Pub Date : 2024-10-15DOI: 10.1177/00224294241290358
Peter Miksza
{"title":"Forum","authors":"Peter Miksza","doi":"10.1177/00224294241290358","DOIUrl":"https://doi.org/10.1177/00224294241290358","url":null,"abstract":"","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2024-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142440157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-10-08DOI: 10.1177/00224294241285323
Karen Koner, Jennifer Gee
The purpose of this study was to explore research and publishing preparation, experiences, and expectations of music education faculty members employed at higher education institutions. We developed the Publishing Preparation and Expectations Survey (PPES) to examine music education faculty members’ current areas of research, peer-reviewed journals they read and published in, and their experiences with peer reviewers. Utilizing the Directory of Music Faculties from the College Music Society, we distributed the PPES to 1,081 music education faculty members across 487 higher education institutions in the United States, resulting in 179 responses. The participants self-reported as predominantly White ( n = 157, 87.7%), female ( n = 101, 56.4%), and possessing a PhD ( n = 145, 81.0%). Additionally, 83 participants (46.4%) initially submitted a research article for publication in a peer-reviewed music education journal during their doctoral programs. Participants anticipated publishing an average of 11.44 articles ( SD = 8.89) for promotion to associate professor and had an average of 9.81 ( SD = 11.02) peer-reviewed research articles previously published. Finally, participants shared their experiences with peer reviewers using descriptors such as “discouraging,” “harsh,” and “cruel.”
{"title":"Publishing Preparation, Experiences, and Expectations of Music Education Faculty in Higher Education","authors":"Karen Koner, Jennifer Gee","doi":"10.1177/00224294241285323","DOIUrl":"https://doi.org/10.1177/00224294241285323","url":null,"abstract":"The purpose of this study was to explore research and publishing preparation, experiences, and expectations of music education faculty members employed at higher education institutions. We developed the Publishing Preparation and Expectations Survey (PPES) to examine music education faculty members’ current areas of research, peer-reviewed journals they read and published in, and their experiences with peer reviewers. Utilizing the Directory of Music Faculties from the College Music Society, we distributed the PPES to 1,081 music education faculty members across 487 higher education institutions in the United States, resulting in 179 responses. The participants self-reported as predominantly White ( n = 157, 87.7%), female ( n = 101, 56.4%), and possessing a PhD ( n = 145, 81.0%). Additionally, 83 participants (46.4%) initially submitted a research article for publication in a peer-reviewed music education journal during their doctoral programs. Participants anticipated publishing an average of 11.44 articles ( SD = 8.89) for promotion to associate professor and had an average of 9.81 ( SD = 11.02) peer-reviewed research articles previously published. Finally, participants shared their experiences with peer reviewers using descriptors such as “discouraging,” “harsh,” and “cruel.”","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2024-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142384445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-09-28DOI: 10.1177/00224294241281825
Olivia Gail Tucker, Kari Adams, Kelsey Nussbaum
Adjudicated performances have been a component of music education for more than a century, and the policies and structures associated with these events intersect with curriculum, instruction, and teacher evaluation. The purpose of this study was to describe state-organized large group performance evaluation (LGPE) practices for high school bands, choirs, and orchestras across the United States. We asked the following research questions: (a) How prevalent are state-organized LGPEs in the United States? (b) What organizations administer them? (c) How common are sight-reading requirements, use of prescribed music lists, and piece difficulty rules in the structures of state-organized LGPEs? and (d) How common are adjudicator training, comments-only options, and score availability at state-organized LGPEs? We found that most states had state-organized processes, and most were administered by music education organizations whose leadership was comprised of practicing and retired teachers. Choral educators generally had more flexibility than band and orchestra teachers in terms of prescribed music lists and repertoire difficulty. Adjudication training practices were inconsistent across states and ensemble types. The pervasive nature of LGPE participation in the ensemble setting has implications for educators’ ability to align with the National Association for Music Education’s curriculum standards and equity-based strategic plan.
