LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA最新文献

{"title":"Inter-American Mediations: Charles Seeger, Domingo Santa Cruz, and the Politics of Transnational Musical Exchange","authors":"Amanda Minks","doi":"10.7560/lamr41104","DOIUrl":"https://doi.org/10.7560/lamr41104","url":null,"abstract":"abstract:In the 1940s, inter-American music projects created new networks of intellectual and musical exchange. This article contributes new archival research on the decades-long relationship between Charles Seeger (US composer, teacher, and cofounder of the Society for Ethnomusicology) and Domingo Santa Cruz (Chilean composer, lawyer, diplomat, and founder of the Chilean Music Review). A conceptual focus on \"mediations\" brings together textuality, materiality, and ideology to expand our narratives and methodologies in critically analyzing the geopolitics of musical knowledge.resumen:En los años de 1940, los proyectos interamericanos de música crearon nuevas redes de intercambios intelectuales y musicales. Este artículo contiene nuevas investigaciones de archivo sobre la relación durante décadas entre Charles Seeger (compositor y musicólogo estadounidense, funcionario cultural, y cofundador de la Sociedad de Etnomusicología) y Domingo Santa Cruz (compositor chileno, abogado, diplomático, y fundador de la Revista Musical Chilena). Un enfoque conceptual sobre \"mediaciones\" reúne textualidad, materialidad e ideología para ampliar nuestras narrativas y metodologías en análisis crítico de la geopolítica del conocimiento musical.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"320 14","pages":"119 - 93"},"PeriodicalIF":0.1,"publicationDate":"2020-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41280920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Politicizing Carnival Brass Bands in Olympic Rio de Janeiro: Instrumental Protest and Musical Repertoires of Contention","authors":"Andrew Snyder","doi":"10.7560/lamr41102","DOIUrl":"https://doi.org/10.7560/lamr41102","url":null,"abstract":"abstract:In Brazil's volatile context of hosting the World Cup and Olympics, economic crisis, and neo-fascist politics, a brass band movement in Rio de Janeiro that originated in the street carnival revival at the turn of the millennium has dedicated itself to providing musical support at street protests, adapting carnivalesque repertoires to \"musical repertoires of contention.\" In critiquing the predominant focus on lyrics, I examine instrumental protest, or how sound mobilizes protest in the public spaces of a neoliberal global city. I argue that public festivity is a generative force for political mobilization and that understanding the cultural politics of carnival involves exploring how it resonates beyond the season.resumen:No contexto volátil do Brasil, como sede de megaeventos esportivos, com crise econômica e política fascista, o movimento carioca de fanfarras, originado da revitalização do carnaval de rua na virada do milênio, tem sido orientado para mobilizar protestos de rua, adaptando os repertórios carnavalescos aos \"repertórios musicais de contenção\". Criticando o foco predominante nas letras, examino \"protesto instrumental\", ou seja, como o som mobiliza protestos nos espaços públicos de uma cidade neoliberal globalizada. Eu argumento que a compreensão da política cultural do carnaval envolve explorar como os repertrios de carnaval rassoam além do período dedicado à festividade.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"41 1","pages":"27 - 58"},"PeriodicalIF":0.1,"publicationDate":"2020-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49236277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Pacheco and Charanga: Imitation, Innovation, and Cultural Appropriation in the Típico Tradition of New York City","authors":"Sm Miller","doi":"10.7560/LAMR41101","DOIUrl":"https://doi.org/10.7560/LAMR41101","url":null,"abstract":"abstract:This article explores the performance practice and aesthetics of Cuban dance music in the United States in relation to the concept of sabor. This multifaceted term encompasses a range of meanings and includes, among other elements, a dance imperative, melodic call-and-response-style inspiraciones, and a clave feel. A case study of Dominican-born Johnny Pacheco, a charanga flute player and the cocreator of the term salsa, allows for exploration of a specific New York–based sabor as well as consideration of issues such as imitation, innovation, and cultural appropriation in the context of charanga típica performance in mid-twentieth-century New York. Pacheco's musical contributions, critiqued by Juan Flores as \"traditionalist\" and by John Storm Roberts as \"revivalist,\" have often been overshadowed by his considerable entrepreneurial activities. Rather than examine his work as a record producer and entrepreneur, this article looks to Pacheco's earlier recordings made as a charanga flute improviser to demonstrate that, pace Roberts and Flores, his improvisational style illustrates a particular New York performance aesthetic rooted in clave aesthetics and the rich musical culture of the Bronx—an aesthetic that is related to, but distinct from, that of earlier Cuban role models.resumen:Este ensayo explora la interpretación (performance practice) y la estética de la música cubana bailable en los Estados Unidos en relación con el concepto del sabor. Este término multifacético abarca una variedad de significados