Melody Eötvös (b. 1984) was born in the Southern Highlands, NSW, Australia. Her work draws on both multimedia and traditional instrumental contexts, and makes substantial extra-musical references to philosophical, biological and ancient topics as well as her sustained interest in late nineteenth-century life and literature…
{"title":"Ruling the Hive: An Interview with Melody Eötvös","authors":"Simon Maurer","doi":"10.46580/cx12367","DOIUrl":"https://doi.org/10.46580/cx12367","url":null,"abstract":"Melody Eötvös (b. 1984) was born in the Southern Highlands, NSW, Australia. Her work draws on both multimedia and traditional instrumental contexts, and makes substantial extra-musical references to philosophical, biological and ancient topics as well as her sustained interest in late nineteenth-century life and literature…","PeriodicalId":49562,"journal":{"name":"Science in Context","volume":"5 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90817648","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Autumn 2003, under a previous name, I published a research report in this journal, entitled ‘The Quintessence Project: Re-envisioning Mediæval Music through the Lens of Electroacoustic Technology.’ The report detailed the beginnings of an effort to blend historically informed performance practice (specifically of Gregorian chant) with improvisatory techniques, scaffolded by electroacoustic ‘found sound’ techniques including looping, filtering and granulation…
{"title":"Rationale and Neurodivergence: Reflections on, and Repercussions of, the Quintessence Project","authors":"Quin Thomson","doi":"10.46580/cx60127","DOIUrl":"https://doi.org/10.46580/cx60127","url":null,"abstract":"In Autumn 2003, under a previous name, I published a research report in this journal, entitled ‘The Quintessence Project: Re-envisioning Mediæval Music through the Lens of Electroacoustic Technology.’ The report detailed the beginnings of an effort to blend historically informed performance practice (specifically of Gregorian chant) with improvisatory techniques, scaffolded by electroacoustic ‘found sound’ techniques including looping, filtering and granulation…","PeriodicalId":49562,"journal":{"name":"Science in Context","volume":"41 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90461194","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Representing Australian Aboriginal Music and Dance 1930–1970, Amanda Harris sets out a history of Aboriginal music and dance performances in south-east Australia during the four-decade-long period defined as the Australian assimilation era. During this era, and pushing its boundaries, harsh government policies under the guise of ‘protection’ and ‘welfare’ were designed forcibly to assimilate Aboriginal people into the mainstream population. It is striking while reading this book how few of these stories are widely known, particularly given the heavy influence that Harris uncovers it having on the Australian art music scene of today. As such, the book makes an important contribution to the ‘truth telling’ of Australian history while also showing that—despite the severe policies during this era, including the banning of speaking in Indigenous languages and restricting the performance of ceremony—Aboriginal people have remained active agents in driving their own engagements and asserting their own culturally distinct modes of music and dance performance. This resilience against significant odds has been aptly described by one of the book’s contributors, Yorta Yorta and Dja Dja Warrung cultural leader, visual and performance artist, curator and opera singer Tiriki Onus, as ‘hiding in plain sight,’ referring to the ways in which Aboriginal people ensured the continued practice and performance of their culture by doing so in public, the only place they were allowed to…
