Effects of Historical and Analytical Teaching Approaches on Music Appreciation
Identifieur interne : 000144 ( Istex/Corpus ); précédent : 000143; suivant : 000145Effects of Historical and Analytical Teaching Approaches on Music Appreciation
Auteurs : Jessica HalpernSource :
- Journal of research in music education [ 0022-4294 ] ; 1992-04.
English descriptors
- Teeft :
- Additional question, Analytical information, Analytical information group, Analytical information groups, Analytical method, Bach poulenc cliff debussy, Classical music, Control group, Debussy, Extrinsic value, Historical information, Historical information group, Historical method, Music appreciation, Music appreciation course, Music notation, Musical examples, Musical selections, Overall appreciation, Particular types, Popular music, Poulenc, Significant differences, Specific pieces, Treatment groups.
Abstract
In this study, I investigated effects of historical and analytical information on subjects' I responses to music listening experiences. Forty-five undergraduate nonmusic majors were randomly assigned to three groups that received different types of information prior to listening to four compositions. Subjects in one group read analytical information describing the music's structure. Subjects in another group read historical background information describing circumstances under which the composers wrote their music. Subjects in the third group acted as a control and read no information prior to listening. Using 7-point Likert-type scales, subjects rated five aspects of their responses to each piece, which together were intended to measure the overall value that they placed on the piece. Analysis of the groups' scores for each of the four compositions revealed one significant difference, in favor of the group that received historical information. Other qualitative responses also indicated a preference for the historical method of teaching.
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DOI: 10.2307/3345773
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Forty-five undergraduate nonmusic majors were randomly assigned to three groups that received different types of information prior to listening to four compositions. Subjects in one group read analytical information describing the music's structure. Subjects in another group read historical background information describing circumstances under which the composers wrote their music. Subjects in the third group acted as a control and read no information prior to listening. Using 7-point Likert-type scales, subjects rated five aspects of their responses to each piece, which together were intended to measure the overall value that they placed on the piece. Analysis of the groups' scores for each of the four compositions revealed one significant difference, in favor of the group that received historical information. 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Forty-five undergraduate nonmusic majors were randomly assigned to three groups that received different types of information prior to listening to four compositions. Subjects in one group read analytical information describing the music's structure. Subjects in another group read historical background information describing circumstances under which the composers wrote their music. Subjects in the third group acted as a control and read no information prior to listening. Using 7-point Likert-type scales, subjects rated five aspects of their responses to each piece, which together were intended to measure the overall value that they placed on the piece. Analysis of the groups' scores for each of the four compositions revealed one significant difference, in favor of the group that received historical information. 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<pub-date pub-type="ppub"><month>4</month><year>1992</year></pub-date><volume>40</volume><issue>1</issue><fpage>39</fpage><lpage>46</lpage><abstract><p>In this study, I investigated effects of historical and analytical information on subjects' I responses to music listening experiences. Forty-five undergraduate nonmusic majors were randomly assigned to three groups that received different types of information prior to listening to four compositions. Subjects in one group read analytical information describing the music's structure. Subjects in another group read historical background information describing circumstances under which the composers wrote their music. Subjects in the third group acted as a control and read no information prior to listening. Using 7-point Likert-type scales, subjects rated five aspects of their responses to each piece, which together were intended to measure the overall value that they placed on the piece. Analysis of the groups' scores for each of the four compositions revealed one significant difference, in favor of the group that received historical information. Other qualitative responses also indicated a preference for the historical method of teaching.