Abstract This article discusses the algorithmic design and implementation of A Queda do Céu, a sound installation and kinetic sculpture related to the Soundlapse project. In it we provide an overview of the project and go on to describe the main computational challenges related to the installation, which included a variety of real-time processing, interpolation, and mapping algorithms. We contextualize the work in relation to regional ecological and political debates, as well as the global climate crisis. In doing so, we echo other sound and field-recording artists in proposing that artworks have an important function as experimental arenas in which new technological applications can be probed and where new modes of listening can be investigated, reconfigured, and exercised. In closing, we lay out an overview of the current challenges being tackled by the Soundlapse project, specifically the development of a refined version of the sonic time-lapse method that incorporates machine learning routines and user-defined spatialization capabilities.
摘要本文讨论了与Soundlapse项目相关的声音装置和动感雕塑A Queda do Céu的算法设计和实现。在其中，我们概述了该项目，并继续描述了与安装相关的主要计算挑战，其中包括各种实时处理、插值和映射算法。我们将这项工作与区域生态和政治辩论以及全球气候危机联系起来。在这样做的过程中，我们呼应了其他录音和现场录音艺术家的观点，他们认为艺术品作为实验场具有重要作用，在这里可以探索新的技术应用，并可以研究、重新配置和运用新的聆听模式。最后，我们概述了Soundlapse项目目前正在解决的挑战，特别是开发一种改进版的声波延时方法，该方法结合了机器学习例程和用户定义的空间化功能。
{"title":"Listening to the Anthropocene: A Queda do Céu","authors":"André Rabello-Mestre;Felipe Otondo","doi":"10.1162/comj_a_00633","DOIUrl":"10.1162/comj_a_00633","url":null,"abstract":"Abstract This article discusses the algorithmic design and implementation of A Queda do Céu, a sound installation and kinetic sculpture related to the Soundlapse project. In it we provide an overview of the project and go on to describe the main computational challenges related to the installation, which included a variety of real-time processing, interpolation, and mapping algorithms. We contextualize the work in relation to regional ecological and political debates, as well as the global climate crisis. In doing so, we echo other sound and field-recording artists in proposing that artworks have an important function as experimental arenas in which new technological applications can be probed and where new modes of listening can be investigated, reconfigured, and exercised. In closing, we lay out an overview of the current challenges being tackled by the Soundlapse project, specifically the development of a refined version of the sonic time-lapse method that incorporates machine learning routines and user-defined spatialization capabilities.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"25-39"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41794542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Felipe de Almeida Ribeiro;Ricardo de Oliveira Thomasi
Abstract This research presents a mapping out of Brazilian electroacoustic music studios from 1960 to 2000, especially those that emerged in connection with universities and other institutions. A major criterion was to understand “music studios” as cultural territories, as places for creation, collaboration, and exchange. We present a timeline highlighting the main trajectories of composers, institutions, and events, all related to the development of these studios. We interviewed composers and investigated a wide variety of documents, ranging from scholarly papers and journal articles through books, recordings, and websites. As a result, the timeline introduces the main spaces that have fostered electroacoustic music in Brazil, revealing the idea of gambiarra [make do, workaround], a sort of Brazilian DIY culture.
{"title":"Mapping Out the Origins of Electroacoustic Music Studios in Brazil","authors":"Felipe de Almeida Ribeiro;Ricardo de Oliveira Thomasi","doi":"10.1162/comj_a_00639","DOIUrl":"10.1162/comj_a_00639","url":null,"abstract":"Abstract This research presents a mapping out of Brazilian electroacoustic music studios from 1960 to 2000, especially those that emerged in connection with universities and other institutions. A major criterion was to understand “music studios” as cultural territories, as places for creation, collaboration, and exchange. We present a timeline highlighting the main trajectories of composers, institutions, and events, all related to the development of these studios. We interviewed composers and investigated a wide variety of documents, ranging from scholarly papers and journal articles through books, recordings, and websites. As a result, the timeline introduces the main spaces that have fostered electroacoustic music in Brazil, revealing the idea of gambiarra [make do, workaround], a sort of Brazilian DIY culture.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"94-107"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64509532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article discusses the foundation of Studio PANaroma de Música Eletroacústica in São Paulo in 1994, an institution of the São Paulo State University and one of the most active research and production centers in the area in the world, contextualizing its conception with the internationalist tendencies present since the beginning of modernism in Brazil. To this end, the text discusses the notion of cultural anthropophagy, as formulated by Oswald de Andrade; discusses a brief history of the first initiatives in the field of electroacoustic music in Brazil; and focuses on the historical importance and the particularity of the Studio PANaroma, which substantially changed the development of electroacoustic music in the country. The studio's activities are described, including the founding of the studio's loudspeaker orchestra, as well as the studio's main research activities.
