Another A Cappella Chorus Book
Identifieur interne : 000103 ( Istex/Corpus ); précédent : 000102; suivant : 000104Another A Cappella Chorus Book
Auteurs :Source :
- Music educators journal [ 0027-4321 ] ; 1932-10.
English descriptors
- Teeft :
- 0gat pietas, Actual experience, Additional volumes, Ancient church music, Ancient german melody, Arts division, Bass ranges, Becker music dept, Better kind, Better sign, Cappella, Cappella chorus, Cappella chorus book, Cappella choruses, Cappella music, Cappello groups, Charming example, Chicago dean arthur band, Church writers, Complete catalog, Correct editing, David itkin, Depaul hart, Desirable dormitory accommodations, Difficult grade, Distant mists, Dozen others, Easy grade, Effective piece, Empty piece, English words, Excellent typography, Extraordinary repertoire, First selection, Fivepart numbers, Folk songs, French folk song, General title, Goodly number, Grateful recognition, Great pleasure, Harmonic richness, High school, High schools, Higher part, Highest note, Holy ones, Impersonal austerity, Individual character, Interesting summary, International recognition, John bartlet, Larger number, Long history, Madrigal period, Melius christiansen, Music degrees, Music students, Musical power, Musical understanding, Musical value, Negro spirituals, Ninth year students, Noble cait, Notable growth, Occasional divisions, Octavo form, Oliver ditson, Opening chorus, Orchestra instruments, Orlando gibbons, Painful quest, Paul university dept, Peasant cantata, Present conditions, Present diploma, Public school music, Public school music teachers, Quick succession, Real music, Religious interests, Rhythmic vivacity, Russian folk song, Sacred choruses, Sacred group, Sacred pieces, Same work, School connection, Scrupulous care, Secular numbers, Secular pieces, Serene supremacy, Shorter courses, Slight extension, Small disparities, Special production course, Subconscious trends, Such group, Teaching positions, Tuscan folk song, University department, Vast literature, Vivacious madrigals, Vocal demands, Vocal parts, Whither runneth, William arms fisher, Witmark sons.
Url:
DOI: 10.2307/3384164
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ISTEX:8D0919FE3F56C5E1854D2FC52C06D5842B7C4A6CLe document en format XML
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</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3384164</article-id><article-id pub-id-type="publisher-id">10.2307_3384164</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>Another A Cappella Chorus Book</article-title></title-group><pub-date pub-type="ppub"><month>10</month><year>1932</year></pub-date><volume>19</volume><issue>1</issue><fpage>57</fpage><lpage>57</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Reviews</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Conference Publications Research Council Bulletins No. I-Standard Coune of Study in Music and Training Courses for Supervisors ….15 No.2-Plan for Granting High School Credits for Applied Music (Out of Print) No.3-Report on Study of Music Instruction in the Public Schools of the United States.15 No. 4-R e po r t on Junior High Schools …….15 No. 5-Standard Course for the M usic TraininJI of Grade Teachers (Out of Pnnt) No.6-Report on Music in the OneTeacher Rural School 15 No.7-Survey of Telts a: Measurements in Music Education.15 No.8-College Entrance Credits and College Courses in Music 15 No.9-Standards of Attainment for Sight Singing at the End of thl: Sixth Grade.1. No.IO-High School Music Credit Course …….,15 No. II-The Accrediting of Music Teachers ……… 15 No. 12-Contests, Competition and Festival Meets ……. 15 No. 13-Newer Practices and Tendencies in Music Education. 15 whether this book should stand alone or should be one factor in a complete course in harmony. Textbooks on harmony frequently presuppose but do not provide for aural grasp. This book presupposes but does not provide a course in harmonic theory. A course that provided both at once would be large in matter and long in doing, but two is not greater than one plus one and may have superior unity.-WILL EARHART. The Reviewer Reviewed MUSIC TO THE LISTENING EAR. Will Earhart [M. Witmark & Sons]. H E N EV E R Dr. Earhart writes a book, your reviewer, for one, may be counted upon to read it thoroughly as soon as it is off the press. Such is his humble opinion of our Dean of music educators. Certainly no man among us is better qualified to write a book that aims at a simple, human, sensible presentation of the fundamentals of musical expression leading to real appreciation that grows out of both an intellectual and emotional experience in music. We have heard a great deal recently about teaching music through music. As Dr. Earhart intimates in his Foreword we are emerging from a period when music instruction consisted of dissecting music into its supposed elements, and the student exercised his intellect on such things as terminology, sight singing, dictation, harmony, keyboard harmony, harmonic analysis, form analysis, counterpoint, and composition; each in its own compartment and practically isolated from the rest. Then when the novice