Pub Date : 2018-10-22DOI: 10.51515/issn.2744-1261.2018.10.256
The dichotomy between urban and rural culture was accentuated and partially constructed by early European ethnographic disciplines. Though the critical discourse and paradigmatic changes brought the clear divisions between those two cultures into question, perception of the urban/rural dichotomy still persists in daily discourse and can be frequently encountered in discourses about music. The case study focusing on popular music bands and gig players from the town of Križevci in Croatia shows some of the mechanisms of maintaining this perception. Special attention in the analysis of those mechanisms is given to two musicians, local epitomes of “urban” and “rural”. The analysis of the local meaning of dichotomy brings attention to differences in music venues, repertoire, style, instrumentation, and virtuosity; aspects of education and social status of musicians. The results of the ethnographic fieldwork show that the local usage of urban/rural dichotomy can express specific issues of class distinction among local musicians, but also struggles of identity formation of a small post-socialist town in the course of loss of its economic and political power.
{"title":"(Im)possibility of doing Ethnomusicology beyond Urban/Rural Dichotomy","authors":"","doi":"10.51515/issn.2744-1261.2018.10.256","DOIUrl":"https://doi.org/10.51515/issn.2744-1261.2018.10.256","url":null,"abstract":"The dichotomy between urban and rural culture was accentuated and partially constructed by early European ethnographic disciplines. Though the critical discourse and paradigmatic changes brought the clear divisions between those two cultures into question, perception of the urban/rural dichotomy still persists in daily discourse and can be frequently encountered in discourses about music. The case study focusing on popular music bands and gig players from the town of Križevci in Croatia shows some of the mechanisms of maintaining this perception. Special attention in the analysis of those mechanisms is given to two musicians, local epitomes of “urban” and “rural”. The analysis of the local meaning of dichotomy brings attention to differences in music venues, repertoire, style, instrumentation, and virtuosity; aspects of education and social status of musicians. The results of the ethnographic fieldwork show that the local usage of urban/rural dichotomy can express specific issues of class distinction among local musicians, but also struggles of identity formation of a small post-socialist town in the course of loss of its economic and political power.","PeriodicalId":84634,"journal":{"name":"Educafrica (English version)","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74249359","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}
Pub Date : 2018-10-22DOI: 10.51515/issn.2744-1261.2018.10.167
Nice Fracile
The objective of this paper is to cast light – relying on use of the subject-related literature and on personal field research over the past three decades – on the phenomenon of multiculturality of children’s folklore practice found in some national/ethnic communities in Vojvodina: Serbs, Hungarians, Slovaks, and Romanians. Considerable attention is given to the (dis)continuity, changes, comparative research and the latest trends in the children’s folklore on the cultural scene of this multicultural milieu.
{"title":"The Multiculturality of Children's Folklore in Vojvodina","authors":"Nice Fracile","doi":"10.51515/issn.2744-1261.2018.10.167","DOIUrl":"https://doi.org/10.51515/issn.2744-1261.2018.10.167","url":null,"abstract":"The objective of this paper is to cast light – relying on use of the subject-related literature and on personal field research over the past three decades – on the phenomenon of multiculturality of children’s folklore practice found in some national/ethnic communities in Vojvodina: Serbs, Hungarians, Slovaks, and Romanians. Considerable attention is given to the (dis)continuity, changes, comparative research and the latest trends in the children’s folklore on the cultural scene of this multicultural milieu.","PeriodicalId":84634,"journal":{"name":"Educafrica (English version)","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89876924","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}
Pub Date : 2018-10-22DOI: 10.51515/issn.2744-1261.2018.10.147
Sabina Vidulin
The article elaborates the role and importance of introducing the activity of playing instruments in regular music class. Although represented in most previous curricula, in the 2006 curriculum playing an instrument has been given a great possibility for a qualitative realization. By studying through literature units, and interviewing teachers, the author systematized the advantages and limitations of playing instrument(s) in regular class. Also, the new model for playing instruments in class has been described.