{"title":"The Studio PANaroma and Electroacoustic Music in Brazil","authors":"Flo Menezes","doi":"10.1162/comj_a_00635","DOIUrl":"10.1162/comj_a_00635","url":null,"abstract":"Abstract This article discusses the foundation of Studio PANaroma de Música Eletroacústica in São Paulo in 1994, an institution of the São Paulo State University and one of the most active research and production centers in the area in the world, contextualizing its conception with the internationalist tendencies present since the beginning of modernism in Brazil. To this end, the text discusses the notion of cultural anthropophagy, as formulated by Oswald de Andrade; discusses a brief history of the first initiatives in the field of electroacoustic music in Brazil; and focuses on the historical importance and the particularity of the Studio PANaroma, which substantially changed the development of electroacoustic music in the country. The studio's activities are described, including the founding of the studio's loudspeaker orchestra, as well as the studio's main research activities.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"108-119"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41854121","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The political and economic instability in most Latin American countries has been profoundly affecting the lives of its inhabitants for decades. Support for artistic activities has usually been postponed to solve urgent social problems. Despite that, the development in these countries of the electronic arts, in general, and electroacoustic and computer music, in particular, is astounding. Mauricio Kagel, Reginaldo Carvalho, Hilda Dianda, Juan Amenabar, Horacio Vaggione, Jorge Antunes, Jocy de Oliveira, José Vicente Asuar, and Juan Blanco are only some of the many names in the ocean of electroacoustic music creativity that has always been Latin America. Archiving and disseminating electronic art—and working on a revised version of its history—is crucial to comprehend the present and build our future. The Latin American Electroacoustic Music Collection, hosted by the Daniel Langlois Foundation for Art, Science, and Technology in Montreal, has over 1,700 digital recordings of compositions created between 1957 and 2007 by almost 400 composers. The Collection has recovered and made visible (and listenable) the creative work of many composers otherwise almost forgotten. It has defied the hegemony of the computer and electroacoustic music history narrative, helping to break barriers and widening the way their history is understood.
{"title":"Part of Computer Music History… (Trust Me, Latin America Has Always Been There!)","authors":"Ricardo Dal Farra","doi":"10.1162/comj_a_00632","DOIUrl":"10.1162/comj_a_00632","url":null,"abstract":"Abstract The political and economic instability in most Latin American countries has been profoundly affecting the lives of its inhabitants for decades. Support for artistic activities has usually been postponed to solve urgent social problems. Despite that, the development in these countries of the electronic arts, in general, and electroacoustic and computer music, in particular, is astounding. Mauricio Kagel, Reginaldo Carvalho, Hilda Dianda, Juan Amenabar, Horacio Vaggione, Jorge Antunes, Jocy de Oliveira, José Vicente Asuar, and Juan Blanco are only some of the many names in the ocean of electroacoustic music creativity that has always been Latin America. Archiving and disseminating electronic art—and working on a revised version of its history—is crucial to comprehend the present and build our future. The Latin American Electroacoustic Music Collection, hosted by the Daniel Langlois Foundation for Art, Science, and Technology in Montreal, has over 1,700 digital recordings of compositions created between 1957 and 2007 by almost 400 composers. The Collection has recovered and made visible (and listenable) the creative work of many composers otherwise almost forgotten. It has defied the hegemony of the computer and electroacoustic music history narrative, helping to break barriers and widening the way their history is understood.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"8-24"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46664622","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The present work studies the scenic realizations of the ensemble called Lumínico (Rodrigo Sigal and Alejandro Escuer) from the perspective of intermediality, performance theory, musicality, and theatricality. Lumínico's proposal offers, as sound and audiovisual artists, an alternative to the experience of the traditional chamber music and electroacoustic concert, both to themselves and to the audience. In the field of music, it blurs the binary distinction between artistic work and audience by transferring the creation of the uninterrupted concert to the very moment of its execution and reception. This way, a Lumínico concert generates a unique, unrepeatable, and ephemeral event that emerges thanks to the characteristics of the scenic realization, starring the ensemble members and the audience.