had mastered these more or less arid elements, he took a course in “Appreciation” that he might learn to enjoy music, or if he wished just to “appreciate” he could take this course first and be protected from all of the awe-inspiring rules, terms, and techniques that bristle all over the pages of our harmony texts. Usually the latter procedure has resulted, as Dr. Earhart says, in the student's grasping after “moods and meanings supposedly inherent in the music, while yet remaining ecstatically unaware of what the music was actually doing or saying.” This book, then, is an attempt to approach the study of music through a combination of Ear Training and Dictation, Harmony and Appreciation. The academically minded will be shocked at the omission of rules. There is not an empirical, black-faced rule in the book. The construction and behavior of chords is simply explained on the basis of the phenomena of harmonics or overtones, upon which our traditional tonality is built. I f you can imagine a book of 170 pages that presents the usual materials of harmony through modulation, ninth chords, altered and augmented chords, inharmonic tones and design in the larger forms in such a straight-forward, enj oyable literary style that a musical and ordinarily intelligent amateur can go through it without a teacher, then you have some conception of this work. If you can further imagine all of those things intimately tied up with provision for actually hearing each new chord or progression and finding these chords in a well chosen and suggestive list of good compositions, then you have enough of an idea of the treatise to want it in your library. It would make a splendid text for a combination course in Ear Training and Harmony. W Official Committee Reports No. 1-1930 Report of the Committee on Vocal Affairs. 15 No.2-Course of Study In Music Appreciation for the first six Grades ….15 Bulletins are priced at 10c each in quantities of 10 or more. Bulletin No. 9 is priced at '5.00 per hundred copies. I wish there were more space to quote examples of Dr. Earhart's inimitable manner of linking up an aesthetic experience with its intellectual and physical concomitants, but this one is typical. He has explained the reason for avoiding the doubled root and fifth and the second inversion of the II chord in minor. On the piano staff is shown a doubled “F” in the bass staff and a b and d’ in the treble staff. Then comes this paragraph: “Try moving the b up to c’ while the tones are ringing. Then, if you would learn something of the physical and physiological bases of musical pain and pleasure, also move the d’ up to eb’. You will then understand Keats' ”The music yearning like a god in pain,“ and Gurney's saying that when music seems to be yearning for unutterable things it is really yearning for the next note.-MAX T. KRONE. Musical Forms THE STUDENT'S SHORT COURSE IN MuSICAL FORMS. Cuthbert Harris [The Arthur P. Schmidt Co. $1.00]. H I S is one of the best brief books on the subj ect that has come to my notice. It begins by stating that ”FORM (or design) in a piece of music depends upon the number of subjects used in a movement and the order in which they are presented.“ A truism, certainly, but one which, used as the starting point, gives the student a better approach to the subject than would the usual approach by means of definitions of motive, phrase, and period, in that order. For Period the author substitutes the term Sentence, which he then divides into its smaller parts. Such emphasis of attention upon the Sentence leads more easily into discussion of short two-part and three-part forms than would focus of attention upon motives and phrases. The pages are of sheet-music size, which enables the author to present musical examples in an easily grasped display.-WILL EARHART. T Junior A Cappella JUNIOR A CAPPELLA CHORUS BOOK. Olaf C. Christiansen and Carol M. Pitts [Oliver Ditson Co., Inc., Boston, Mass. $1.00]. WEALTH of material, in the main admirably chosen, is gathered here. A classified table of contents reveals Nine Canons (two-part and three-part); Six Rounds and Catches (three-part and four-part); Two Canzonets (two equal voices); then five three-part, eighteen four-part, and two five-part pieces (all secular); and finally nine sacred numbers. The pieces are printed in the order named, which is obviously an order of technical gradation. A Foreword emphasizes the fact that the vocal parts are carefully guarded as to range -the tenor, for instance, usually below F and with only an occasional easily approached G - and provides further some two or three pages of instructions on singing in general. Of the fifty-one compositions, twenty-seven, the publisher states in a letter that accompanied the reviewer's copy, are here made available in a coppella form for the first time. Aside from matters of quantity, grade, and even intrinsic worth of material, every book has, of course, an individual quality that is conferred by the mood or atmosphere that chiefly characterizes the contents. On first study this book appears to attain its individual character THE Book of Proceedings (published annually) 1914 