</p></abstract><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>cover-date</meta-name><meta-value>Spring 1992</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> JRME 1992, VOLUME 40, NUMBER 1, PAGES 39-46 39 In this study, I investigatedeffectsof historicaland analytical informationon subjects' undergraduatenonmusic majorswere responsesto music listening experiences. Forty-five randomlyassignedto three groupsthat received different typesof information priorto listentofour compositions. in one group read analytical informationdescribingtheing Subjects music's structure. Subjects in another group read historical backgroundinformation under which the composers circumstances wrotetheirmusic. Subjects the third in describing group acted as a controland read no information prior to listening. Using 7-point Likertwere typescales, subjectsratedfive aspectsof theirresponsesto each piece, which together intendedto measurethe overallvalue that theyplaced on thepiece. Analysis of thegroups' scores each of thefour compositions revealedone significant difference, favor of the in for historicalinformation. Otherqualitativeresponses indicateda prefalso group that received erence the historicalmethodof teaching. for Jessica Halpern, Mc Gill University Effects of Historical and Analytical Teaching Approaches on Music Appreciation The view that music appreciation courses generally aim to foster enjoyment of music as well as respect for it is widely accepted. The word “appreciation,” in the context of most courses titled as such and in the context of this paper, covers a broader scope than usual, and is more a synonym for ‘“aluation” than simply for “discernment.” This study is an attempt to contribute to an understanding of how best to increase the overall value that people with little or no musical training place on music. Repeated listening to specific pieces is one approach whose usefulness in promoting musical appreciation has been demonstrated consistently (Bradley, 1971; Getz, 1966; Hargreaves, 1984). An additional tactic might be to provide information about the piece along with its playing. In this respect, there are various possibilities, two of which were assessed in this study: (a) analytical information concerning the sounds and structure of the music, and (b) historical information concerning the background of the music and the composer. A fair amount of research has been carried out on the merits of teaching the analytical components of music. Bradley (1972) produced significant differences in favor of a treatment group through a 14-week experiment. The treatment con- For copies of this article, contact Jessica Halpern, 160 Henry Street, Apt. 2A, Brooklyn Heights, NY 11201. 40 HALPERN sisted of an analytical approach to listening to specific pieces over this period of time, while another group listened repeatedly only. Prince (1974), however, found that subjects' liking for Baroque and 20th-century music was not increased when the music was presented along with analytic commentary, and in a study by Brown (1978), training in the discrimination of components of classical instrumental music did not affect the amount of time subjects spent listening to this type of music. Smith (1980) compared a control group, guided toward intellectual understanding of the structure of music, with an experimental group, guided toward sensitivity to music's aesthetic elements; no significant differences between groups were found on a posttest for appreciation of music. Zalanowski (1986), testing the effects of various listening instructions on subjects' immediate enjoyment of instrumental, nonprogrammatic music, instructed four treatment groups respectively to (1) pay attention to the music, (2) form free mental images, (3) follow a verbal description of the music, or (4) follow an analytical program which pointed out sections to listen for in the music. Results showed that imagery instructions led to most favorable reactions, whereas the strictly musical information given in situations 3 and 4 did not significantly improve subjects' enjoyment. Studies in which researchers have attempted to determine the importance of awareness of a historical context to listeners' appreciation of music are scarce. In one such study, Payne (1980) found that historical information was rated as one of the least important factors as to why music appealed to its listeners. The information given was of an impersonal nature (e.g., ‘ This, though composed in the latter half of the 19th century, has much affinity of style with that of the 18th century, from which the theme derives“). Although research comparing historical and analytical approaches toward music appreciation has been scant, the debate is apparent in the wide variance of the formats of textbooks supposedly having the same goal. For example, Music in Time (Mann, 1982) is devoted, as its title suggests, to the concept that ” to understand and therefore appreciate music, it is necessary to know the circumstances under which it was written.“In contrast, one can find in The Art of Listening (Bamberger & Brofsky, 1975) the view that ” understanding of music, on any level whatever, is to be found only in music itself, and in direct awareness of music rather than information about it.