{"title":"Playing Instrument in Regular Music Class: Musical-Pedagogical and Didactic Implications","authors":"Sabina Vidulin","doi":"10.51515/issn.2744-1261.2018.10.147","DOIUrl":"https://doi.org/10.51515/issn.2744-1261.2018.10.147","url":null,"abstract":"The article elaborates the role and importance of introducing the activity of playing instruments in regular music class. Although represented in most previous curricula, in the 2006 curriculum playing an instrument has been given a great possibility for a qualitative realization. By studying through literature units, and interviewing teachers, the author systematized the advantages and limitations of playing instrument(s) in regular class. Also, the new model for playing instruments in class has been described.","PeriodicalId":84634,"journal":{"name":"Educafrica (English version)","volume":"27 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81970496","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}
Pub Date : 2018-10-22DOI: 10.51515/issn.2744-1261.2018.10.369
Nico Schüler
This paper describes the reconstruction of the life and work of African-American composer Jacob J. Sawyer and the correction of one biographical aspect of African-American composer Edmond Dédé with the help of commercial genealogy and newspaper databases as well as online collections of music scores.
{"title":"Current Research Methodologies for Rediscovering Forgotten Composers: Using Commercial Genealogy and Newspaper Databases and Other Online Archives","authors":"Nico Schüler","doi":"10.51515/issn.2744-1261.2018.10.369","DOIUrl":"https://doi.org/10.51515/issn.2744-1261.2018.10.369","url":null,"abstract":"This paper describes the reconstruction of the life and work of African-American composer Jacob J. Sawyer and the correction of one biographical aspect of African-American composer Edmond Dédé with the help of commercial genealogy and newspaper databases as well as online collections of music scores.","PeriodicalId":84634,"journal":{"name":"Educafrica (English version)","volume":"44 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76794397","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}
Pub Date : 2018-10-22DOI: 10.51515/issn.2744-1261.2018.10.102
Sanja Nuhanović, Alma Ferović-Fazlić
The paper deals with reflections on the reasons to the decreased interest of students in formal music education, and opportunities to improve music education system in terms of its popularization. Learning period students spend in order to musically develop and educate themselves should not be a burden, but enjoyment, and flexibility of curriculum in music schools should deliver it. One way of enriching music education could be by including students in various projects, which can be achieved through cooperation with artists outside the home institution, whether amateurs or professionals, but also to connect with similar arts, if the project requires it. In addition to the learning process, it is important to think of the other, no less important, educational component, that would encourage students to think further and, if they continue with education, how to become a performer on stage, and thus have the opportunity to travel, to collaborate with other artists and make new friends. As an example of a successful cooperation on the international level we are presenting a musical and theatrical project Dirty Dancing, which got together a large number of amateur and professional artists, whose teamwork led to the successful live performance and project realization.
