Problemy muzykal'noi nauki / Music Scholarship最新文献

{"title":"“In Her Own Repertoire”: Ksenia Kourakina on the Stage of the Cameo Theater Krivoe Zerkalo [Distorted Mirror]","authors":"Natela I. Enukidze","doi":"10.56620/2782-3598.2023.2.128-139","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.2.128-139","url":null,"abstract":"This article presents an attempt to reconstruct the intermediate repertoire of the cameo theater Krivoe Zerkalo [Distorted Mirror]. During the Soviet period of the theater’s activity, the “singer of intimate songs” Ksenia Kourakina (1903–1988) enjoyed considerable success among the sideshow actresses, who, according to the press announcements, performed “in her own repertoire” (a Russian expression, meaning “behaving in her own typical manner”). The possibility of a partial reconstruction has been provided by materials of the State Museum of Musical and Theatrical Art (St. Petersburg). The funds of Kourakina’s archive comprise a repertoire list of 35 items, a number of musical materials (partly published, partly handwritten), as well as an autobiography written by the singer in 1950. Another source of information was the press of Petrograd (which was called Leningrad from 1924 to 1991), primarily, the journal Rabochiy i teatr [The Worker and the Theater]. The scarce amount of responses by reviewers to Kourakina’s performances, along with an analysis of the available part of the sources, allowed us to arrive at the following conclusions. Ksenia Kourakina’s overall repertoire was diverse both in terms of genre and of subject matter and, most importantly, reflected the tastes and preferences of the Soviet public in the late 1920s. The time-tested pre-revolutionary “hits” coexisted in it with new infatuations. Kourakina performed new songs about miners and street children, “street songs” and a particular song about a brick factory — the famous song Kirpichiki [The Little Bricks]. Some of them have subsequently become iconic in the history of Soviet culture. However, Kourakina herself maintained a preference of pre-revolutionary songs of the “era of tabby gowns,” — such as, Dolores, Latinsky kvartal [The Latin Quarter], etc. The most significant of them is Shumit nochnoy Marsel [Marseille is Bustling with Noise at Night] by Yuri Milyutin and Nikolai Erdman. Having been composed already in the Soviet era, it made use of the musical and literary cliches of the Silver Age, “referring” to the works of Alexander Blok, Vsevolod Meyerhold, Alexander Tairov, to Georges Bizet’s Carmen, an opera that was very popular in pre-revolutionary Russia. On the stage of Krivoe zerkalo Ksenia Kourakina did not limit herself to merely performing her songs as interludes. She “played out” the plotlines, making use of the so-called “declamatory singing” that combined “musical melodiousness, declamation and acting”. Thereby, Kourakina’s interludes presented “song theater,” the foundations of which had been previously laid by Alexander Vertinsky, Izabella Kremer and Ilia Ilsarov on the stages of Russian cabarets and cameo theaters even before 1917.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124927837","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 Instrumental Concerto in Bent Sørensen’s Musical Output","authors":"E. Okuneva","doi":"10.56620/2782-3598.2023.2.162-176","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.2.162-176","url":null,"abstract":"In the musical output of the modern Danish composer Bent Sørensen, the genre of the instrumental concerto occupies the leading position. The composer has written eight concertos, as well as a number of orchestral works in which particular solo instruments stand out. Based on their analysis, the article reveals the composer’s approach to this genre and the possibility of maintaining it. One of the characteristic features of Sørensen’s concerto works is the programmatic quality. The composer’s works are united by common themes of decay, disappearance, as well as reflection of musical culture, which leads to a saturation of the musical material by means of various stylistic allusions. The unified conceptual sphere gives rise to the phenomenon of connections between different musical works in the output of the Danish composer, while the stylistic juxtapositions, as well as the contrasts of the heterogeneous material in terms of timbre and texture embody the principle of dialogue, which is characteristic of the genre of the concerto. The programmatic quality determines the variety of compositional solutions of Sørensen’s concertos, in which connection, it is proposed to differentiate all of his compositions into two categories: one is represented by compositional models that preserve or revise the concerto form (for example, the Violin Concerto, the Clarinet Concerto, the Third Piano Concerto), and the other demonstrates models, each one focusing on an individual project (for example, the First Piano Concerto, the Accordion Concerto, the Harpsichord Concerto, etc.). In the latter case, elements of instrumental theater are often introduced into the concerto genre. One specific means of dramaturgy in Sørensen’s concerto opuses is the technique of transformation of the timbre and acoustics of the sound sphere, which involves changing the means of playing, the instruments or the sound sources (for example, a transition of the functioning of the orchestral musicians to singing and playing harmonicas in the Accordion Concerto, the transition from playing tremolo to creating sounds on sandpaper blocks in the composition Mignon — Papillons, the substitution of acoustic sound with tape recording in the Clarinet Concerto). The provided analysis allows us to arrive at the conclusion that the sphere of the instrumental concerto forms a single musical-semantic space in Sørensen’s musical output, which is endowed with its own personal characteristic features.