“Bennett Reimer (1970) is very much opposed to teaching historical background material: ” Only one thing can properly cause feelingful responses to music: the sounds of the music themselves.“Reimer's and other moder writers' opinions constitute only a small part of the age-old debate concerning the intrinsic versus the extrinsic value of music (and of art in general), a dichotomy that has existed at least since the days of the ancient Greeks. Aristotle and Plato professed the divine nature of musical sounds, the ” right“kinds of which were said to promote inner virtues in citizens and to ensure that society did not go astray. These two philosophers, however, were referring to vocal music, in which the texts must have contributed to or altered the effects of these musical sounds, and they were in fact opposed to the idea of independent instrumental music (Grout, 1980). In the early days of the Christian church, on the other hand, St. Augustine was once tormented by the realization that he had enjoyed music for music's sake: ” Yet when it happens to me to be more moved by the singing than by what is sung, I confess myself to have sinned criminally…“(quoted in Grout, 1980). The 19thcentury Romantics upheld instrumental music as the ideal art form, due to its quality of detachment from the world and its powers of suggestion independent JRME from words and story lines. One cannot, however, ignore many Romantic composers' involvement with instrumental program music, whose strongly referential nature is at odds with absolutist, or purely musical, ideals. Any extrinsic information or knowledge about a piece or a composer (i.e., that which could not be concluded directly by listening to the piece), such as information about the occasion for which it was written, or the knowledge that ‘ Jimbo“of Debussy's ” Jimbo's Lullaby“was a toy elephant belonging to the composer's daughter, can be said to be referential in nature, and may affect how or what a listener hears and therefore how he or she reacts to the music. People often discuss whether this is a ” legitimate“way to experience music and whether music has or should have any extrinsic value. In this study, I did not attempt to resolve these differing opinions on the nature of music, but merely to assess which mode of thinking might best be used to promote the appreciation of music. Specifically, historical information about the composer's life and times as related to the piece and analytical information concerning the structure of the music itself were compared for their relative effectiveness in helping subjects to value the music. The historical information presented here was of a more personal nature than that used in Payne's 1980 study. It was meant to help the listener keep in mind that music is often intimately related to the experiences of its composer; these experiences, in turn, are related to the time and place in which the composer lived. METHOD Subjects Subjects for the experiment were 45 undergraduate nonmusic majors at Mc Gill University. There were 15 subjects in each of three groups: (1) Control; (2) Historical Information; and (3) Analytical Information. Most of the subjects had received fewer than 2 years of private instrumental study, and none had studied an instrument within the past 6 years. Those who had received more than 2 years of private instrumental study were evenly divided among the three groups so that all three groups had similar overall levels of musical training. Music A tape was prepared, consisting of the following: (1) J. S. Bach, second duet (” Mein Freud ist Mein“) from Cantata No. 140; (2) Jimmy Cliff, ” Many Rivers to Cross“(3) Francis Poulenc, Triofor Piano, Oboe, and Bassoon, second movement; and (4) Claude Debussy, ’ Jimbo's Lullaby” from the Children's Corner Suite. All selections were presented in their entirety; the tape was approximately 35 minutes in length. PROCEDURE Subjects in the Historical and Analytical Information groups were each given a package containing several photocopied pages. They were instructed to read the printed information for a given piece, listen to that piece, and then rate the piece on five 7-point Likert-typescales (this type of scale was chosen for ease of use). The five scales corresponded to five statements, which were identical for all three groups: (1) I enjoyed this piece; (2) The music was very expressive; (3) I under- 41 42 HALPERN stood the composer's intentions; (4) It was technically well-constructed; and (5) I would like to get to know other works by this composer. Taken together, these five scales were meant to give a measure of subjects' overall appreciation for each piece. Subjects were asked to indicate their agreement with each statement by circling a number on the scale ranging from 1 (disagree strongly) to 7 (agree strongly). In addition, subjects were asked how well they knew each piece. Their options were to circle “Verywell,” “Somewhatwell,” “Not at all,” or “Not sure.” Space was provided for