73 1987美元:1 MZM = 3.44美元(国际货币基金组织(imf)的应用程序导致的被迫贬值梅蒂卡尔)1988:1 MZM = 1.91 1989美元:1 MZM = 1.34 US1990: 1 MZM = 1.08 1991美元:1 MZM = 0.70 1992美元:1 MZM = 0.40 1993美元:1 MZM = 0.26 1994美元:1 MZM = 0.17 1995美元:1 MZM = 0.11 11美元。罗杰·沃利斯和克里斯特·马尔姆于1984年由彭德龙出版社出版的《小国的音乐产业:小国的音乐产业》一书是研究“小国”音乐产业的开创性贡献。总共有12个国家入选:牙买加、特立尼达、突尼斯、坦桑尼亚、肯尼亚、斯里兰卡、瑞典、芬兰、丹麦、挪威、智利和威尔士。根据作者的说法，“小国”是由三个因素定义的:人口少，物质资源少，地理面积小。capulana是莫桑比克和其他非洲东南部国家穿的纱笼。国际和国防警察/安全总局。欲了解更多信息，请参阅纪录片《马拉本坦多:我的吉他所唱的故事》。有关Grupo csamicnico的更多信息，请参见Siliya 147。作者的工作由funda<s:1> o para a Ciência e a tecologia在“频率之战”项目中资助:莫桑比克战争时期的音乐体验和无线电宣传(1964-1974)(2022.03938.CEECIND)。marco Roque de Freitas于2019年5月在Europaeus博士项目下获得民族音乐学博士学位。他目前是NOVA FCSH(里斯本新大学)的客座助理教授和初级研究员。他的学术成果主要集中在以下主题:后殖民时期非洲的国家建设和民族主义;表达行为、性别和性;流行音乐与音乐产业研究;数字人文与研究基础设施;以及民族音乐学的历史。他已经出版了两本书，包括《A construction》(Kulungwana, 2020;Sistema Solar, 2023)。2023年4月，他开始了一个新的个人研究项目——“频率之战”(2022.03938.CEECIND)——旨在探索莫桑比克解放战争(1964-1974)期间音乐、广播和政治宣传的地位。
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Pub Date : 2023-09-18DOI: 10.1080/03007766.2023.2252267
Matthew Bannister
ABSTRACTMany 1960s folk-rock hits were not original, but neither were they referred to as cover versions. Cover versions were “inauthentic,” but folk-rock repertoire was defined by songs by Bob Dylan and Joni Mitchell, interpreted by performers like the Byrds and Judy Collins. “The House of the Rising Sun” exemplifies adaptation via “trad. arr.”; “Mr. Tambourine Man” demonstrates “folk process” blending with Tin Pan Alley; and “Both Sides Now” highlights early rock critics’ questioning of folk values via discussion of interpretive women folksingers. The way each song was framed within contemporary cultural discourse highlights how “folk” or rock as “folk culture” acted as an ideological smokescreen for competing versions of rock music.KEYWORDS: 1960s folk rockauthenticityauthorshipcover versionsethnicitygender Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1. Or, as Hans Weisethaunet and Ulf Lindberg put it, the tension between folkloric authenticity and authenticity as self-expression (469–72).2. Some of the better-known examples (not mentioned elsewhere in this essay) include Jimi Hendrix’s “All Along the Watchtower;” the Byrds’ “Chimes of Freedom,” “Spanish Harlem Incident,” “Lay Down Your Weary Tune,” “The Times They are a-Changin’,” “My Back Pages,” and “You Ain’t Going Nowhere;” Sam Cooke’s “Blowin” in the Wind” and Stevie Wonder’s version of the same song; Manfred Mann’s “If You Gotta Go, Go Now” and “Mighty Quinn;” Van Morrison and Them’s “It’s All Over Now, Baby Blue”; The Band’s “I Shall Be Released;” and Nina Simone’s “I Shall Be Released” and “Just Like Tom Thumb’s Blues”3. Oral transmission via media is referred to as “secondary orality” by Ong (1971).4. Plasketes refers to the Byrds “covering” Dylan (145).5. The version with Elliott was not released until 2005, on No Direction Home: The Soundtrack, as “Mr. Tambourine Man (Alternate Take).”6. The Coen Brothers’ film Inside Llewyn Davis (2013) derives much of its black comedy from the contrast between the New York folk scene’s idealism and the reality of dealing with music publishers, who are the main source of income.7. According to Joni Mitchell’s website, https://jonimitchell.com/, “Both Sides Now” has been covered 1,499 times, Dylan’s song around 300, although the latter is a cultural benchmark (Bellware).8. “Eastern Rain” was released on What We Did on Our Holidays (1969); “I Don’t Know Where I Stand” and “Chelsea Morning” on the group’s eponymous debut (1968). “Both Sides Now” was the first song they recorded in a studio, though it was not released (Thompson 30). The other tracks were recorded at B.B.C. sessions.9. A notorious early promotion for Joni Mitchell referred to her as “90% virgin” (Unterberger, Eight Miles High 253).10. I’ll Keep It with Mine (Bonus Track) video.11. Dylan recorded a demo in 1964, released by Columbia in 2010 on The Bootleg Series Vol. 9: The Witmark Demos: 1962–1964.12. Aretha Franklin’s transformative covers