to 1919 Volumes, each '1.50 (1915 and 1916 out of print) 1920 to 1928, inclusive, each. 2.00 (1921, 1922 and 1923 out of print) 1929, 1930, 1931 and 1932 Volumes, each …… 2.50 A Music Supervisors Journal Subscription price, '1.00 per year; subscription also included in active membership in the Conference. Issued in October, December, February, March and May. Any of the above publications may be secured by sending stamps or check to Music Supervisors National Conference Suite 840 64 E. Jackson Blvd. Chicago Page S6 Music Supervisors Journal by reason of a preference for the genial. Secular numbers predominate, and many of these are light-hearted if not cleverly humorous. Rounds, catches, and canons are always likely to be cheerful; and the presence of a goodly number of vivacious madrigals and folk songs in the pages following preserves the mood introduced. Two negro spirituals among the sacred pieces add a touch of the romantic to a section that otherwise might have the impersonal austerity or unworldliness that characterizes ancient church music. The rhythmic vivacity is not, however, at any point, of a degree or nature that would endanger good vocal practice. It represents only those subconscious trends and preferences that make for individual character in any product. A detailed review of the contents is hardly possible here, partly because the book was received at so late a date that only its importance gave it place in this issue, and partly because the variety and extent of its contents tends to make mention of only a few misleading. For a very easy and effective piece of fourpart writing, however, that is equally admirable for its effect upon the voices and ears of the students, The Bells, a French folk song arranged by William Arms Fisher, can hardly be surpassed; and in the sacred group, the motet, Adoramus Te, Christe, Mozart, attains serene supremacy, while the arrangement by Mr. Fisher of an ancient German melody, Vigili et Soncti, to the English words, Y e Watchers and Ye Holy Ones) closes the book with an accent of stirring power.-WILL EARHART. By far the larger number of the pieces are for four parts, mixed voices, with only occasional divisions for harmonic richness, but two or three fivepart numbers are included, and there is one song for double chorus.-wILL EARHART. Depaul UNIVERSITY Again A Cappella A CAPPELLA CHORUS. Griffith J. Jones and Max T. Krone [M. Witmark & Sons]. H E volumes issued under this general title constitute a work of maj or importance. The enterprise itself and the scrupulous care with which the compilers and editors have done their work are alike deserving of grateful recognition. No better sign of the notable growth in musical power and culture that has taken place with respect both to public school music teachers and their practices has yet been manifest. Volume III of the series, the first to appear in print, was reviewed in these columns several months ago. Its contents were for three parts, and it was of Medium to Difficult grade. The three additional volumes now reviewed have since appeared, in quick succession. Volume I, Two-Part Choruses for Mixed Voices. This is as captivating as it is timely and useful. Our a cappella singing in high schools began, with respect to repertory, well toward the top, and few have realized that a cappella music that was not highly intricate and difficult could be found. Of course, music of very easy grade is not extremely plentiful. Real music, of permanent worth, for beginners, whether for orchestra, small instrumental ensembles, piano, violin, or what not, has always been the painful quest of the pedagogue. Usually, too, as in this case of our a cappella choruses, it is the last to arrive. We begin aristocratically, but end democratically by providing for all and sundry that which first graced only the halls of the mighty. While the music is for two vocal parts, the contents collectively call for sopranos, altos, tenors and basses. Nevertheless the vocal demands are slight, and a beginning group in a cappella singing, drawn, say, from ninth year students, should be able to master the songs without difficulty and with great pleasure. The first selection, for instance, is the opening chorus from Bach's Peasant Cantata. The higher part is assigned to sopranos and altos, the lower to tenors and basses. The lowest treble note, however, is B, and the highest bass-clef note is D) so a slight extension only of the normal treble and bass ranges found in high schools is represented. No.2, which is the Finale from the same work, observes similarly small disparities in assignments to sopranos and altos. Space does not permit separate mention of the nineteen pieces which comprise the volume, but the choice of material is delightful. Christmas Day (sopranos and altos, tenors and basses) by Orlando Gibbons, is a gem “of purest ray serene.” Lament) a Russian folk song (tenor or soprano, bass or alto) is beautifully appealing. Whither Runneth My Sweetheart, by John Bartlet, is a charming example of the old English “ayre.” Orlando di Lasso's motet, Ipsa T e C0gat Pietas, and When I Am Gone, a Tuscan folk song first