comments after each set of scales. This process was repeated for each piece until all four were heard and rated. The information that the Historical Information group read for each piece was approximately 200 words long. It consisted of a description of certain circumstances of the composer's life or surroundings at the time that the piece was written. This information was intended to enable subjects to place the piece in a historical perspective and to grasp the influence that the composer's setting may have had on the music. For instance, one sentence in the information about Poulenc read, “[For women] to cut their hair short and wear dresses with hems above the knees… was a reaction against the uptight Victorian morals of the previous era, just as Poulenc's music was a reaction against the overbearing gravityof the late Romantic composers” [Investigator' swords]. The information read by the Analytical Information group was of approximatethe same length, but consisted of strictly nonreferential aspects of the pieces to ly be heard. Most subjects could not read music notation; thus this information was presented as prose descriptions of form and style, as in the following (also describing the Poulenc work): “The climax of this piece occurs rather early, within its first half; after a dramatic build-up of volume and rhythm, it subsides back to a variant of the original, easy-going theme” [Investigator' swords]. All terms considered to be unfamiliar to nonmusicians were defined. The Control group heard the same music and completed the same rating scales that the other two groups did, but read no information prior to hearing the pieces. The Historical and Analytical Information groups were given an additional question at the end of the test: “In general, did the historical [or analytical] information provided affect your enjoyment of the musical selections?” Subjects responded by circling “Yes, positively,” “Yes, negatively,” “No,” or “Not sure.” This question was included to account for individual differences in rating styles, whereby some people naturally rate more or less generously than others. It was included at the end of the test, rather than after each selection, to avoid influencing future responses. RESULTS Table 1 shows the mean ratings and standard deviations for the Control, Analytical, and Historical groups for each of the five rating statements on each of the four pieces. No subject was familiar with any of the music played, so none of the responses were disregarded. The Kruskal-Wallis One-Way Analysis of Variance (ANOVA) by Ranks was used to determine, for each piece, whether the scores given by the various treatment groups were significantly different from each other. For the pieces by Poulenc, Cliff, and Bach, no significant differences were found. For the Debussy piece, however, a difference (significant at the.01 level) was found in favor of the Historical Information group (H= 8.72; k= 5, 5, 5; p<.01). JRME Table 1 on Meansand Standard Deviation Groups Each Rating Statment for 1. “Ienjoyed piece.” this Bach Poulenc Cliff Debussy Control Mean SD 4.27 4.73 5.80 3.73 1.67 0.88 1.26 1.94 Analytical Mean SD 4.60 4.80 5.13 3.33 1.30 1.70 1.60 1.68 Historical Mean SD 5.07 4.93 5.47 4.20 1.03 1.16 1.68 1.21 43 2. “The musicwasveryexpressive.” Control Mean SD Bach Poulenc Cliff Debussy 4.60 5.33 5.60 4.13 1.59 1.23 0.83 1.51 Analytical Mean SD 4.53 5.20 5.33 3.80 1.25 1.37 1.05 1.42 Historical Mean SD 5.07 5.73 5.93 4.67 1.28 1.22 1.39 1.68 3. “Iunderstood composer's the intentions.” Control Mean SD Bach Poulenc Cliff Debussy 2.80 3.47 5.73 3.07 1.78 1.64 1.10 1.39 Analytical Mean SD 4.00 3.53 5.20 3.40 1.77 1.64 1.08 1.68 Historical Mean SD 3.73 4.60 5.73 4.80 1.33 1.45 1.39 1.47 was 4. “[The well-constructed.” music] technically Control Analytical Mean SD Mean SD Bach Poulenc Cliff Debussy 5.27 4.53 4.57 3.87 1.22 0.74 1.18 1.51 5.27 4.67 4.80 4.00 1.03 1.18 1.08 1.31 Historical Mean SD 5.20 4.73 4.47 4.13 1.15 1.10 1.06 1.68 5. “Iwouldliketo get to knowother works thiscomposer.” by Control Analytical Mean SD Mean SD Bach Poulenc Cliff Debussy 4.53 3.87 5.00 3.33 1.92 1.41 1.00 2.16 4.87 4.13 4.67 3.47 1.64 2.00 1.07 1.60 Historical Mean SD 5.07 4.13 5.27 4.13 1.10 1.55 1.26 1.77 With regard to the question at the end of the test (“Did the information provided affect your enjoyment of the musical selections?”), subjects in the two treatment groups circled “Yes, positively,” “Yes, negatively,” “No,” or “Not sure.” In the Historical Information group, all subjects responded “Yes, positively,” with the exception of one who circled “Not sure.” In the Analytical Information group, however, only 6 of the 15 subjects responded “Yes, positively.” Seven circled “No,” and two circled “Yes, negatively.” By using a test for significance of difference 44 HALPERN between two proportions, the two ratios representing “Yes, positively” responses (14/15 and 6/15) were shown to be significantly different at the.05 level. Several subjects added comments to their answer sheets. In the Control group, only two comments were found, both in reference to the Bach cantata: “Itwas a little confusing with them singing over each other,” and “Ireally don' t like opera at all.” In the Analytical Information group, one subject wrote (in reference to Bach), ‘ The information of this piece brought to my attention that there were three sections. Had I not read the information, I would not have been aware of these sections.