{"title":"Popularization of Music Education on the Example of Musical and Theatrical Project Dirty Dancing","authors":"Sanja Nuhanović, Alma Ferović-Fazlić","doi":"10.51515/issn.2744-1261.2018.10.102","DOIUrl":"https://doi.org/10.51515/issn.2744-1261.2018.10.102","url":null,"abstract":"The paper deals with reflections on the reasons to the decreased interest of students in formal music education, and opportunities to improve music education system in terms of its popularization. Learning period students spend in order to musically develop and educate themselves should not be a burden, but enjoyment, and flexibility of curriculum in music schools should deliver it. One way of enriching music education could be by including students in various projects, which can be achieved through cooperation with artists outside the home institution, whether amateurs or professionals, but also to connect with similar arts, if the project requires it. In addition to the learning process, it is important to think of the other, no less important, educational component, that would encourage students to think further and, if they continue with education, how to become a performer on stage, and thus have the opportunity to travel, to collaborate with other artists and make new friends. As an example of a successful cooperation on the international level we are presenting a musical and theatrical project Dirty Dancing, which got together a large number of amateur and professional artists, whose teamwork led to the successful live performance and project realization.","PeriodicalId":84634,"journal":{"name":"Educafrica (English version)","volume":"89 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72469654","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}
Pub Date : 2018-10-22DOI: 10.51515/issn.2744-1261.2018.10.342
Stanislav Tuksar
This paper resulted from research conducted in various libraries of the Republic of Poland within the exchange programme between the Polish and Croatian Academies of Sciences in the period 2008-2013 and during my participation in the international HERA research project MusMig (Music migrations in early Modern Age: the meeting of European East, West and South) from 2013 to 2016. The works under consideration were found in 20 Polish libraries in 11 cities in the form and range of 24 titles written by 10 authors and they exist in several dozens of copies. They form part of a much broader spectrum of all titles written by Croatian authors and published between the 16th and 18th centuries kept in Polish libraries in almost 300 copies in all. In this paper I will briefly describe the authors and their works containing musical topics as well as the Polish book collections in which they have been preserved, with some remarks on both the possible origins of these titles and on the question of how they came to be purchased.
{"title":"Works with Musical Topics by 16th and 17th Century Croatian Authors Preserved in Polish Libraries","authors":"Stanislav Tuksar","doi":"10.51515/issn.2744-1261.2018.10.342","DOIUrl":"https://doi.org/10.51515/issn.2744-1261.2018.10.342","url":null,"abstract":"This paper resulted from research conducted in various libraries of the Republic of Poland within the exchange programme between the Polish and Croatian Academies of Sciences in the period 2008-2013 and during my participation in the international HERA research project MusMig (Music migrations in early Modern Age: the meeting of European East, West and South) from 2013 to 2016. The works under consideration were found in 20 Polish libraries in 11 cities in the form and range of 24 titles written by 10 authors and they exist in several dozens of copies. They form part of a much broader spectrum of all titles written by Croatian authors and published between the 16th and 18th centuries kept in Polish libraries in almost 300 copies in all. In this paper I will briefly describe the authors and their works containing musical topics as well as the Polish book collections in which they have been preserved, with some remarks on both the possible origins of these titles and on the question of how they came to be purchased.","PeriodicalId":84634,"journal":{"name":"Educafrica (English version)","volume":"46 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84713587","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}
Pub Date : 2018-10-22DOI: 10.51515/issn.2744-1261.2018.10.38
Amra Bosnić
The paper discusses the half-century of composition in Bosnia and Herzegovina throughout the prism of musical setting to text phenomenon in vocal forms. In its focus are the solo song Pjesma u zoru by Milan Prebanda, Otvori u noć vrata by Vlado Milošević, Sappho by Nada Ludvig Pečar and The impact of the analogue synthesizer by Dino Rešidbegović. Analysis of the relationship between text and music in these works points out to the compositionaltechnical manner characteristic for these composers, generally marked by: Milošević consistently holds on to a text quantitative and qualitative characteristics, Prebanda raises melody above all the expressive characteristics, Ludvig Pečar holds to neoclassicist formal patterns, while Rešidbegović partly disposes the authority of vocal expressiveness to an interpretant.