{"title":"Amanda Harris. Representing Australian Aboriginal Music and Dance, 1930–1970","authors":"Georgia Curran","doi":"10.46580/cx80760","DOIUrl":"https://doi.org/10.46580/cx80760","url":null,"abstract":"In Representing Australian Aboriginal Music and Dance 1930–1970, Amanda Harris sets out a history of Aboriginal music and dance performances in south-east Australia during the four-decade-long period defined as the Australian assimilation era. During this era, and pushing its boundaries, harsh government policies under the guise of ‘protection’ and ‘welfare’ were designed forcibly to assimilate Aboriginal people into the mainstream population. It is striking while reading this book how few of these stories are widely known, particularly given the heavy influence that Harris uncovers it having on the Australian art music scene of today. As such, the book makes an important contribution to the ‘truth telling’ of Australian history while also showing that—despite the severe policies during this era, including the banning of speaking in Indigenous languages and restricting the performance of ceremony—Aboriginal people have remained active agents in driving their own engagements and asserting their own culturally distinct modes of music and dance performance. This resilience against significant odds has been aptly described by one of the book’s contributors, Yorta Yorta and Dja Dja Warrung cultural leader, visual and performance artist, curator and opera singer Tiriki Onus, as ‘hiding in plain sight,’ referring to the ways in which Aboriginal people ensured the continued practice and performance of their culture by doing so in public, the only place they were allowed to…","PeriodicalId":49562,"journal":{"name":"Science in Context","volume":"22 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83035564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In a 2005 article commemorating five hundred years since the estimated date of Thomas Tallis’s birth, Peter Phillips (conductor of the appropriately-named Tallis Scholars) lamented the lack of published scholarship on the composer. At that time, the only book dedicated solely to Tallis was Paul Doe’s extremely slim (seventy-one page) book, published in 1968. This gap has since been filled by not one but two books on Tallis: John Harley’s 2015 Thomas Tallis (Ashgate), and Kerry McCarthy’s 2020 addition to the Oxford University Press (OUP) Master Musicians series, Tallis…
{"title":"Kerry McCarthy. Tallis","authors":"Suzanne Cole","doi":"10.46580/cx10871","DOIUrl":"https://doi.org/10.46580/cx10871","url":null,"abstract":"In a 2005 article commemorating five hundred years since the estimated date of Thomas Tallis’s birth, Peter Phillips (conductor of the appropriately-named Tallis Scholars) lamented the lack of published scholarship on the composer. At that time, the only book dedicated solely to Tallis was Paul Doe’s extremely slim (seventy-one page) book, published in 1968. This gap has since been filled by not one but two books on Tallis: John Harley’s 2015 Thomas Tallis (Ashgate), and Kerry McCarthy’s 2020 addition to the Oxford University Press (OUP) Master Musicians series, Tallis…","PeriodicalId":49562,"journal":{"name":"Science in Context","volume":"34 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89823956","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The ‘Eugene Goossens Collection’ (EGC), consisting of approximately 220 music scores, was acquired by the National Library of Australia (NLA) in 2009 from the ‘Symphony Australia Collection.’ The ‘Goossens Collection’ (GC) was purchased from Eugene Goossens III (1893–1962) in 1956 and consists of around 100 items that were housed in the ABC Federal Music Library. This GC forms a part of the larger EGC, and its position within the larger collection is the subject of this paper. The GC appears to have been amalgamated with other material prior to its acquisition by the NLA, with the larger collection (EGC) nevertheless retaining the conductor’s name as an overall descriptor. As well as investigating issues of provenance that have emerged in relation to the EGC, this paper explores wider questions pertaining to the fate of Goossens’ papers, composition manuscripts, and print scores. Potential points of entry for further exploring and clarifying the Collection (EGC) will be proposed, the catalogue of which can be found on the NLA website.
