Scientific herald of Tchaikovsky National Music Academy of Ukraine最新文献

{"title":"Musical Shevchenkiana of Yevhen Stankovych: Interpretation of the Poetical Word in the Oratory “Taras Passions”","authors":"O. Vasylenko","doi":"10.31318/2522-4190.2021.131.243225","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.131.243225","url":null,"abstract":"The relevance of the article is to consider a new perspective of genre transformation in the Ukrainian oratorio of the 21st century, studied in the aspect of the relationship between poetic text and music. The work of Yevhen Stankovуch seems to be the pinnacle of the evolution of passions, during which textual interpolations changed and creatively renewed the genre canon. Despite the significant cultural and social resonance of the oratorio Taras Passion, its creative discoveries have not found coverage in scientific discourse yet.\u0000Main objectives of the study are to investigate the methods of conceptualizing the poetic word of Taras Shevchenko in the musical language of Y. Stankovуch’s oratorio and to reveal the genre innovations of the work. Such perspectives of analysis outline the boundaries of the novelty of this article.\u0000The research methodology is based on the methods of historical, cultural, phenomenological analysis. Their involvement is justified by the complex nature of the scientific problems of the article. Historical method reveals the general content and artistic specificity of the selected segment of Ukrainian musical history; culturological method focuses research on the different types of genres literary, artistic and musical culture; phenomenological method provides the study of certain conceptual contours and promotes the semantic differentiation involved in the analysis of multilevel cultural and artistic phenomena.\u0000Results and conclusions. The features of the uniqueness of modern oratorio opuses with the title “Passion” are determined. The ways of conceptualizing the poetic word in the choral music by Yevhen Stankovych are revealed: they are determined by the process that is able to combine various elements of Ukrainian ethnic culture as well as spiritual and religious traditions. The figurative and ideological concepts of word and music are subordinated to the main principles of the Ukrainian mentality (cordocentrism (philosophy of the heart), sacrifice and chivalry). The multidimensionality of the semantic field of Taras Shevchenko’s poetry is noted, as a result of which the real characters of the national liberation history are endowed with an aura of holiness like biblical persons. The gallery of various images of Y. Stankovych’s oratorio synthesizes the peculiarities of the national worldview and the evangelical virtues. In the pantheon of images of holy martyrs, sung in music, the composer places the image of T. Shevchenko. It is indicated that the story of the last days of the earthly life of the St. Virgin, the Prophet, Jan Hus is of particular importance. The principles of selecting fragments of T. Shevchenko’s poems for the libretto of the oratorio directly correspond to the genre canons of passions. The author defines the peculiarities of the composer’s interpretation of the personality of T. Shevchenko the poet as a prophet, patriot, bearer of the sacred Word, an ardent preacher of the ideas of spirituality, a br","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"216 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121281005","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":"Fifth Symphony by Ludwig van Beethoven According to Version by Ernst Theodor Amadeus Hoffmann","authors":"Benedetta Saglietti","doi":"10.31318/2522-4190.2021.130.231272","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.130.231272","url":null,"abstract":"The purpose of the article is to characterize the research of its author entitled “Beethoven’s Fifth Symphony in the version of E. T. A. Hoffmann. In the kingdom of infinity” (Saglietti B. La quinta sinfonia di Beethoven recensita da E. T. A. Hoffmann. Nel regno dell’infinito), published in Turin in 2020. The monograph presents new scientific works on the creative heritage by L. van Beethoven; the events having taken place after the first performance of the composer's Fifth Symphony are considered; its musicological analysis, written by E. T. A. Hoffman in 1810, is characterized; its place and role in Italian musicology are determined.The Fifth Symphony was first performed in Vienna on December 22, 1808, this concert performance was as famous as it was unfortunate. The complexity of the piece, its insufficient rehearsal preparation, and the restraint of the audience caused a partial fiasco of the premiere. Beethoven was furious and foresaw negative reviews. Fortunately, he was wrong. Seven months later, the director of the largest German music newspaper, the “Allgemeine Musikalische Zeitung”, sent to Bamberg the edition of the symphony for piano four hands and an extensive review by E. T. A. Hoffmann, who was the first to recognize the Fifth Symphony as a masterpiece, thus determining its fate. It is his critical review that is considered one of the first reviews of music in the history, in the modern sense. But in Italy this original version was forgotten. Later, in “Fantasiestücke in Callot’s Manier” (1814 — first edition, 1819 — second), the review was published in an abridged form under the title “Beethoven's Instrumental Music” and translated into Italian several times.The monograph compares Hoffmann's review with its later, abridged version of the essay, and presents the author's methodology of the first Italian annotated edition; the circle of readers to whom Hoffmann appealed is outlined, it is emphasized that the Italian scholars have long accepted the essay as a review. The essay has been translated into French and English and has been published many times in German.