本文从音乐背景到声乐形式的文本现象的棱镜，讨论了波斯尼亚和黑塞哥维那半个世纪的作曲。重点展出米兰·普雷班达的独唱歌曲《Pjesma u zoru》、弗拉多·Milošević的《Otvori u noki vrata》、娜达·路德维格·佩尔的《萨福》和迪诺·Rešidbegović的《模拟合成器的影响》。通过对这些作品中文本与音乐关系的分析，指出了这些作曲家的作曲技术方式特征，一般表现为:Milošević始终坚持文本的定量和定性特征，Prebanda将旋律置于所有表达特征之上，Ludvig pearar坚持新古典主义的形式模式，而Rešidbegović部分地将声乐表达的权威交给了诠释者。
{"title":"Treatment of Text in Vocal Works by Bosnian and Herzegovinian Composers","authors":"Amra Bosnić","doi":"10.51515/issn.2744-1261.2018.10.38","DOIUrl":"https://doi.org/10.51515/issn.2744-1261.2018.10.38","url":null,"abstract":"The paper discusses the half-century of composition in Bosnia and Herzegovina throughout the prism of musical setting to text phenomenon in vocal forms. In its focus are the solo song Pjesma u zoru by Milan Prebanda, Otvori u noć vrata by Vlado Milošević, Sappho by Nada Ludvig Pečar and The impact of the analogue synthesizer by Dino Rešidbegović. Analysis of the relationship between text and music in these works points out to the compositionaltechnical manner characteristic for these composers, generally marked by: Milošević consistently holds on to a text quantitative and qualitative characteristics, Prebanda raises melody above all the expressive characteristics, Ludvig Pečar holds to neoclassicist formal patterns, while Rešidbegović partly disposes the authority of vocal expressiveness to an interpretant.","PeriodicalId":84634,"journal":{"name":"Educafrica (English version)","volume":"41 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89677431","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}
Pub Date : 2018-10-22DOI: 10.51515/issn.2744-1261.2018.10.287
Senka Hodžić
Within the cultural context of Sarajevo and Bosnia and Herzegovina, composer and music pedagogue Miroslav Špiler (1906–1982) is remembered primarily as professor at the Academy of Music in Sarajevo, an important social figure at the time, as well as composer of small but significant number of works. However, unlike the works of some other Bosnian and Herzegovinian composers, we (almost) never have a chance to hear Špiler’s works being performed by the esteemed artists and ensembles in our country. The aim of the following text is to locate and discover the reasons of negligence of Špiler’s oeuvre while considering the legacy of Miroslav Špiler, characteristics of composer’s works as well as examining the past and present state of the performing institutions in Sarajevo and the events that would create an opportunity for presentation of his works.
{"title":"(Do) We Keep Forgetting Miroslav Špiler - Our Contribution to the 110th Anniversary of Composer's Birth","authors":"Senka Hodžić","doi":"10.51515/issn.2744-1261.2018.10.287","DOIUrl":"https://doi.org/10.51515/issn.2744-1261.2018.10.287","url":null,"abstract":"Within the cultural context of Sarajevo and Bosnia and Herzegovina, composer and music pedagogue Miroslav Špiler (1906–1982) is remembered primarily as professor at the Academy of Music in Sarajevo, an important social figure at the time, as well as composer of small but significant number of works. However, unlike the works of some other Bosnian and Herzegovinian composers, we (almost) never have a chance to hear Špiler’s works being performed by the esteemed artists and ensembles in our country. The aim of the following text is to locate and discover the reasons of negligence of Špiler’s oeuvre while considering the legacy of Miroslav Špiler, characteristics of composer’s works as well as examining the past and present state of the performing institutions in Sarajevo and the events that would create an opportunity for presentation of his works.","PeriodicalId":84634,"journal":{"name":"Educafrica (English version)","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73548928","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}
Pub Date : 2018-10-22DOI: 10.51515/issn.2744-1261.2018.10.200
Rimantas Sliužinskas
The fatal social disasters have taken place in the city of Klaipėda by the end of the Second World War. After 1945, very few local bilingual (Lithuanian and German speaking) people could be found in Klaipėda. Almost all of the survivors had moved to Germany to escape the Soviet occupation. Soviet authorities created favourable social conditions for skilled volunteers, who came to deserted city from other regions of Lithuania, and from all over the Soviet Union, to work in Klaipėda port and to restore the entire marine industry in the 1950s–1960s period. The Russian, Belorussian, German, Jewish, Ukrainian, Polish, Latvian, Tartar, Armenian, Azerbaijani, and other national minorities have become an integral part of the social and cultural life in contemporary Klaipėda. In the light of these historical facts, the goal of the article is to discuss the possibilities of the most representative national societies to maintain and promote their ethnic roots, traditions and the authentic folklore in the city at present times.