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"117 5 Pt.2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129040387","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 Paradigm of Gesture in Leevi Madetoja’s Okon Fuoko","authors":"V. I. Nilova","doi":"10.56620/2782-3598.2023.2.103-114","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.2.103-114","url":null,"abstract":"The music of Jean Sibelius’ younger contemporary and his private student Leevi Madetoja is little known in Russia. He is traditionally reckoned among the late romanticists, and his music was developed during Sibelus’ life and under his “shadow.” Nonetheless, Madetoja’s heritage is in need of a critical reevaluation in order to understand the composer’s involvement in the relevant tendencies and paradigms of 20th century music. The article brings biographical facts which formed the composer’s character and aural experience, and characterization is given to the artistic context of early 20th century Paris in the spheres of the theater and the ballet. As the object of study in the aspect of relevant paradigms, the suite from the ballet Okon Fuoko, created by the composer in 1930. The reason the ballet was forgotten after its premiere and its two genre-related versions are examined. The variant readings in determining the genre by Finnish researchers in defining the genre of the work, and the definition which was preserved in the composer’s archive is established. Paul Knudsen’s scenario appealing to the tradition of the Japanese puppet theater and the makeup of the suite are indicative for the period of the Europeans’ fascination with exoticism and search for a new plastic language. The analysis of the Grotesque Dance reveals features of gesture paradigm and the peculiarity of the composition’s musical dramaturgy, which provides grounds for calling Okon Fuoko a ballet for orchestra.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129637764","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":"Franz Schubert’s Alfonso and Estrella: Concerning the Origins of the Plotline","authors":"N. V. Pilipenko","doi":"10.56620/2782-3598.2023.2.090-102","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.2.090-102","url":null,"abstract":"Alfonso und Estrella, the only opera composed by Franz Schubert without spoken dialogue, was created in collaboration with one of the composer’s closest friends, Franz von Schober. Despite the fact that a significant amount is known about the circumstances of the libretto’s origin, we can only surmise regarding the sources on which its creator relied. In the literature about Schubert, a number of assumptions are made about these sources — two books on the history of Spain published in Germany in the late 18th and early 19th centuries, as well as a number of works by German romantic writers. This article discusses other books which in all possibility served as source materials: History of Spain by Alexander Adam (Adams Geschichte von Spanien seit der Entdeckung bis zur Thron-Entsagung Karls IV), published in Vienna in 1809, as well as a number of librettos that may have been known to Schober — first of all, Der Taucher by Samuel Bürde, written for Johann Friedrich Reichardt and published in 1811 in Berlin. Based on the analysis of the plot and the poetic text of Alfonso und Estrella, it is shown that Schober was most likely familiar with these sources and actively used them when creating his own libretto.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"106 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131484381","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":"Music of the Cinema of the “New Sincerity”","authors":"J. Mikheeva","doi":"10.56620/2782-3598.2023.2.140-149","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.2.140-149","url":null,"abstract":"The article presents the basic principles and features of the cinema of the “new sincerity”, which asserted itself in the 1980s and reflected an important trend of modern artistic and philosophical-aesthetic thought in the form of a departure from postmodern irony. At the same time, an important “methodological” approach for a creator of a work of art in this direction is to find a balance between sincerity and irony. A significant example of finding such a balance is the work of Finnish film producer Aki Kaurismäki. The article presents a sound analysis of the three of the most famous films that are the most representative of the producer’s style, classified by critics as the so-called “proletarian trilogy” — Shadows in Paradise (1986), Ariel (1988) and The Girl from the Match Factory (1990). In these films, Kaurismäki’s musical “lexicon” is, likewise, crystallized, presenting an original, diverse and, at the same time, surprisingly organic set of “identifying signs” of the musical atmosphere of his movies. An analysis of the features of the functioning role of the music in Aki Kaurismäki’s films (both as presented in the text and as remaining outside it) makes it possible for us to arrive at the following conclusions: the musical accompaniment of an episode of a film creates an opportunity for an indirect, often subtly ironic, but, nonetheless, sincere author’s statement, without a straightforward voicing of the meaning of the intra-frame action; a conscious personal choice of the musical material (both the musical quotations and the original compositions), combined with the visuals, contributes to the creation of polysemantic (intertextual) audiovisual images; the relationship of the film’s music with the producer’s off-screen world presents one of the important principles and an effective way of manifesting “new sincerity” in cinema, simultaneously contributing to the creation of unique artistic screen images; the use of a personal “musical lexicon” contributes to the development of the author’s artistic style in filmmaking, one manifestation of which is bringing in musical meta-quotations that stylistically unify the producer’s various films.