que incluye, entre otros elementos, bailabilidad, inspiraciones improvisadas en diálogo con la orquesta y un entendimiento del concepto de clave. El artículo utiliza el caso del dominicano Johnny Pacheco, flautista charanguero y cocreador del término salsa, para explorar el sabor de Nueva York y para considerar cuestiones de la imitación, la innovación y la apropiación cultural en el contexto de la charanga típica a mediados del siglo XX en Nueva York. Las contribuciones musicales de Pacheco, criticadas por Juan Flores por ser \"tradicionalista\" y por John Storm Roberts por ser \"renovador\" (revivalist), a menudo han sido eclipsados por sus considerables actividades empresariales. En lugar de examinar su aportación como productor discográfico y emprendedor, este trabajo mira a la obra anterior de Pacheco como un improvisador de flauta charanga para demostrar cómo, contrario a Roberts y Flores, la música de Pacheco es una expresión de sabor que tiene raíces en la rica cultura musical del Bronx, un sabor que tiene estética cubana y nuyorquina.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"41 1","pages":"1 - 26"},"PeriodicalIF":0.1,"publicationDate":"2020-05-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47726884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"La globalización de la música instrumental a fines del siglo XVIII: Recepción del repertorio galante y clásico en Lima (c. 1770–c. 1800)","authors":"Alejandro Vera","doi":"10.7560/lamr41103","DOIUrl":"https://doi.org/10.7560/lamr41103","url":null,"abstract":"resumen:Hacia 1800, la música instrumental europea había alcanzado un gran nivel de difusión. En el caso de Latinoamérica, no obstante, la información al respecto se ha concentrado fundamentalmente en México y ha dejado en la oscuridad a otras ciudades. Este artículo aspira a proporcionar nueva evidencia y perspectivas sobre la recepción de la música galante y clásica en Lima, a partir de una revisión detallada de los registros de aduana del puerto del Callao y un análisis de un villancico que, pese a ser una pieza vocal escrita en la tradición española, muestra una clara influencia del estilo clásico.abstract:Around 1800, European instrumental music had attained far-reaching dissemination. Regarding Latin America, however, most of the information on this topic has focused on Mexico City, leaving in the dark other urban centers. This article is intended to supply new evidence and perspectives on the reception of galant and classical music in Lima on the basis of a detailed review of customs records from the port of Callao and an analysis of a villancico that, despite being a vocal piece written in the Spanish tradition, shows the clear influence of the classical style.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"41 1","pages":"59 - 92"},"PeriodicalIF":0.1,"publicationDate":"2020-05-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47396670","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Análisis de un modelo melódico de los romances de tradición oral del Atrato medio","authors":"A. Restrepo, Federico Ochoa Escobar, Sara López Marín, Julián Serna Gallego","doi":"10.7560/lamr40203","DOIUrl":"https://doi.org/10.7560/lamr40203","url":null,"abstract":"resumen:El presente artículo expone un modelo melódico de los romances tradicionales del Atrato medio. Modelo melódico corresponde a una serie de melodías que se reconocen como similares en la tradición sonora de la región, de manera que al cantarlas, si bien tienen importantes diferencias musicales, comparten muchas semejanzas, entre ellas el hecho de tener en común un mismo estribillo. Se ofrece una breve contextualización sobre los romances de la cultura de esta subregión de Colombia, y se hace un repaso por otras investigaciones que han abordado este fenómeno musical. Se define el término “romance” y el uso que le otorga la cultura regional que lo apropia para finalmente presentar una caracterización más amplia del concepto “modelo melódico” asociado al de “contorno melódico”, y exponer un ejemplo de este concepto mediante el análisis de las características musicales de un grupo de obras de esta tradición musical.abstract:This article presents a melodic pattern of traditional romances from the middle Atrato River region. The “melodic model” refers to a series of melodies recognized as similar in the sound tradition of the region, so that when they are sung, despite their musical differences, they also share many similarities, including having the same refrain. This article offers a brief contextualization of the romances of the culture of this western subregion of Colombia and reviews other studies that have addressed this musical phenomenon. The term romance is defined, as is the way it is used by the regional culture that has adopted it. Finally, the article presents a broader characterization of melodic pattern, a concept associated with melodic contour, and provides an example of this by analyzing the musical characteristics of a group of works from this musical tradition.