{"title":"Tracing Eugene Goossens: Goossensiana in the National Library of Australia","authors":"S. Mould","doi":"10.46580/cx36915","DOIUrl":"https://doi.org/10.46580/cx36915","url":null,"abstract":"The ‘Eugene Goossens Collection’ (EGC), consisting of approximately 220 music scores, was acquired by the National Library of Australia (NLA) in 2009 from the ‘Symphony Australia Collection.’ The ‘Goossens Collection’ (GC) was purchased from Eugene Goossens III (1893–1962) in 1956 and consists of around 100 items that were housed in the ABC Federal Music Library. This GC forms a part of the larger EGC, and its position within the larger collection is the subject of this paper. The GC appears to have been amalgamated with other material prior to its acquisition by the NLA, with the larger collection (EGC) nevertheless retaining the conductor’s name as an overall descriptor. As well as investigating issues of provenance that have emerged in relation to the EGC, this paper explores wider questions pertaining to the fate of Goossens’ papers, composition manuscripts, and print scores. Potential points of entry for further exploring and clarifying the Collection (EGC) will be proposed, the catalogue of which can be found on the NLA website.","PeriodicalId":49562,"journal":{"name":"Science in Context","volume":"20 17","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72396447","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Across the body of piano repertoire that falls under the ‘etude’ genre, few were written with a specific body of piano pedagogical literature in mind. One such example is English composer York Bowen’s Twelve Studies (1916), one of the lesser known cycle of etudes in the piano repertoire. The titles Bowen appended to these studies as well as the technical aspects explored in them point to a connection with the pedagogical teachings of English piano pedagogue Tobias Matthay. This article will examine these studies through the lens of my personal experience preparing this repertoire for performance, and will disseminate insights gained through this preparation process regarding how specific concepts Matthay espoused in his teachings tie in with the explicit and implicit technical focus of these studies, and may be applied in practice. Following a brief introduction to Bowen, the studies, and Matthay, the main section of this article explores eleven of the twelve studies that contain direct and/or indirect references to Matthay’s concepts, before concluding with some general reflections. The purpose of this article is to offer some pedagogical insight on this repertoire, and possible guidance for performers and teachers who may wish to study these works, in spite of these insights coming from a personal perspective. Additionally, since these studies are presently not very well known in pianistic circles and literature is scarce, it is hoped that this article will help nurture further scholarly investigation into this repertoire.
{"title":"The Application of Tobias Matthay’s Teachings to the Playing of York Bowen’s Twelve Studies: A Practitioner’s Perspective","authors":"Oliver She","doi":"10.46580/cx98922","DOIUrl":"https://doi.org/10.46580/cx98922","url":null,"abstract":"Across the body of piano repertoire that falls under the ‘etude’ genre, few were written with a specific body of piano pedagogical literature in mind. One such example is English composer York Bowen’s Twelve Studies (1916), one of the lesser known cycle of etudes in the piano repertoire. The titles Bowen appended to these studies as well as the technical aspects explored in them point to a connection with the pedagogical teachings of English piano pedagogue Tobias Matthay. This article will examine these studies through the lens of my personal experience preparing this repertoire for performance, and will disseminate insights gained through this preparation process regarding how specific concepts Matthay espoused in his teachings tie in with the explicit and implicit technical focus of these studies, and may be applied in practice. Following a brief introduction to Bowen, the studies, and Matthay, the main section of this article explores eleven of the twelve studies that contain direct and/or indirect references to Matthay’s concepts, before concluding with some general reflections. The purpose of this article is to offer some pedagogical insight on this repertoire, and possible guidance for performers and teachers who may wish to study these works, in spite of these insights coming from a personal perspective. Additionally, since these studies are presently not very well known in pianistic circles and literature is scarce, it is hoped that this article will help nurture further scholarly investigation into this repertoire.","PeriodicalId":49562,"journal":{"name":"Science in Context","volume":"13 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78323300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Contemporary research exploring embodiment in music has suggested that creative musical thought is directly linked to a performer’s learnt physical techniques. Within this discourse, it is understood that an improvising musician’s embodied physical techniques play a primary role in informing their creative processes. This view suggests that subsequent changes or developments to a jazz musician’s physical technique may fundamentally influence the ways in which musical ideas are conceived while improvising. This article begins by unpacking a cross-section of literature in support of this claim, before presenting the results of a practice-led autoethnographic experiment exploring the relationship between instrumental technique and creative practice. In this experiment, I transition to a new way of playing the double bass, informed by Joel Quarrington’s The Canadian School of Double Bass, and observe transformations in hand frame, use of vertical shifts, use of register, feelings of tension and overall dexterity, all of which appear to influence my creative decision making. The results highlight how this reformed technical approach affected the physical accessibility of certain intervallic options, and appear to have fundamentally impacted my conception and construction of melodic content on a cognitive level.