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127686578","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":"“Capricorn Concerto” by Samuel Barber: Content and Genre-Style Dimensions","authors":"O. Antonova","doi":"10.31318/2522-4190.2021.130.231194","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.130.231194","url":null,"abstract":"Relevance of the study. Samuel Barber’s musical legacy is unevenly covered in musicological literature, in particular, “Capricorn Concerto” is on the periphery of scientific attention — the work that is not only bright and interesting, but also indicative of the composer’s creativity as a whole. In addition, researchers, as a rule, do not associate the semantic and stylistic features of a concert with its genre specificity, which ultimately determines the integrity of the artistic structure.The main objective of the study is to identify the relationship between genre, style and content parameters of Capricorn Concerto.The methodology of the research includes the historical and biographical approaches used to study the circumstances of S. Barber’s life and creativity during the period of work on the “Capricorn Concerto”, as well as structural-functional, genre-style and intonational-dramatic methods necessary for a comprehensive analysis of this work.Results and conclusions. “Capricorn Сoncerto” by S. Barber is considered in the unity of content, style and genre characteristics. The existing hypotheses about the links between the program content of the work and the name of the composer’s house in Mount Kisco are presented. The character and dramatic functions of musical themes representing the house and its inhabitants are analyzed, the idea of the personification of the wind instruments’ timbres and the reflection of the generalized program of the work through the game thematic logic and timbre dramaturgy is put forward. The stylistic influences in “Capricorn Сoncerto” are characterized. The connections with baroque music and the Brandenburg Concerto No. 2 by J. S. Bach, presented at the timbre, textured, compositional, intonation levels, as well as in the methods of melodic development, are traced. The unification of the Baroque style elements with modern means of musical expression, in particular those associated with the music of I. Stravinsky, is emphasized. The place of “Capricorn Сoncerto” in S. Barber’s concert legacy is designated. The correspondence of all his four concerts to the basic requirements of the genre is noted, and at the same time specificity of “Capricorn Сoncerto”, manifested in its instrumental composition (three solo wind instruments and a string orchestra), structural organization (subordination of the compositional structure to the through development of the concert principle of dialogue) and the ratio of parties (multilevel dialogical processes) is emphasized. The interrelation of content, style and genre features of “Capricorn Concerto” is substantiated. It is concluded that the most important intentions of S. Barber’s work are reflected in this work: careful preservation of genre traditions, genetic connection with the styles of previous eras, deeply hidden, but always tangible resonance between personal biography and creativity","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"183 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134094596","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":"Opera and Choral Performance in Mykhailo Krechko’s Work","authors":"A. Maslennikova","doi":"10.31318/2522-4190.2021.130.231220","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.130.231220","url":null,"abstract":"The article considers some aspects of opera and choral performance on the example of analysis of the theatrical period of creativity of one of the prominent figures of Ukrainian choral culture, founder of the choir of the State Children’s Musical Theater — People’s Artist of Ukraine, Professor Mykhailo Krechko (1925–1996). M. Krechko as the first chief choirmaster of the theater built his individual principles of work and theatrical traditions inherent in such a unique opera choir. SCMT is the second in the world and the only professional opera and ballet theater in Ukraine for children and youth).The established traditions and peculiarities of the choir’s work in SCMT are analyzed, based on the repertoire of the newly created Theater and the genre range of performances of choir artists (opera, ballet, musical, cantata and oratorio works, a cappella music performance).Formulation of the problem in general. The relevance of the chosen subject is due to the lack of basic scientific research into the life and work of the famous Ukrainian choral conductor M. Krechko. This is the first comprehensive appeal to the activities of an outstanding master of choral work, active propagandist and collector of folk songs, composer, publicist, teacher and music and public figure, who devoted