{"title":"Large Group Performance Evaluation in the United States","authors":"Olivia Gail Tucker, Kari Adams, Kelsey Nussbaum","doi":"10.1177/00224294241281825","DOIUrl":"https://doi.org/10.1177/00224294241281825","url":null,"abstract":"Adjudicated performances have been a component of music education for more than a century, and the policies and structures associated with these events intersect with curriculum, instruction, and teacher evaluation. The purpose of this study was to describe state-organized large group performance evaluation (LGPE) practices for high school bands, choirs, and orchestras across the United States. We asked the following research questions: (a) How prevalent are state-organized LGPEs in the United States? (b) What organizations administer them? (c) How common are sight-reading requirements, use of prescribed music lists, and piece difficulty rules in the structures of state-organized LGPEs? and (d) How common are adjudicator training, comments-only options, and score availability at state-organized LGPEs? We found that most states had state-organized processes, and most were administered by music education organizations whose leadership was comprised of practicing and retired teachers. Choral educators generally had more flexibility than band and orchestra teachers in terms of prescribed music lists and repertoire difficulty. Adjudication training practices were inconsistent across states and ensemble types. The pervasive nature of LGPE participation in the ensemble setting has implications for educators’ ability to align with the National Association for Music Education’s curriculum standards and equity-based strategic plan.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2024-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142328992","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-30DOI: 10.1177/00224294241265014
Gary E. McPherson, Jennifer Blackwell
Teacher feedback is an integral component of helping students understand their current level of achievement and what they can do to improve their performance. This study built on literature in educational psychology by adopting a framework developed by Hattie and Timperley to explore how different types of feedback are used in studio instrumental lessons. For this study, we investigated the use of feedback of highly experienced collegiate instrumental studio music teachers ( N = 6) and their students ( N = 18). Results indicated that around 83% of all teacher comments were classified as “feed-back” (i.e., reflections on what the student just played), with far fewer focused on “feed-forward” (16%) strategies for improving performance and “feed-up” (<1%) goal setting. Task-level comments on what the student had just done comprised 85% of the feedback, in contrast to process-level (9%) feedback that provides strategies for improving the next performance attempt and self-regulation comments (<1%) that cue the learner to monitor and control their own performance. Discussion of these results include comparisons between classroom and studio teaching practices and ways of refining instrumental teachers’ abilities to provide more targeted and effective feedback to their students.
{"title":"Teacher Feedback in Collegiate Instrumental Music Lessons","authors":"Gary E. McPherson, Jennifer Blackwell","doi":"10.1177/00224294241265014","DOIUrl":"https://doi.org/10.1177/00224294241265014","url":null,"abstract":"Teacher feedback is an integral component of helping students understand their current level of achievement and what they can do to improve their performance. This study built on literature in educational psychology by adopting a framework developed by Hattie and Timperley to explore how different types of feedback are used in studio instrumental lessons. For this study, we investigated the use of feedback of highly experienced collegiate instrumental studio music teachers ( N = 6) and their students ( N = 18). Results indicated that around 83% of all teacher comments were classified as “feed-back” (i.e., reflections on what the student just played), with far fewer focused on “feed-forward” (16%) strategies for improving performance and “feed-up” (<1%) goal setting. Task-level comments on what the student had just done comprised 85% of the feedback, in contrast to process-level (9%) feedback that provides strategies for improving the next performance attempt and self-regulation comments (<1%) that cue the learner to monitor and control their own performance. Discussion of these results include comparisons between classroom and studio teaching practices and ways of refining instrumental teachers’ abilities to provide more targeted and effective feedback to their students.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2024-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141857976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-28DOI: 10.1177/00224294241264894
Peter Miksza
{"title":"Editor’s Forum","authors":"Peter Miksza","doi":"10.1177/00224294241264894","DOIUrl":"https://doi.org/10.1177/00224294241264894","url":null,"abstract":"","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2024-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141794902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-27DOI: 10.1177/00224294241259483
Brian P. Shaw
The purpose of this study was to describe the grades given to students in U.S. public high school music courses and to examine the relationships between student characteristics, music course grades, and grades in additional subjects. Using descriptive statistics, logistic regression, and latent profile analysis, I analyzed over 5,000 student transcripts from the U.S. Department of Education’s High School Longitudinal Study of 2009 that contained at least one grade in music. Fifty-six percent of all music grades were As, and 79% were As or Bs. Ensemble grades were generally higher than general music grades, which were more evenly distributed. Regression modeling revealed that ethnoracial identity, socioeconomic status, and having an individualized education program (IEP) were closely associated with students’ music grades, with students representing two or more minoritized populations being particularly unlikely to earn an A in music. Latent profile analysis illustrated that student demographics explained differences in music grades even among students with equivalent grades in other school subjects.