{"title":"An Analytical Approach to the Scenic Realization of Electroacoustic Music: The Theatricality of Lumínico","authors":"Guillermo Eisner","doi":"10.1162/comj_a_00637","DOIUrl":"10.1162/comj_a_00637","url":null,"abstract":"Abstract The present work studies the scenic realizations of the ensemble called Lumínico (Rodrigo Sigal and Alejandro Escuer) from the perspective of intermediality, performance theory, musicality, and theatricality. Lumínico's proposal offers, as sound and audiovisual artists, an alternative to the experience of the traditional chamber music and electroacoustic concert, both to themselves and to the audience. In the field of music, it blurs the binary distinction between artistic work and audience by transferring the creation of the uninterrupted concert to the very moment of its execution and reception. This way, a Lumínico concert generates a unique, unrepeatable, and ephemeral event that emerges thanks to the characteristics of the scenic realization, starring the ensemble members and the audience.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"72-81"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45872595","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Latin America has a tradition of socially engaged artists. In Mexico, since the muralist movement of the 1920s, artists have shown a preoccupation for denouncing social issues in their works. In this article, we propose the concept of Paisaje sonoro social [socially engaged soundscapes], an approach to the composition of sound art that aims to raise awareness about specific social issues experienced in Mexican society. Through the combination of oral testimony, soundscapes (both real and imagined), and instrumental and electroacoustic music, Paisaje sonoro social aims to provide a direct communication to the listener in order to draw attention to social issues such as child exploitation, migration, poor working conditions for factory workers, poverty, and children working in the touristic industry. Through the analysis of a series of six works we argue that, although Paisaje sonoro social shares features of other genres, such as soundscape composition, acousmatic storytelling, and documental sonoro [radio feature] it has fundamental differences
{"title":"Paisaje Sonoro Social: Socially Engaged Soundscapes in Mexico","authors":"Mario Alberto Duarte-García;Emma Wilde","doi":"10.1162/comj_a_00638","DOIUrl":"10.1162/comj_a_00638","url":null,"abstract":"Abstract Latin America has a tradition of socially engaged artists. In Mexico, since the muralist movement of the 1920s, artists have shown a preoccupation for denouncing social issues in their works. In this article, we propose the concept of Paisaje sonoro social [socially engaged soundscapes], an approach to the composition of sound art that aims to raise awareness about specific social issues experienced in Mexican society. Through the combination of oral testimony, soundscapes (both real and imagined), and instrumental and electroacoustic music, Paisaje sonoro social aims to provide a direct communication to the listener in order to draw attention to social issues such as child exploitation, migration, poor working conditions for factory workers, poverty, and children working in the touristic industry. Through the analysis of a series of six works we argue that, although Paisaje sonoro social shares features of other genres, such as soundscape composition, acousmatic storytelling, and documental sonoro [radio feature] it has fundamental differences","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"58-71"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46995169","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Electroacoustic music has a long and rich tradition in Latin America, despite the many instances of political and economic turbulence that the region has experienced throughout its existence. Without much public or private support, composers such as Maurico Kagel, Reginaldo Carvalho, Jorge Antunes, José Vicente Asuar, Juan Amenabar, Juan Blanco, Carlos Jiménez Mabarak, and Franciso Kröpfl, among many others, established the foundations of what is now a vibrant and active Latin American computer music community. Ricardo Dal Farra’s article in this special issue, which we encourage the reader to visit, provides a profound and important account of the development of this genre in the region. One interesting fact to emphasize is that, in an era when communications were not as rapid and abundant as they are today, the time gap between the first European compositions of musique concrète and electronic music and their Latin American counterparts was not very long. The first Latin American works, created by Kagel, date from the early 1950s, and in 1956 the first Chilean and Brazilian pieces were composed. This, we believe, is evidence suggesting that the history and advances of this genre in the Latin American regions are as rich and important as the better-known European or North American equivalents. Another important aspect of the computer music of Latin America
{"title":"Sound Anthology: Program Notes","authors":"Rodrigo F. Cádiz;Federico Schumacher","doi":"10.1162/comj_e_00643","DOIUrl":"10.1162/comj_e_00643","url":null,"abstract":"Electroacoustic music has a long and rich tradition in Latin America, despite the many instances of political and economic turbulence that the region has experienced throughout its existence. Without much public or private support, composers such as Maurico Kagel, Reginaldo Carvalho, Jorge Antunes, José Vicente Asuar, Juan Amenabar, Juan Blanco, Carlos Jiménez Mabarak, and Franciso Kröpfl, among many others, established the foundations of what is now a vibrant and active Latin American computer music community. Ricardo Dal Farra’s article in this special issue, which we encourage the reader to visit, provides a profound and important account of the development of this genre in the region. One interesting fact to emphasize is that, in an era when communications were not as rapid and abundant as they are today, the time gap between the first European compositions of musique concrète and electronic music and their Latin American counterparts was not very long. The first Latin American works, created by Kagel, date from the early 1950s, and in 1956 the first Chilean and Brazilian pieces were composed. This, we believe, is evidence suggesting that the history and advances of this genre in the Latin American regions are as rich and important as the better-known European or North American equivalents. Another important aspect of the computer music of Latin America","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"136-140"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42263312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Editors' Notes","authors":"Rodrigo F. Cádiz;Federico Schumacher","doi":"10.1162/comj_e_00641","DOIUrl":"10.1162/comj_e_00641","url":null,"abstract":"","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"5-7"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46124665","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The 88M is a compact 10 × 10 audio interface (see Figure 1) that uses the same 88 Marinair transformercoupled microphone preamplifier as Neve’s 88RS console. It has two combination microphone/line/DI inputs on the front panel, which feed into the Marinair transformer. There are independent phantom power switches and a gain control for each. LED indicators are provided for each signal type and activation of phantom power. The rear panel features eight ADAT digital inputs and output on TOSLINK optical connectors and two analog monitor outputs on TRS jacks. Balanced inserts for send and return loops on the two analog input channels are also located here. The front panel has a TRS jack for headphone output with an independent level control. Beside this there is a large monitor pot similar to that found on the 88RS console. The interface provides latency free monitoring for mono and stereo signals. The 88M offers a frequency response of 20 Hz to 20 kHz, headroom of +18 dB (less than 0.5 percent THD at 1 kHz), and total harmonic distortion (THD) with noise of less than 0.008 percent (at +18 dBu and 1 Hz).