his entire creative life to the development of national choral culture. A separate task is to study and analyze the basis of the traditions of opera and choral performance initiated by M. Krechko during his work at the State Children’s Musical Theater. Also, it is important to systematically study the methodology and means of educating opera choristers on the example of the work of M. Krechko. \u0000Analysis of research and publications to solve the problem. General characteristics of the life and work of Mikhail Krechko are examined in the works of O. Bench-Shokalo, M. Kravchuk, A. Lashchenko, L. Mokanu. The issues of choir and opera choir are analyzed in the works of L. Butenko, O. Letychevska, B. Pokrovsky, K. Pigrov, P. Chesnokov, which explores the functioning of the choir and the nuances of managing this process, as well as the work of specialists in the opera house.The problem of the specifics of M. Krechko’s work with the opera choir was not raised in the scientific literature, which determined the relevance of this article. The research materials of the archive of the “Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth” — programs of performances and concerts, reviews; family archival materials of the Krechko family; publications by M. Krechko and devoted to the work of M. Krechko (booklets, articles in newspapers and magazines, author’s books and reference books). Also, below are a number of personal conclusions of the author of the article while working as a choir artist under the direction of M. Krechko.The purpose of the article is to study the life and work of M. Krechko as an opera choirmaster, his methodology and practical implementation of th","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127768554","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":"“Distant Bells” by Phank Kok Jun: Chamber-Instrumental Version of the Dialogue between Chinese and European Traditions","authors":"Li Xiaoxi","doi":"10.31318/2522-4190.2020.128.215204","DOIUrl":"https://doi.org/10.31318/2522-4190.2020.128.215204","url":null,"abstract":"Relevance of study. There are considered the features of the chamber-instrumental version of the Concerto for daruan and the orchestra of traditional instruments “Distant Bells” by contemporary Chinese composer Phank Kok Jun. The relevance of the topic caused by extending interest of musicologists in the issues of the interaction between eastern and western musical traditions in both composer and performing aspects.Main Objective. The purpose of the article is to reveal the specifics of the chamberinstrumental version of “Distant Bells” for daruan with piano, cello and percussion by Phank Kok Jun as a reflection of the dialogue between European and Chinese musical traditions.Methodology. The research methodology is based on the method of genre attribution used to clarify the genre nature of “Distant Bells”; historical-typological approach — for understanding the place of the work among other concert opuses of Chinese composers; the method of structural analysis to determine the form of the work; the method of semantic analysis to determine the correspondence of the program to the musical events of the piece and the method of stylistic analysis to determine the intro and extra-stylistic components of musical vocabulary.Results/Finding and Conclusions. It is established that this opus is an alternative interpretation of the concert created for the ensemble of daruan with piano, cello and percussion, which has gained great popularity among performers. It was revealed that when orchestral parts are translated to the timbres of the soloing Chinese instrument and European duet of piano and cello, a peculiar dialogue between Western and Eastern musical traditions arises. Such a timbre-acoustic connection makes adjustments to the genre and compositional profile of the work. As a result, the genre modus of “concerto” is reinforced in numerous solo episodes, cadences, improvisations. The compositional structure of the concert’s sections is influenced by national musical frame’s types, usually based on the variant development of theme connected with eastern improvisational tradition. The palette of stylistic features and linguistic means combines modal, metro-rhythmic, timbre features of Chinese and European music. It has been established that it is instrumental reorientation that brings allusions of “Western” origin, supporting the dialogue with the Chinese stylistic and significantly expand the semantic horizons of the work","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121495489","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":"Guitar creativity of Agustin Barrios in the context of the development of Paraguayan music","authors":"Tymur Ivannikov, T. Filatova","doi":"10.31318/2522-4190.2019.124.165413","DOIUrl":"https://doi.org/10.31318/2522-4190.2019.124.165413","url":null,"abstract":"Досліджено творчість відомого гітариста-композитора Агустіна Барріоса у контексті формування та розвитку парагвайської музичної культури ХХ століття. Визначені основні напрями художньої діяльності митця, його роль у становленні акаде-мічного гітарного мистецтва й створенні оригінального репертуару. В обраних творах «Парагвайські танці», «Шоро саудад», «Собор», «Останнє тремоло» виявлені гібридні індіанські, іспано-португальські, афроамериканські ритмоінтонаційні формули та жанрові модуси. Окреслені риси композиторського стилю, пов’язані з культурними інтенціями інді-хенізму, іспаністики, а також стильовими алюзіями барокової та романтичної європейської традиції.