当代对音乐体现的研究表明，创造性的音乐思维与表演者所学的身体技巧直接相关。在这个论述中，可以理解的是，一个即兴音乐家的具体物理技术在告知他们的创作过程中起着主要作用。这一观点表明，爵士音乐家身体技术的后续变化或发展可能会从根本上影响即兴创作时音乐思想的形成方式。本文首先分析了支持这一观点的横截面文献，然后展示了一项以实践为主导的自我民族志实验的结果，该实验探索了工具技术和创造性实践之间的关系。在这个实验中，我在Joel Quarrington的the Canadian School of double bass的指导下过渡到一种新的演奏低音提琴的方式，并观察了手框的变化，垂直移动的使用，音阶的使用，紧张的感觉和整体的灵活性，所有这些似乎都影响了我的创作决策。结果突出了这种改革后的技术方法如何影响某些音程选项的物理可达性，并且似乎从根本上影响了我在认知层面上对旋律内容的概念和构建。
{"title":"Reconsidering the Role of Instrumental Technique in Creative Process: The ‘Canadian School of Double Bass’ Applied to Jazz Performance","authors":"Samuel Dobson","doi":"10.46580/cx57324","DOIUrl":"https://doi.org/10.46580/cx57324","url":null,"abstract":"Contemporary research exploring embodiment in music has suggested that creative musical thought is directly linked to a performer’s learnt physical techniques. Within this discourse, it is understood that an improvising musician’s embodied physical techniques play a primary role in informing their creative processes. This view suggests that subsequent changes or developments to a jazz musician’s physical technique may fundamentally influence the ways in which musical ideas are conceived while improvising. This article begins by unpacking a cross-section of literature in support of this claim, before presenting the results of a practice-led autoethnographic experiment exploring the relationship between instrumental technique and creative practice. In this experiment, I transition to a new way of playing the double bass, informed by Joel Quarrington’s The Canadian School of Double Bass, and observe transformations in hand frame, use of vertical shifts, use of register, feelings of tension and overall dexterity, all of which appear to influence my creative decision making. The results highlight how this reformed technical approach affected the physical accessibility of certain intervallic options, and appear to have fundamentally impacted my conception and construction of melodic content on a cognitive level.","PeriodicalId":49562,"journal":{"name":"Science in Context","volume":"50 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91082269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
An Anthology of Australian Albums: Critical Engagements is a welcome addition to the growing body of work that examines Australian popular music from a critical and scholarly perspective. It was conceptualised by eminent Australian musicologist Tony Mitchell as an academic companion to the often excellent work of non-academic journalists examining Australian popular music albums. As such, this book provides a critical perspective on Australian albums across a range of genres, from black metal to hip-hop, singer-songwriters, and the ever-present pub-rock bands that dominate the landscape of Australian popular music. This perspective leads the volume to consider some of these more common topics from new angles, omitting many of the great works of the canon of Australian rock royalty from the 1970s (AC/DC, The Angels, et al.) in favour of significant yet overlooked or marginalised artists. It is also decidedly contemporary in its choice of albums to analyse, with ten of the fifteen chapters focused on albums released in the twenty-first century, thus providing a valuable insight into recent developments in Australian popular music. Finally, the volume’s focus on individual works and albums makes it a useful complement to other scholarly volumes, such as Sounds of Then, Sounds of Now: Popular Music in Australia…
{"title":"Jon Stratton, Jon Dale and Tony Mitchell, eds. An Anthology of Australian Albums: Critical Engagements","authors":"Benjamin Hillier","doi":"10.46580/cx26553","DOIUrl":"https://doi.org/10.46580/cx26553","url":null,"abstract":"An Anthology of Australian Albums: Critical Engagements is a welcome addition to the growing body of work that examines Australian popular music from a critical and scholarly perspective. It was conceptualised by eminent Australian musicologist Tony Mitchell as an academic companion to the often excellent work of non-academic journalists examining Australian popular music albums. As such, this book provides a critical perspective on Australian albums across a range of genres, from black metal to hip-hop, singer-songwriters, and the ever-present pub-rock bands that dominate the landscape of Australian popular music. This perspective leads the volume to consider some of these more common topics from new angles, omitting many of the great works of the canon of Australian rock royalty from the 1970s (AC/DC, The Angels, et al.) in favour of significant yet overlooked or marginalised artists. It is also decidedly contemporary in its choice of albums to analyse, with ten of the fifteen chapters focused on albums released in the twenty-first century, thus providing a valuable insight