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"40 1","pages":"169 - 193"},"PeriodicalIF":0.1,"publicationDate":"2019-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46028618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Del ayllu a la metrópoli: Transformación de los usos y significados de la música aymara al interior de una comunidad transnacional de resurgentistas de la música andina","authors":"Daniel Castelblanco","doi":"10.7560/lamr40201","DOIUrl":"https://doi.org/10.7560/lamr40201","url":null,"abstract":"resumen:Este artículo examina los procesos a través de los que una comunidad transnacional de resurgentistas de la música andina transfiere, modifica y apropia ciertos conocimientos de origen indígena. Los sikuris (intérpretes de flautas de pan) reproducen prácticas musicales y rituales andinas para promover valores solidarios que perciben como amenazados por la globalización. En el proceso de transferir dichas prácticas desde aldeas agrícolas hasta las capitales cosmopolitas de Latinoamérica, las transforman tanto de modo consciente como involuntario. Además de modificaciones estéticas, estas transformaciones involucran cambios en los significados y usos que los campesinos indígenas originalmente atribuyen a la música. Este artículo ofrece una actualización del análisis de Thomas Turino sobre las primeras generaciones de sikuris no-puneños en Lima. Examino las continuidades y especialmente las diferencias entre esa escena precursora y las escenas sikuri contemporáneas.abstract:This article examines the processes by which a transnational community of Andean music revivalists transfers, modifies, and appropriates certain indigenous knowledge. The sikuris (interpreters of Aymara pan flutes) claim to reproduce Andean musical practices and rituals that promote values emphasizing solidarity but perceived as threatened by globalization. In the process of transferring such practices from agricultural villages in the Andes to cosmopolitan Latin American capitals, they transform them both consciously and involuntarily. In addition to aesthetic modifications, the transformations involve changes in the meanings and uses that indigenous peasants originally attribute to the music. This article updates Thomas Turino’s analysis of the first generations of non-Puneño sikuris in Lima. I examine the continuities and especially the differences between that pioneer scene and the contemporary sikuri scenes.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"40 1","pages":"105 - 137"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45065237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Controversia Cubana: The Poetic Politics of Punto Guajiro","authors":"W. Hope","doi":"10.7560/lamr40204","DOIUrl":"https://doi.org/10.7560/lamr40204","url":null,"abstract":"abstract:This article examines the Cuban musical tradition punto guajiro and the performance of controversias, poetic “duels” or “controversies.” I chart a brief history of the décima and its incorporation into Cuban popular music. Drawing on my ethnographic studies, I examine musical forms and poetics with which contemporary practitioners embody and enact nationalist sentiment and historical consciousness through their verbal art. I then consider the mass political rallies in Cuba in 2000 and the custody battle for the Cuban child Elián González, which placed the performance of punto guajiro at center stage in the nationalist contestations of this international controversy.resumen:Este artículo examina la tradición musical cubana del punto guajiro y la improvisación de controversias. Construyo una breve historia de la décima y su incorporación dentro de la música popular cubana. Basado en mis estudios etnográficos, examino las formas musicales y la poética con que los repentistas contemporáneos encarnan y expresan el sentimiento nacionalista y la conciencia histórica por medio de su arte verbal. Considero las tribunas abiertas en Cuba en el año 2000 y el conflicto sobre el niño cubano Elián González, que se situó las interpretaciones del punto guajiro como un enfoque central en las contestaciones nacionalistas de esta controversia internacional.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"40 1","pages":"194 - 223"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42271564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Zamacuecas de papel: Interrogando un baile decimonónico desde la partitura","authors":"Laura González, José Manuel Herrero Izquierdo, Rodrigo Alvarado","doi":"10.7560/LAMR40102","DOIUrl":"https://doi.org/10.7560/LAMR40102","url":null,"abstract":"ABSTRACT:Again and again, Chilean and Latin American musicologists have considered the zamacueca as simply the predecessor of the cueca, a well-known regional dance. Having done a thorough critical revision and recent edition of original scores from the nineteenth century, the authors propose a different perspective on the zamacueca as in constant transformation during the period. Considering the different practices alluded to in the scores, from salon performances to virtuoso concerto fantasias, we interrogate several features of the scores, showing that there is not a single structure or ideal for the zamacueca in the nineteenth century. Going back to the long-unasked question about the sound of the zamacueca, we propose going beyond the traditional national and folkloric readings of it in Peru and Chile to observe the multiple changes in its porous identity.RESUMEN:Una y otra vez, la musicología chilena —y en buena parte latinoamericana—ha considerado a la zamacueca simplemente como la antecesora directa de la cueca. A partir de una revisión crítica de partituras originales del siglo XIX, editadas para una reciente publicación, en este artículo los autores planteamos una perspectiva distinta para entender la zamacueca como un concepto en permanente construcción. Tomando en cuenta las distintas prácticas a las que aluden estas partituras, desde el salón a la fantasía virtuosa de concierto, interrogamos una serie de rasgos que demuestran que la zamacueca decimonónica no es una sola. Retomando la postergada pregunta por el sonido de las zamacuecas, proponemos un deslinde de su típica atribución nacional —chilena o peruana—y folclórica para observar en cambio sus identidades porosas.