{"title":"Folklore Life in Multicultural City of Klaipeda (1990-2015)","authors":"Rimantas Sliužinskas","doi":"10.51515/issn.2744-1261.2018.10.200","DOIUrl":"https://doi.org/10.51515/issn.2744-1261.2018.10.200","url":null,"abstract":"The fatal social disasters have taken place in the city of Klaipėda by the end of the Second World War. After 1945, very few local bilingual (Lithuanian and German speaking) people could be found in Klaipėda. Almost all of the survivors had moved to Germany to escape the Soviet occupation. Soviet authorities created favourable social conditions for skilled volunteers, who came to deserted city from other regions of Lithuania, and from all over the Soviet Union, to work in Klaipėda port and to restore the entire marine industry in the 1950s–1960s period. The Russian, Belorussian, German, Jewish, Ukrainian, Polish, Latvian, Tartar, Armenian, Azerbaijani, and other national minorities have become an integral part of the social and cultural life in contemporary Klaipėda. In the light of these historical facts, the goal of the article is to discuss the possibilities of the most representative national societies to maintain and promote their ethnic roots, traditions and the authentic folklore in the city at present times.","PeriodicalId":84634,"journal":{"name":"Educafrica (English version)","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76188394","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}
Pub Date : 2018-10-22DOI: 10.51515/issn.2744-1261.2018.10.359
M. Dittrich
After the end of the old Empire in the Napoleonic Age, the states which are now Austria and Germany have separated gradually. But due to the rivalry which had emerged between Prussia and Austria in the decades before the new German Empire excluded Austria, the concept of “Germany” had to be redefined by differentiation not only from France, but from Austria too. Promoting the idea of an inherently “German” culture without admitting the superiority of practically all European cultural centres and especially of Vienna’s rich cultural and musical heritage required a redrawing of the map of Europe`s musical memory with the help of great dividers like religion or gender roles. Germans liked to believe that they were, as predominantly Protestants, more intellectual, progressive, and masculine, as opposed to the decadent, traditionalist Catholics in Austria. This “othering” of Austria affected the reception of composers like Beethoven, whom Prussia appropriated as German, or Schubert as typically Austrian. Similar differences were constructed with the shifting relationships between Germany and Austria after the WWI and after National Socialism, and when Germany itself was divided once more.
{"title":"How to Split the Heritage when Inventing a Nation. Germany's Political and Musical Division","authors":"M. Dittrich","doi":"10.51515/issn.2744-1261.2018.10.359","DOIUrl":"https://doi.org/10.51515/issn.2744-1261.2018.10.359","url":null,"abstract":"After the end of the old Empire in the Napoleonic Age, the states which are now Austria and Germany have separated gradually. But due to the rivalry which had emerged between Prussia and Austria in the decades before the new German Empire excluded Austria, the concept of “Germany” had to be redefined by differentiation not only from France, but from Austria too. Promoting the idea of an inherently “German” culture without admitting the superiority of practically all European cultural centres and especially of Vienna’s rich cultural and musical heritage required a redrawing of the map of Europe`s musical memory with the help of great dividers like religion or gender roles. Germans liked to believe that they were, as predominantly Protestants, more intellectual, progressive, and masculine, as opposed to the decadent, traditionalist Catholics in Austria. This “othering” of Austria affected the reception of composers like Beethoven, whom Prussia appropriated as German, or Schubert as typically Austrian. Similar differences were constructed with the shifting relationships between Germany and Austria after the WWI and after National Socialism, and when Germany itself was divided once more.","PeriodicalId":84634,"journal":{"name":"Educafrica (English version)","volume":"29 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82653270","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}
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：