into recent developments in Australian popular music. Finally, the volume’s focus on individual works and albums makes it a useful complement to other scholarly volumes, such as Sounds of Then, Sounds of Now: Popular Music in Australia…","PeriodicalId":49562,"journal":{"name":"Science in Context","volume":"47 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82781891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A consistent problem in the analysis of changing musical technique is the temptation to apply anachronistic methods simply because they are well understood, or to measure the nascent style with tools designed for the mature form. This is especially the case when considering the development of tonal harmony, where the use of harmonic analysis well suited to common-practice music runs the risk of seeing earlier technique as an imperfect realisation of the later style: all roads lead to Beethoven! Hearing Homophony by Megan Kaes Long seeks to avoid this snare by taking a strictly circumscribed body of repertoire from the late sixteenth and early seventeenth centuries and examining it through the lens of expectation. In doing so, she demonstrates how the combined effect of this repertoire’s typical features conspires to produce an expectation of tonal resolution, even if this resolution is not yet completely functional in harmonic terms…
{"title":"Megan Kaes Long. Hearing Homophony","authors":"T. Daly","doi":"10.46580/cx98123","DOIUrl":"https://doi.org/10.46580/cx98123","url":null,"abstract":"A consistent problem in the analysis of changing musical technique is the temptation to apply anachronistic methods simply because they are well understood, or to measure the nascent style with tools designed for the mature form. This is especially the case when considering the development of tonal harmony, where the use of harmonic analysis well suited to common-practice music runs the risk of seeing earlier technique as an imperfect realisation of the later style: all roads lead to Beethoven! Hearing Homophony by Megan Kaes Long seeks to avoid this snare by taking a strictly circumscribed body of repertoire from the late sixteenth and early seventeenth centuries and examining it through the lens of expectation. In doing so, she demonstrates how the combined effect of this repertoire’s typical features conspires to produce an expectation of tonal resolution, even if this resolution is not yet completely functional in harmonic terms…","PeriodicalId":49562,"journal":{"name":"Science in Context","volume":"45 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90646306","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Writing in the late 1920s, J.B. Trend proclaimed that ‘Spain, as we know it today, seems to be pre-eminently a country of the dance, and no interpreter of Spanish music can make us feel its full beauty or vitality unless he feel those vital dance-rhythms within himself.’ This connection between Spain, dance, and the rhythms of its music has long characterised perceptions of Spanish culture, fostering the enduring popularity of Spanish-styled entertainments. In ‘Take me to Spain’: Australian Imaginings of Spain through Music and Dance, John Whiteoak traces this phenomenon through Australian history, from the early colonial era of the 1820s to the 1970s. His narrative concludes before the major changes caused in local Hispanic culture by mass migration from Latin America, the new policy of multiculturalism, and the emergence of world music…
{"title":"John Whiteoak. 'Take me to Spain': Australian Imaginings of Spain Through Music and Dance","authors":"E. Kertesz","doi":"10.46580/cx82573","DOIUrl":"https://doi.org/10.46580/cx82573","url":null,"abstract":"Writing in the late 1920s, J.B. Trend proclaimed that ‘Spain, as we know it today, seems to be pre-eminently a country of the dance, and no interpreter of Spanish music can make us feel its full beauty or vitality unless he feel those vital dance-rhythms within himself.’ This connection between Spain, dance, and the rhythms of its music has long characterised perceptions of Spanish culture, fostering the enduring popularity of Spanish-styled entertainments. In ‘Take me to Spain’: Australian Imaginings of Spain through Music and Dance, John Whiteoak traces this phenomenon through Australian history, from the early colonial era of the 1820s to the 1970s. His narrative concludes before the major changes caused in local Hispanic culture by mass migration from Latin America, the new policy of multiculturalism, and the emergence of world music…","PeriodicalId":49562,"journal":{"name":"Science in Context","volume":"57 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79704560","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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