{"title":"A National Analysis of High School Music Course Grades","authors":"Brian P. Shaw","doi":"10.1177/00224294241259483","DOIUrl":"https://doi.org/10.1177/00224294241259483","url":null,"abstract":"The purpose of this study was to describe the grades given to students in U.S. public high school music courses and to examine the relationships between student characteristics, music course grades, and grades in additional subjects. Using descriptive statistics, logistic regression, and latent profile analysis, I analyzed over 5,000 student transcripts from the U.S. Department of Education’s High School Longitudinal Study of 2009 that contained at least one grade in music. Fifty-six percent of all music grades were As, and 79% were As or Bs. Ensemble grades were generally higher than general music grades, which were more evenly distributed. Regression modeling revealed that ethnoracial identity, socioeconomic status, and having an individualized education program (IEP) were closely associated with students’ music grades, with students representing two or more minoritized populations being particularly unlikely to earn an A in music. Latent profile analysis illustrated that student demographics explained differences in music grades even among students with equivalent grades in other school subjects.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2024-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141794932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-26DOI: 10.1177/00224294241256929
Sandra Sanchez Adorno
This collective case study explored the musical lives of second-generation immigrant children in Miami, Florida, USA, to gain greater insight into music’s role in the negotiation, construction, and expression of their “identities in music” and “music in identities.” Four children between the ages of 8 and 12 who had at least one parent born outside of the United States participated in the study. Data were collected through participant-created artifacts, observations, and semistructured interviews with the children and other key figures in their homes and communities. Findings suggest that the children explored and evaluated their musical identities through a continuous cycle of musical experiences and social comparisons and that formal, informal, and nonformal music experiences in school, at home, and with the media informed the children’s understandings and expressions of musical identities. Additionally, music allowed the children to explore the values, traditions, and expectations of particular social groups. Children’s musical experiences also served as a source for understanding, maintaining, and expressing their ethnic, gender, and youth identities.
{"title":"Navigating Identities: The Musical Lives of Four Second-Generation Immigrant Children","authors":"Sandra Sanchez Adorno","doi":"10.1177/00224294241256929","DOIUrl":"https://doi.org/10.1177/00224294241256929","url":null,"abstract":"This collective case study explored the musical lives of second-generation immigrant children in Miami, Florida, USA, to gain greater insight into music’s role in the negotiation, construction, and expression of their “identities in music” and “music in identities.” Four children between the ages of 8 and 12 who had at least one parent born outside of the United States participated in the study. Data were collected through participant-created artifacts, observations, and semistructured interviews with the children and other key figures in their homes and communities. Findings suggest that the children explored and evaluated their musical identities through a continuous cycle of musical experiences and social comparisons and that formal, informal, and nonformal music experiences in school, at home, and with the media informed the children’s understandings and expressions of musical identities. Additionally, music allowed the children to explore the values, traditions, and expectations of particular social groups. Children’s musical experiences also served as a source for understanding, maintaining, and expressing their ethnic, gender, and youth identities.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2024-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141768443","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-12DOI: 10.1177/00224294241255579
Lucas Lörch, Erkki Huovinen
The aspiring composer’s development is commonly described using the metaphor of finding one’s own composer voice. A central goal for teaching composition in higher music education is to guide students toward finding such a voice—toward personal expression and creativity. In order to shed light on the teaching strategies associated with this goal, we analyzed composition teachers’ views on their students’ typical problems and how they deal with them. We conducted semistructured interviews with higher education composition teachers in Germany and Sweden. By means of thematic analysis, we identified two recurring problem situations. First, students might be insecure about what they want to achieve musically. To address this issue, teachers reported engaging students in self-reflection regarding their aesthetic preferences or specific compositional decisions. Second, students’ work might not seem original enough. Teachers reported addressing this problem by providing new perspectives on students’ music, for example, by prompting students to engage with their materials, acquire new experiences, or consider different musical parameters. Despite an ideal of creative freedom, the teachers thus retain authority over the aesthetic learning process by requiring adherence to a second ideal—that of originality. The findings could strengthen pedagogical practitioners’ efforts to foster the creativity of young composers.
{"title":"Fostering Composer Voice in Tertiary Teaching of Contemporary Music Composition","authors":"Lucas Lörch, Erkki Huovinen","doi":"10.1177/00224294241255579","DOIUrl":"https://doi.org/10.1177/00224294241255579","url":null,"abstract":"The aspiring composer’s development is commonly described using the metaphor of finding one’s own composer voice. A central goal for teaching composition in higher music education is to guide students toward finding such a voice—toward personal expression and creativity. In order to shed light on the teaching strategies associated with this goal, we analyzed composition teachers’ views on their students’ typical problems and how they deal with them. We conducted semistructured interviews with higher education composition teachers in Germany and Sweden. By means of thematic analysis, we identified two recurring problem situations. First, students might be insecure about what they want to achieve musically. To address this issue, teachers reported engaging students in self-reflection regarding their aesthetic preferences or specific compositional decisions. Second, students’ work might not seem original enough. Teachers reported addressing this problem by providing new perspectives on students’ music, for example, by prompting students to engage with their materials, acquire new experiences, or consider different musical parameters. Despite an ideal of creative freedom, the teachers thus retain authority over the aesthetic learning process by requiring adherence to a second ideal—that of originality. The findings could strengthen pedagogical practitioners’ efforts to foster the creativity of young composers.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2024-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141350101","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-12DOI: 10.1177/00224294241257154
Ning Luo, Tao Guan
The purpose of this study was to explore the influence of personal, parental, and school-related musical factors on music participation among public elementary and secondary school students in an economically advantaged urban area in China. A total of 12,155 students from sixth, eighth, and 11th grades reported their demographic information, musical interest, attitude, self-concept, perceived parental support, and perceived school music environment. The results indicated that (a) the female students and those with higher socioeconomic status had higher levels of musical interest, more positive attitudes, a stronger musical self-concept, greater perceived parental support, and better perceived school music environments; (b) there was a gap between National Curriculum Standards and actual music education delivery at the elementary level; (c) students’ demographic and personal factors were more influential than parental and school factors in predicting music participation; (d) there was a significant association between socioeconomic status and engagement in out-of-school music activities; and (e) parental support and the perceived school music environment moderated the relationships between personal factors and music participation. By illuminating the complex dynamics that affect music participation in a metropolitan Chinese context, we hope to enhance global understanding and foster cross-cultural discourse on music education.