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116769270","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":"Review of the Book: Solodovnikova N. G., Sorokina E. A. Emotive Linguoecology of Modern and Ancient Texts. Volgograd: Peremena, 2021. 270 p.","authors":"P. Volkova","doi":"10.56620/2782-3598.2023.2.191-196","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.2.191-196","url":null,"abstract":"The publication presents a review of Ntalia Solodovnikova’s and Elena Sorokina’s monographic research Emotivnaya lingvoekologiya sovremennykh i drevnikh tekstov [Emotive Linguoecology of Contemporary and Ancient Texts] (Volgograd: Peremena, 2021, ISBN 978-5-9935-0436-0). The book is written in the tradition of the Volgograd school of emotivity, whose founder was Victor Shakhovsky (1939–2022) — a significant Russian linguist, doctor of philological sciences, professor, and recipient of the title of Merited Activist of Science of the Russian Federation, whose works are widely known both in Russia and outside of it. Besides the students who attended Professor Shakhovsky’s courses from 1969, under his guidance over thirty dissertations for the degree of Candidate of Arts and fourteen dissertations for the degree of Doctor of Arts have been defended. Among Shakhovsky’s post-graduate students was one of the authors of this monograph – Natalia Solodovnikova, as well as the author of this review. The interest towards Solodovnikova’s and Sorokina’s monographic research is stipulated by the passing of emotiveness beyond the confines of philological studies proper into the spheres of music and the visual arts.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114459133","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":"In Search of Lost Time in Word and Sound: about the Influence of Marcel Proust on the Work of Reynaldo Hahn","authors":"Irina S. Zakharbekova","doi":"10.56620/2782-3598.2023.2.024-034","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.2.024-034","url":null,"abstract":"In the late 19th century two young and original artists — Marcel Proust, who worked not only as a writer, but also as a journalist (a music critic, as well), and Reynaldo Hahn, a composer, music critic and public figure, — fall into the orbit of mutual influences. Having remained friends (which can be seen, in particular, from their correspondence) up until Proust’s death, they have maintained their artistic dialogue in one way or another. As a result of this, a number of Hahn’s compositions dedicated to Proust appear at that time, as well as the cycle Portraits d’artistes – four piano pieces by Hahn with declamation of texts from Proust’s early cycle with the same title. The composition presents a peculiar double ekphrasis, since it portrays four baroque artists (Albert Cuyp, Paulus Potter, Anthony van Dyck and Antoine Watteau), using poetic and musical means, generating synthetic images-metaphors. Hahn’s other compositions permeated with Proust’s aesthetics is his piano cycle Le Rossignol éperdu, the pieces of which were composed at the same time as the first volume of In Search of Lost Time was written. Unifying into a certain resemblance to a cycle, Hahn’s pieces are in effect miniature sketches of images that are different in their nature (poetic, pictorial, architectural, natural, mythological, etc.), affixed with epigraphs and other verbal commentaries. The composition demonstrates the stylistic features essential to the French Belle Époque: passéisme, ornamentality, impressionistic hearing of sound-color, as well as a special attitude towards time. In the outcome, this results in a compilation-cycle continuing the romantic tradition of the traveler’s album (Franz Liszt), turning out to be concordant with compositions of Hahn’s contemporaries (in particular, Debussy’s Preludes) and, in addition, presenting an original musical metaphor of Proust’s novel.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121207217","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":"Sergei Rachmaninoff. The Prelude in C-sharp minor Opus 3 No. 2: Jazz Band Versions in the Swing Era","authors":"Inga A. Presnyakova","doi":"10.56620/2782-3598.2023.2.079-089","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.2.079-089","url":null,"abstract":"Arrangements of classical music in popular genres comprises a discernible stratum of the artistic heritage of the swing era. The practice of jazzing the classics or swinging the classics affected the music of dozens of composers, including Sergei Rachmaninoff. The most highly sought primary text for instrumental transcriptions turned out to be his Prelude inC-sharp Minor. Its jazz band version (from the perspective of the correspondence to jazzing as a stylistic phenomenon and in regards to the techniques of transcription technique) have never formed the subject matter of special attention up to the present. In the article the author presents for the first time the results