“This subject, however, responded ” No“to the question at the end of the test. Other comments from this group included (about Debussy) ” Disliked beginning-it sounded as if a true novice was familiarizing himself/herself with the piano,“and ’?articular form does not fit function-not reminiscent of any lullaby I' ve ever heard.” One subject offered an overall comment: “If these paragraphs had been more interesting and less technical I would have related better to the music.” In the Historical Information group, a few negative comments were made similar in nature to the following one (about Debussy): ‘ The blurb made me expect something very different and so the piece was disappointing.“There were many positive responses, such as ’ Thanks. I' ll have to check this guy out some more” (Poulenc), and some that indicated understanding, as in a triple box with stars around the 7 in response to the question “I understood the composer's intentions” (also Poulenc). One subject wrote, ‘ The information affected my enjoyment of the pieces positively, in that it helped me understand the intentions of the composer and, therefore, the reasons for the particular style or construction.“DISCUSSION The design of this study was an attempt to control for preexisting differences between groups by evenly distributing subjects with musical backgrounds and through the inclusion of the additional question at the end of the test, but a pretest would have ensured to a greater degree that the groups were the same at the outset. Perhaps a similar experiment could be carried out with a larger number of subjects and musical examples. One question that needs to be explored through further research is whether particular types of music might be complemented by particular types of information. For instance, the success of the historical method with regard to the Debussy composition may be due to the very nature of the piece-” Jimbo's Lullaby“could be considered to be the most referential of the four examples; there is even a picture of a toy elephant on the cover of the piano score. The comments offered by the subjects, however, and the difference among groups revealed by the question at the end of the test are not specific to any of the four pieces. Furthermore, since it is more difficult to achieve significant results with small samples than with large ones, the fact that significant differences were found at all would seem to indicate a positive effect of the historical method of teaching relative to the analytical method as well as to no treatment Some conceivable explanations and implications follow. People without extensive musical training seem to appreciate the insights gained from knowing about the background of specific pieces and of composers' lives. There is anecdotal evidence that people have been shaken of the notion that ” Mozartis boring,“simply by seeing the movie Amadeus(Forman, 1984). Perhaps JRME 45 one effect of this movie is to make the audience better understand the “composer” in general as a human being in a certain time and place, and not merely to show us that, say, Mozart's music was technically more complex than that of Salieri. This may help to explain why Payne's (1980) study, with its technically-oriented historical information, found historical information to be of very little value in promoting music appreciation. Regarding the analytical method, most students who take a college-level music appreciation course do not have the ability to read music notation. Therefore, analytical information containing written musical examples, which is useful and interesting to the music major, will be virtually valueless to the average student taking such a course. Analytical information presented without written musical examples, however, is often perceived as wordy, confusing, and dull, and according to the results of this study, such an approach may do little to enhance nonmusicians' overall appreciation of music. This is in line with the results of the studies by Prince (1974) and Zalanowski (1986), mentioned earlier, in which music was presented along with analytic descriptions. Any person who takes an active interest in music is constantly subjected to small-scale music appreciation lessons in the forms of notes on record jackets and in concert programs. For popular music, these minilessons are almost never analytically-oriented. For classical music, however, the writing often tends to include at least as much analytical information as historical information. Could this general difference between how classical music is portrayed and how popular music is portrayed be partially responsible for many nonmusicians' lack of enthusiasm for classical music? Reimer (1970) has said, “When teachers foster nonmusical experiences of music… they are being nonmusic educators and are producing nonmusical people. This may not be an ‘ immediate and present danger’ to people or society, but it certainly is little help to people, society, or music.” On the contrary, the results of this study show that teachers who view the composer's life as irrelevant to the music may be doing a disservice to many of their students, who may value music increasingly through an understanding of its human origins. Although this does not mean that these students should be denied knowledge of form, texture, and so forth, it does indicate that, with a group of students such as those typically found in a music appreciation course, teachers should be aware of the fact that the presentation of historical information may be of substantial value in creating positive responses to music. REFERENCES Row. Bradley, I. L. (1971). Repetition as a factor in the development of musical preferences. in Journal of Research Music Education, 19, 295-298. Bradley, I. L (1972). Effect on student musical preference of a listening program in contemin porary art music. Journal of Research Music Education, 20, 344-353. Brown, A. (1978). Effects of televised instruction on student musical selection, music skills, and attitudes. Journal of Research Music Education, 26, 445-455. in Forman, M. (Director). (1984). Amadeus[Film]. N.p.: The Saul Zaentz Company. Getz, R P. (1966). The influence of familiarity through repetition in determining optimum in response of seventh grade children to certain types of serious music. Journal of Research Music Education, 14, 178-192. Grout, D.J. (1980). A history westen music (3rd ed.). New York:W. W. Norton. of in Hargreaves, D. J. (1984). The effects of repetition on liking for music. Journal of Research Music Education, 32, 35-49. Bamberger, S., & Brofsky, H. (1975). Theart of listening J. (3rd ed.). New York:Harper & 46 HALPERN in Music Time London:Mitchell Beazley Publishers. Mann, W. (1982). Jame Galwa's of Payne, E. (1980). Towardsan understanding musicappreciation. Psychology Music, 8, of 31-41. Prince, W.F. (1974). Effectsof guidedlisteningon musicalenjoyment ofjunior high school educatio. Englewood Reimer, B. (1970). Aphilosophy music of Cliffs, Prentice-Hall. NJ: Smith, C. (1980). The effectson listeningperceptionskillsof two approachesto teaching music education to non-music majors at the college level. 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</ref-list></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Effects of Historical and Analytical Teaching Approaches on Music Appreciation</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Effects of Historical and Analytical Teaching Approaches on Music Appreciation</title></titleInfo><name type="personal"><namePart type="given">Jessica</namePart><namePart type="family">Halpern</namePart><affiliation>McGill University</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1992-04</dateIssued><copyrightDate encoding="w3cdtf">1992</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract lang="en">In this study, I investigated effects of historical and analytical information on subjects' I responses to music listening experiences. Forty-five undergraduate nonmusic majors were randomly assigned to three groups that received different types of information prior to listening to four compositions. Subjects in one group read analytical information describing the music's structure. Subjects in another group read historical background information describing circumstances under which the composers wrote their music. Subjects in the third group acted as a control and read no information prior to listening. Using 7-point Likert-type scales, subjects rated five aspects of their responses to each piece, which together were intended to measure the overall value that they placed on the piece. Analysis of the groups' scores for each of the four compositions revealed one significant difference, in favor of the group that received historical information. Other qualitative responses also indicated a preference for the historical method of teaching.</abstract><relatedItem type="host"><titleInfo><title>Journal of research in music education</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0022-4294</identifier><identifier type="eISSN"></identifier><identifier type="PublisherID">JRM</identifier><identifier type="PublisherID-hwp">spjrm</identifier><part><date>1992</date><detail type="volume"><caption>vol.</caption><number>40</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>39</start><end>46</end></extent></part></relatedItem><identifier type="istex">91C1BCB3639DB4590785443032B55E8F99EF0153</identifier><identifier type="ark">ark:/67375/M70-10SXPL6F-W</identifier><identifier type="DOI">10.2307/3345773</identifier><identifier type="ArticleID">10.2307_3345773</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/91C1BCB3639DB4590785443032B55E8F99EF0153/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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