{"title":"Music Participation Among Public School Students in Metropolitan China: An Examination of Personal, Parental, and School Factors","authors":"Ning Luo, Tao Guan","doi":"10.1177/00224294241257154","DOIUrl":"https://doi.org/10.1177/00224294241257154","url":null,"abstract":"The purpose of this study was to explore the influence of personal, parental, and school-related musical factors on music participation among public elementary and secondary school students in an economically advantaged urban area in China. A total of 12,155 students from sixth, eighth, and 11th grades reported their demographic information, musical interest, attitude, self-concept, perceived parental support, and perceived school music environment. The results indicated that (a) the female students and those with higher socioeconomic status had higher levels of musical interest, more positive attitudes, a stronger musical self-concept, greater perceived parental support, and better perceived school music environments; (b) there was a gap between National Curriculum Standards and actual music education delivery at the elementary level; (c) students’ demographic and personal factors were more influential than parental and school factors in predicting music participation; (d) there was a significant association between socioeconomic status and engagement in out-of-school music activities; and (e) parental support and the perceived school music environment moderated the relationships between personal factors and music participation. By illuminating the complex dynamics that affect music participation in a metropolitan Chinese context, we hope to enhance global understanding and foster cross-cultural discourse on music education.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2024-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141351600","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-29DOI: 10.1177/00224294241247267
Kenneth Elpus, Carlos R. Abril
In this study, we examined demographic patterns of participation and persistence in high school elective music ensembles. We extend prior research that has only compared music and non-music students by explicitly modeling persistence across multiple years of ensemble enrollment. The research draws on data from the High School Longitudinal Study of 2009 and employs a zero-inflated Poisson regression model to analyze the data. This hurdle model, suitable for count data with a large number of zero observations, allows us to jointly examine factors related to enrolling in at least 1 year of a music ensemble (moving from 0 years to 1 year of music) and those factors related to accruing additional years of music ensemble enrollment (moving beyond 1 year to multiple years). We found that family socioeconomic status, birth-assigned sex, academic achievement, shared parent/student outside arts event attendance, and out-of-school arts engagement were significant predictors of both students’ music participation and persistence. By examining persistence, we add important nuance to the prior research examining demographic predictors of elective high school music enrollment, particularly for issues of birth-assigned sex and socioeconomic status in the choral context.
{"title":"Participation and Persistence in High School Elective Music Ensembles","authors":"Kenneth Elpus, Carlos R. Abril","doi":"10.1177/00224294241247267","DOIUrl":"https://doi.org/10.1177/00224294241247267","url":null,"abstract":"In this study, we examined demographic patterns of participation and persistence in high school elective music ensembles. We extend prior research that has only compared music and non-music students by explicitly modeling persistence across multiple years of ensemble enrollment. The research draws on data from the High School Longitudinal Study of 2009 and employs a zero-inflated Poisson regression model to analyze the data. This hurdle model, suitable for count data with a large number of zero observations, allows us to jointly examine factors related to enrolling in at least 1 year of a music ensemble (moving from 0 years to 1 year of music) and those factors related to accruing additional years of music ensemble enrollment (moving beyond 1 year to multiple years). We found that family socioeconomic status, birth-assigned sex, academic achievement, shared parent/student outside arts event attendance, and out-of-school arts engagement were significant predictors of both students’ music participation and persistence. By examining persistence, we add important nuance to the prior research examining demographic predictors of elective high school music enrollment, particularly for issues of birth-assigned sex and socioeconomic status in the choral context.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2024-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140820036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","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：