of examinations of jazzing-transformations of the piece. Each one of the “renewed” versions of the Prelude is endowed with common features for stylistic reorientation (the replacement of the high genres with applied ones, the “transfer” of the academic type of rhythm into swing rhythm, transformations of texture and timbre, etc.), as well as individually transubstantiated techniques of transformation of the original (first of all, the structural-compositional plane). The greatest amount of arrangements of the Prelude is designed for big bands, the sound of which may be called the sound brand of the swing era. Especially representative in this regard are the versions which sounded in performance by the orchestras of Duke Ellington (1938), Glen Gray (1939) and Jack Teagarden (1941). The arrangement from the repertoire of Jack Hilton’s orchestra (1930) stands apart among the band versions. The structure of the original is preserved precisely in it, which makes it possible to call this version a sound transcription of this piano piece. the tempo-rhythm of this example is discerned by its agogics and its absence of swing. Most specific is the sound of the arrangement oriented on Paul Whiteman’s sympho-jazz, following the example of which Hilton incorporates string instruments into his orchestra. The examined band versions of Rachmaninoff’s Preludes demonstrate both the typological correspondence to the phenomenon of jazzing the classics and the individuality of the transcription-based transformations.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121274257","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 Battle of Stalingrad in Russian and Foreign Music","authors":"L. Kazantseva, Oksana I. Lukonina","doi":"10.56620/2782-3598.2023.1.088-105","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.1.088-105","url":null,"abstract":"In this article the authors analyze the artistic elaboration by various composers of the Battle of Stalingrad as a decisive episode of history. Examination is made of the aspects of conceptual solutions, genre-related and stylistic features, the peculiarities of thematicism (included the derived variety), as well as dramaturgy. These questions are posed in connection with the material of music by Russian composers (in the first section) and those from other countries (in the second section). In the present issue of the journal (where the first section is presented) a broad panorama of works by composers pertaining to several generations from Sergei Prokofiev and Dmitri Shostakovich to Sergei Slonimsky, Tikhon Khrennikov-junior and the composers from the city on the Volga. Along with well-known works, oeuvres which have not received scholarly elaboration have ended up being within the sphere of research attention. Characterization is given to images of interpretation of the theme in the various spheres of genre: the cantata-oratorio, theatrical, symphonic, etc. It is noted that despite all the differences of the artistic merits of the compositions, the semantics of the Stalingrad victory inherits the traditions and highest spiritual intentions of Russian culture — assertions of peacefulness as a philosophical-ethical conception of existence.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115931808","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 Kashkin Dynasty and the Catalogues of Sales of Books and Music in Provincial Cities during the Second Half of the 19th and the Early 20th Centuries (from the Collections of the Russian State Library)","authors":"O. V. Radzetskaya","doi":"10.56620/2782-3598.2023.2.115-127","DOIUrl":"https://doi.org/10.56620/2782-3598.2023.2.115-127","url":null,"abstract":"The article examines the work of bookstores and music stores in provincial cities. Their owners successfully adopted their manners of doing business of their colleagues from the two Russian capital cities and formed individual advertising mechanisms of their commercial operations that brought steady and stable incomes. At the present time, the characteristic features and structures of the small enterprises of that time period that were in serious competition with each other and worked to increase consumer demand and expand the market for their products, are of great interest to researchers. Among them is the Kashkin dynasty, which created a successful network of sales of books and music in Voronezh, Orel, Tver and other provincial cities. Its representatives, two brothers, Vladimir Dmitrievich and Lev Dmitrievich Kashkin, realized their potentials in detail in their commercial, creative, and social activities. The Kashkins’ bookstores and libraries epitomized their unique family experience, observed upon acquaintance with their special catalogues, which provided a distinct documentary testimony of the era. They contain valuable information about the structure and the content of the book and library funds, their quantitative and qualitative indicators, and their system of working with clients. The author of the article sees as being especially important the opening of new categories for sales of musical literature and musical instruments. In this context, this material has not yet appeared in the focus of scholarly research and appears for the first time from the position of comprehension the music publishing business in the Russian culture of the second half of the 19th and the early 20th centuries.","PeriodicalId":336083,"journal":{"name":"Problemy muzykal'noi nauki / Music Scholarship","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129671173","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}