arranged by Caracciolo, also plead for mention. But, for that matter, so do a dozen others, for there is not one empty piece in the book, and only one, the Hofmann Sona of THE L…., T SCHOOL of MUSIC UNIVERSITY Department fully accredited, offers courses in Piano, Organ, Voice, Dramatic Art, Violin, Composition and Public School Music. FACULTY of international recognition. or A CONFERS Diplomas and Bachof Music, Bachelor of Musical Education and Master of Music Degrees. STUDENTS desiring Degrees must be at least 16 years of age and able to present Diploma from accredited high school or its equivalent. TRAINING for concert, opera and teaching positions. DOWNTOWN Liberal Arts Division fully accredited, offers all necessary academic subjects for music students. DESIRABLE dormitory accommodations. DEPARTMENT OF DRAMA under direction of David Itkin offers 3-year diploma and shorter courses. Actual experience in play through rehearsal and appearance before audience. Diction, voice, production. Also special production course for teachers and coaches. Another A Cappella Chorus Book THE A CAPPELLA CHORUS BOOK. Dr. F. Melius Christiansen and Noble Cait! [Oliver Ditson Co., Inc. $1.00]. H E names of the editors give one faith in the worth of this collection, with respect to the musical value of the selections in it, the careful and correct editing of them, and the suitability of the pieces for the voices and musical understanding of average choral groups. A study of the book, needless to say, justifies one's faith. A Foreword by William Arms Fisher gives a brief but very interesting summary of the secular and religious interests that have led to rescuing the music of the madrigal period and that of the old church writers, and it goes on to trace the history of a cappella singing in the United States. One is glad to find these facts set down before they have disappeared in distant mists. The volume is a full one, but excellent typography enables the publishers to pack much between the covers while keeping the pages very open and readable. It includes sixteen secular pieces and eleven sacred choruses. Composers represented are Bach, Brahms, Fisher, Gaul, Gibbons, Kopolyoff, di Lasso, Morley, Palestrina, Pearsall, Praetorius, Purcell, Rachmaninoff, Rimsky-Korsakoff, Romeu, Sibelius, Tschaikowsky, Vittoria, Wilbye, Zolotarieff. Many of the compositions are familiar, in octavo form, to a cappello groups, but it is safe to say that no one such group, unless it has a very long history and an extraordinary repertoire, will find much of its library duplicated. The addition of the book would, moreover, probably raise the averages of value for most libraries, for few conductors know as do these editors the vast literature from which selections can be made. T Students may enter at any time. Address C. BECKER Music Dept., De Paul University Dept. P., 64 E. Lake si, Chicago DEAN ARTHUR Band and Orchestra Instruments New and rebuttt- the better kind Special prices and terms, in keeping with present conditions, to schools and teachers. A post-card request, indicating your school connection, will bring our complete catalog. H. A. WEYMANN &, SON, INC. 31 N. 10th St. Philadelphia, Pa. October} Nineteen Tkirty-tu'o Page 57 by reason of a preference for the genial. Secular numbers predominate, and many of these are light-hearted if not cleverly humorous. Rounds, catches, and canons are always likely to be cheerful; and the presence of a goodly number of vivacious madrigals and folk songs in the pages following preserves the mood introduced. Two negro spirituals among the sacred pieces add a touch of the romantic to a section that otherwise might have the impersonal austerity or unworldliness that characterizes ancient church music. The rhythmic vivacity is not, however, at any point, of a degree or nature that would endanger good vocal practice. It represents only those subconscious trends and preferences that make for individual character in any product. A detailed review of the contents is hardly possible here, partly because the book was received at so late a date that only its importance gave it place in this issue, and partly because the variety and extent of its contents tends to make mention of only a few misleading. For a very easy and effective piece of fourpart writing, however, that is equally admirable for its effect upon the voices and ears of the students, The Bells, a French folk song arranged by William Arms Fisher, can hardly be surpassed; and in the sacred group, the motet, Adoramus Te, Christe, Mozart, attains serene supremacy, while the arrangement by Mr. Fisher of an ancient German melody, Vigili et Soncti, to the English words, Y e Watchers and Ye Holy Ones) closes the book with an accent of stirring power.-WILL EARHART. By far the larger number of the pieces are for four parts, mixed voices, with only occasional divisions for harmonic richness, but two or three fivepart numbers are included, and there is one song for double chorus.