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"40 1","pages":"32 - 58"},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46640059","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Haiti's Hidden Archives and Accidental Archivists: A View on the Private Collections and Their Keepers at the Heart of Safeguarding the Nation's Classical Music Heritage","authors":"Rebecca Dirksen","doi":"10.7560/LAMR40103","DOIUrl":"https://doi.org/10.7560/LAMR40103","url":null,"abstract":"ABSTRACT:Private archives play a critical role in the safeguarding of Haitian cultural heritage, even as they are often precariously held collections. In this article, I take a closer look at the vulnerability of these documents as unique remnants of history that are often located exclusively in personal collections. Although this article specifically addresses tangible records of Haitian mizik klasik (European-style art music)—musical scores, for example—the considerations and arguments advanced herein may extend to heritage documents, tangible culture, and patrimony in more general terms. With this study, based on long-term ethnographic and archival work, I attempt to demonstrate, through a few key examples, the critical importance of private archives for maintaining the history of Haitian mizik klasik; to document losses, and near losses, of musical texts from the nation's most heralded composers—among them, Occide Jeanty, Werner Jaegerhuber, Édmond Saintonge, Justin Élie, and Lina Mathon Blanchet—to support future scholarship on Haitian mizik klasik; to highlight a range of issues and obstacles that routinely affect archives and impede the safeguarding of cultural materials in Haiti; and to draw attention to broader dialogues that accompany local conceptions of cultural heritage and therefore affect decisions about whether any of this material is worth saving for future generations, and, if so, how to go about accomplishing that task.RESUMEN:Las colecciones privadas desempeñan un papel fundamental en la salvaguardia del patrimonio de música clásica Haitiana, a pesar de que estos archivos se mantienen en condiciones precarias. En este artículo, investigaré con más profundidad la vulnerabilidad de estos documentos como restos únicos ubicados exclusivamente en colecciones privadas. Aunque este ensayo aborda específicamente registros tangibles de la misik klasik de Haití (partituras musicales, por ejemplo), los argumentos y consideraciones presentados aquí podrían ampliarse para abarcar documentos de patrimonio, cultura tangible y patrimonio cultural en términos más generales.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"40 1","pages":"59 - 88"},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48412659","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Los cancioneros: Vectores impresos de la cultura musical popular en el Chile del 1900","authors":"Tomás Cornejo, A. Ledezma","doi":"10.7560/LAMR40101","DOIUrl":"https://doi.org/10.7560/LAMR40101","url":null,"abstract":"ABSTRACT:Songbooks, printed compilations of musical texts intended for the urban popular classes, constitute a comprehensive record for understanding social practices around music in the late nineteenth and early twentieth centuries in Chile. A representative collection of more than seventy songbooks, published in different Chilean cities and preserved in Berlin, allows for a glimpse into the processes of audience formation and expansion. This article emphasizes the printed nature of this cultural manifestation, describing its relationship to other printed matter in a context of a growing reading culture. It also highlights the presence of compositions from diverse geographic origins, mainly in Iberian America, a sign of intense circulation of rhythms and formation of a transnational musical space before phonographs and radio were widely available.RESUMEN:Los cancioneros, compilaciones impresas de textos musicales destinados a los sectores populares urbanos, son documentos hasta ahora poco explorados para comprender las prácticas sociales en torno a la música entre fines del siglo XIX e inicios del XX en Chile. Una colección representativa de más de setenta ejemplares editados en distintas ciudades chilenas y conservados en Berlín, permite atisbar los procesos de formación y ampliación de audiencias. El artículo enfatiza el carácter impreso de esta manifestación cultural, describiendo sus vínculos con otros formatos de igual carácter en un contexto de expansión lectora. Se destaca también la presencia de composiciones de diversa procedencia geográfica, con preponderancia de Iberoamérica, indicativa de circulaciones intensas de ritmos y de la formación de un espacio musical transnacional previo a la masificación del fonógrafo y la radio.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"40 1","pages":"1 - 31"},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47237299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}