{"title":"Products of Interest","authors":"","doi":"10.1162/comj_r_00631","DOIUrl":"10.1162/comj_r_00631","url":null,"abstract":"The 88M is a compact 10 × 10 audio interface (see Figure 1) that uses the same 88 Marinair transformercoupled microphone preamplifier as Neve’s 88RS console. It has two combination microphone/line/DI inputs on the front panel, which feed into the Marinair transformer. There are independent phantom power switches and a gain control for each. LED indicators are provided for each signal type and activation of phantom power. The rear panel features eight ADAT digital inputs and output on TOSLINK optical connectors and two analog monitor outputs on TRS jacks. Balanced inserts for send and return loops on the two analog input channels are also located here. The front panel has a TRS jack for headphone output with an independent level control. Beside this there is a large monitor pot similar to that found on the 88RS console. The interface provides latency free monitoring for mono and stereo signals. The 88M offers a frequency response of 20 Hz to 20 kHz, headroom of +18 dB (less than 0.5 percent THD at 1 kHz), and total harmonic distortion (THD) with noise of less than 0.008 percent (at +18 dBu and 1 Hz).","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"123-135"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45381907","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Juan Ramos;Esteban Calcagno;Ramiro Vergara;Joaquín Rizza;Pablo Riera
Abstract The bandoneon is a distinctive free-reed instrument with profound ties to tango culture and Latin American music. The scarcity of manufacturers and the related high retail prices, however, are restricting access to the instrument for new generations of musicians. By combining modern technologies and scientific research, the Bandoneon 2.0 project aims to create an expressive and accessible new version of the instrument. In this article, we present an electronic bandoneon with a custom sound synthesis system. We also present an acoustic measurement system with which we analyzed the sound and air pressure signals of an acoustic bandoneon. Through this, we characterized several sound attributes that are utilized in a synthesis model made in Faust DSP. Combining the controller interface and the custom synthesizer, the electronic bandoneon we created can achieve a good level of expressiveness and engagement for the performer. We aim to produce an instrument that can be used in recreational, academic, and professional contexts to address the current sociocultural demand.
{"title":"An Electronic Bandoneon with a Dynamic Sound Synthesis System Based on Measured Acoustic Parameters","authors":"Juan Ramos;Esteban Calcagno;Ramiro Vergara;Joaquín Rizza;Pablo Riera","doi":"10.1162/comj_a_00636","DOIUrl":"10.1162/comj_a_00636","url":null,"abstract":"Abstract The bandoneon is a distinctive free-reed instrument with profound ties to tango culture and Latin American music. The scarcity of manufacturers and the related high retail prices, however, are restricting access to the instrument for new generations of musicians. By combining modern technologies and scientific research, the Bandoneon 2.0 project aims to create an expressive and accessible new version of the instrument. In this article, we present an electronic bandoneon with a custom sound synthesis system. We also present an acoustic measurement system with which we analyzed the sound and air pressure signals of an acoustic bandoneon. Through this, we characterized several sound attributes that are utilized in a synthesis model made in Faust DSP. Combining the controller interface and the custom synthesizer, the electronic bandoneon we created can achieve a good level of expressiveness and engagement for the performer. We aim to produce an instrument that can be used in recreational, academic, and professional contexts to address the current sociocultural demand.","PeriodicalId":50639,"journal":{"name":"Computer Music Journal","volume":"46 1-2","pages":"40-57"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45543049","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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