20世纪60年代的许多民谣摇滚歌曲都不是原创的，但它们也不被称为翻唱版本。翻唱版本是“不真实的”，但民谣摇滚曲目是由鲍勃·迪伦(Bob Dylan)和乔尼·米切尔(Joni Mitchell)的歌曲定义的，由伯德乐队(Byrds)和朱迪·柯林斯(Judy Collins)等表演者演绎。《旭日之屋》是通过“贸易”进行改编的典范。加勒比海盗。”;《手鼓先生》展示了“民间过程”与锡盘巷的融合;《现在两面》则通过对阐释性女性民谣歌手的讨论，突出了早期摇滚评论家对民谣价值的质疑。每首歌在当代文化话语中的框架都突出了“民间”或摇滚作为“民间文化”是如何为摇滚音乐的竞争版本充当意识形态的烟幕的。关键词:20世纪60年代民谣摇滚真实性作者身份封面版本种族性别披露声明作者未报告潜在利益冲突。或者，正如Hans Weisethaunet和Ulf Lindberg所说，民俗真实性和作为自我表达的真实性之间的紧张关系(469-72)。一些比较著名的例子(本文在其他地方没有提到)包括吉米·亨德里克斯的《沿着瞭望塔》、伯德乐队的《自由的钟声》、《西班牙哈莱姆事件》、《放下你疲倦的曲调》、《时代在改变》、《我的书页》和《你哪儿也去不了》;山姆·库克的《在风中飘荡》和史蒂夫·汪达的同一首歌版本;曼弗雷德·曼的《如果你要走，现在就走》和《Mighty Quinn》;范·莫里森和他们的《一切都结束了，宝贝蓝》;乐队的《I Shall Be release》和妮娜·西蒙的《I Shall Be release》和《Just Like Tom Thumb’s Blues》通过媒介的口头传播被Ong(1971)称为“二次口头传播”。Plasketes指的是伯德乐队“掩盖”了迪伦(145)。与艾略特合作的版本直到2005年才在《没有回家的方向:原声》中发行，名为“Mr. Tambourine Man (Alternate Take)”。科恩兄弟(Coen Brothers)的电影《醉乡民谣》(Inside Llewyn Davis)(2013)的黑色喜剧元素很大程度上来自于纽约民谣场景的理想主义与与音乐出版商打交道的现实之间的对比，后者是电影的主要收入来源。根据乔尼·米切尔的网站https://jonimitchell.com/，《现在双方》已经被播放了1499次，迪伦的歌大约被播放了300次，尽管后者是一个文化标杆(Bellware)。《东方雨》于1969年发行于《我们假日做了什么》(What We Did on Our Holidays);1968年，该组合的首张同名专辑《我不知道我站在哪里》和《切尔西的早晨》。《Both Sides Now》是他们在录音室录制的第一首歌，虽然没有发行(Thompson 30)。其他曲目是在英国广播公司的会议上录制的。早先对乔尼·米切尔臭名昭著的宣传称她为“90%的处女”(昂特伯格，《八英里高》253)。我将与我的保持(奖励曲目)视频。迪伦在1964年录制了一张小样，2010年由哥伦比亚公司发行，收录在《盗版系列第九卷:The Witmark Demos: 1962-1964.12》中。艾瑞莎·富兰克林的《尊重》、《埃莉诺·里格比》、《浑水上的桥》和《漫长而蜿蜒的路》等具有革命性的翻唱，提供了全新的编排，是另一个有趣的例子。关于琳达·朗斯塔特(Linda Ronstadt)也可以提出类似的论点，她经常受到真实性评论家的攻击(马什，《琳达》434-35;Marsh, Heart 308;14.克里斯特高，《欢乐》272-73页。当我在2023年7月10日查看Spotify时，朱迪·柯林斯(Judy Collins)的《Both Sides Now》播放量约为2300万次，伯德乐队(birds)的《Mr. Tambourine Man》播放量约为9900万次，动物乐队(Animals)的歌曲播放量为8.12亿次。
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Pub Date : 2023-09-11DOI: 10.1080/03007766.2023.2251770
John Littlejohn
{"title":"Designed for Hi-Fi Living: The Vinyl LP in Midcentury America","authors":"John Littlejohn","doi":"10.1080/03007766.2023.2251770","DOIUrl":"https://doi.org/10.1080/03007766.2023.2251770","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135981914","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: 10.1080/03007766.2023.2245318
Allan A. Michie
{"title":"Ornette Coleman: The Territory and the Adventure","authors":"Allan A. Michie","doi":"10.1080/03007766.2023.2245318","DOIUrl":"https://doi.org/10.1080/03007766.2023.2245318","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45121214","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 : 2023-06-30DOI: 10.1080/03007766.2023.2224143
Vicky Ho
ABSTRACT Based on an ethnographic study of the Hong Kong busking scene, this article explores how buskers navigate and negotiate their practices and experiences in the scene. Within the contested socio-political and institutional context in Hong Kong, buskers’ collective efforts have brought the promise of street music to life by bringing people together and fostering a sense of belonging, connection, and solidarity with their music. The statement, “This city needs street music,” not only captures street musicians’ deep conviction in the significance of their practice, but also calls for a wider recognition of the value of street music.
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Pub Date : 2023-06-21DOI: 10.1080/03007766.2023.2228564
A. Bajakian
{"title":"DIY House Shows and Music Venues in the US: Ethnographic Explorations of Place and Community","authors":"A. Bajakian","doi":"10.1080/03007766.2023.2228564","DOIUrl":"https://doi.org/10.1080/03007766.2023.2228564","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43232228","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 : 2023-06-12DOI: 10.1080/03007766.2023.2224610
Grant Wong
{"title":"Rock and Roll, Desegregation Movements, and Racism in the Post-Civil Rights Era: An “Integrated Effort”","authors":"Grant Wong","doi":"10.1080/03007766.2023.2224610","DOIUrl":"https://doi.org/10.1080/03007766.2023.2224610","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42033889","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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