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121804012","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":"Stanislav Lyudkevych – the Artist of Universal Talent","authors":"Olha Komenda","doi":"10.31318/2522-4190.2019.124.165420","DOIUrl":"https://doi.org/10.31318/2522-4190.2019.124.165420","url":null,"abstract":"","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131050782","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":"Art rock concert practice and its projection into the XXIst century","authors":"V. Romanko","doi":"10.31318/2522-4190.2019.124.165409","DOIUrl":"https://doi.org/10.31318/2522-4190.2019.124.165409","url":null,"abstract":"У статті висвітлено особливості арт-року як складової рок-культури, підкреслено його зв’язок з академічною музикою. Проаналізовано інформацію щодо характеру проведення концертів арт-рокових гуртів від зародження цього мистецького явища до нашого часу. На основі порівняння особливостей класичного періоду арт-року (друга половина 1960-х – середина 1970-х рр.) та його подальшого сценічного функціонування здійснено характеристику деяких важливих параметрів процесу змін концертної практики.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127982487","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":"Directions in Romanian Music of Banat Region in National and European Context","authors":"V. Demenescu","doi":"10.31318/2522-4190.2019.124.165416","DOIUrl":"https://doi.org/10.31318/2522-4190.2019.124.165416","url":null,"abstract":"Актуальність дослідження. Цензурні обмеження, характерні для попереднього періоду розвитку румунського музикознавства, зумовлюють необхідність та актуальність перегляду застарілих поглядів, пропаганди ретроспективи румунської музичної культури, а також дослідження її внеску в європейське мистецтво, починаючи з XIX та першої половини ХХ століття. Метою дослідження є аналіз вкладу румунських композиторів (зокрема, регіону Банат) у формування спільної музичної мови європейськогор простору. Методологія дослідження . Музикознавчі штудії композиторських прийомів, що їх використовували композитори Банатського регіону, Румунії та Європи, базуються на порівнянні композиційних закономірностей та виявленні подібності у їх створенні. Для коректного порівняння використано прийоми узагальнення (головні напрямки, що існують в румунській музиці) та зіставлення з європейськими моделями, типовими для музичного мистецтва кінця ХІХ і початку ХХ століття. Основні результати та висновки дослідження . Прослідковуючи еволюцію композиційних прийомів у знакових композиторів регіону Банат та посилаючись на досвід румунських та європейських композиторів, на основі діахронічної презентації доведено, що пік творчості митців Баната відзначений орієнтацією на досягнення румунських та європейських митців. Зв’язок румунських та загальноєвропейських прийомів композиції у цей період здійснювався через присутність у музичній мові спільних елементів, що виявляються у музичних творах представників національних шкіл. Зокрема, модальність, що виявляється у багатовалентному функціоналізмі та використанні модальних каденцій, зустрічається у Джорджа Енеску в «Семі піснях» на словах Клемента Маро, Сигізмунда Тодуца в Концерті для струнного оркестру, Сабіна Драгої в Дивертименто Рустико та Поля Константинеску в Різдвяній візантійській ораторії. Мажоро-мінорні прояви зустрічаються у Третій сонаті Джордже Енеску для фортепіано і скрипки, квартові гармонії – у Сабін Драгої (в циклі «24 народні пісні та вірші») та Міхаїла Жора (в балеті La piaţă), кластерні співзвуччя – в сюїті Джордже Енеску «Враження дитинства». Різними шляхами кожен з названих композиторів приходить до гармонії, структурні особливості якої відображають індивідуальність музичної мови конкретного митця. Найважливішим і загальним для всіх є хроматизація, яка виводить цю музику зі сфери тонально-функціонального мислення. Ще одним кроком на цьому шляху є зміна традиції терцової організації вертикальних структур, що передбачає різні комбінації інтервалів. У цій інтервальній комбінаториці звучання набуває інтенсивних колористичних характеристик, надаючи фольклорним мелодіям регіону Банат особливої аури.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128527177","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":"The genre of the motet in the Jean-Philippe Rameau's creativity","authors":"V. Artemieva","doi":"10.31318/2522-4190.2019.124.165411","DOIUrl":"https://doi.org/10.31318/2522-4190.2019.124.165411","url":null,"abstract":"Розглянуто ранній період творчості Ж.-Ф. Рамо, представлений жанром великого французького мотету. Проаналізовано другу редакцію найвідомішого мотету композитора «In convertendo» (1751). Досліджено зв'язок з музично-театральним мистецтвом XVIII століття та жанром ліричної трагедії. Виявлено причини «сценічності» музики мотетів Ж.-Ф. Рамо, простежено втілення «театральності» століття Людовика XIV в духовних жанрах. Викладено ідею про поєднання концертного і релігійного елементів у «великих мотетах», що надавало сприятливі можливості для вираження духовних ідей у жанрах світської музики.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"16 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123869791","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}