-wILL EARHART. Depaul UNIVERSITY Again A Cappella A CAPPELLA CHORUS. Griffith J. Jones and Max T. Krone [M. Witmark & Sons]. H E volumes issued under this general title constitute a work of maj or importance. The enterprise itself and the scrupulous care with which the compilers and editors have done their work are alike deserving of grateful recognition. No better sign of the notable growth in musical power and culture that has taken place with respect both to public school music teachers and their practices has yet been manifest. Volume III of the series, the first to appear in print, was reviewed in these columns several months ago. Its contents were for three parts, and it was of Medium to Difficult grade. The three additional volumes now reviewed have since appeared, in quick succession. Volume I, Two-Part Choruses for Mixed V oices. This is as captivating as it is timely and useful. Our a cappella singing in high schools began, with respect to repertory, well toward the top, and few have realized that a cappella music that was not highly intricate and difficult could be found. Of course, music of very easy grade is not extremely plentiful. Real music, of permanent worth, for beginners, whether for orchestra, small instrumental ensembles, piano, violin, or what not, has always been the painful quest of the pedagogue. Usually, too, as in this case of our a cappella choruses, it is the last to arrive. We begin aristocratically, but end democratically by providing for all and sundry that which first graced only the halls of the mighty. While the music is for two vocal parts, the contents collectively call for sopranos, altos, tenors and basses. Nevertheless the vocal demands are slight, and a beginning group in a cappella singing, drawn, say, from ninth year students, should be able to master the songs without difficulty and with great pleasure. The first selection, for instance, is the opening chorus from Bach's Peasant Cantata. The higher part is assigned to sopranos and altos, the lower to tenors and basses. The lowest treble note, however, is B, and the highest bass-clef note is D) so a slight extension only of the normal treble and bass ranges found in high schools is represented. No.2, which is the Finale from the same work, observes similarly small disparities in assignments to sopranos and altos. Space does not permit separate mention of the nineteen pieces which comprise the volume, but the choice of material is delightful. Christmas Day (sopranos and altos, tenors and basses) by Orlando Gibbons, is a gem “of purest ray serene.” Lament) a Russian folk song (tenor or soprano, bass or alto) is beautifully appealing. Whither Runneth My Sweetheart, by John Bartlet, is a charming example of the old English “ayre.” Orlando di Lasso's motet, Ipsa T e C0gat Pietas, and When I Am Gone, a Tuscan folk song first arranged by Caracciolo, also plead for mention. But, for that matter, so do a dozen others, for there is not one empty piece in the book, and only one, the Hofmann Sona of THE L…., T SCHOOL of MUSIC UNIVERSITY Department fully accredited, offers courses in Piano, Organ, Voice, Dramatic Art, Violin, Composition and Public School Music. FACULTY of international recognition. or of Music, Bachelor of Musi- A CONFERS Diplomas and Bach- cal Education and Master of Music Degrees. STUDENTS desiring Degrees must be at least 16 years of age and able to present Diploma from accredited high school or its equivalent. TRAINING for concert, opera and teaching positions. DOWNTOWN Liberal Arts Division fully accredited, offers all necessary academic subjects for music students. DESIRABLE dormitory accommodations. DEPARTMENT OF DRAMA under direction of David Itkin offers 3-year diploma and shorter courses. Actual experience in play through rehearsal and appearance before audience. Diction, voice, production. Also special production course for teachers and coaches. Another A Cappella Chorus Book THE A CAPPELLA CHORUS BOOK. Dr. F. Melius Christiansen and Noble Cait! [Oliver Ditson Co., Inc. $1.00]. H E names of the editors give one faith in the worth of this collection, with respect to the musical value of the selections in it, the careful and correct editing of them, and the suitability of the pieces for the voices and musical understanding of average choral groups. A study of the book, needless to say, justifies one's faith. A Foreword by William Arms Fisher gives a brief but very interesting summary of the secular and religious interests that have led to rescuing the music of the madrigal period and that of the old church writers, and it goes on to trace the history of a cappella singing in the United States. One is glad to find these facts set down before they have disappeared in distant mists. The volume is a full one, but excellent typography enables the publishers to pack much between the covers while keeping the pages very open and readable. It includes sixteen secular pieces and eleven sacred choruses. Composers represented are Bach, Brahms, Fisher, Gaul, Gibbons, Kopolyoff, di Lasso, Morley, Palestrina, Pearsall, Praetorius, Purcell, Rachmaninoff, Rimsky-Korsakoff, Romeu, Sibelius, Tschaikowsky, Vittoria, Wilbye, Zolotarieff. Many of the compositions are familiar, in octavo form, to a cappello groups, but it is safe to say that no one such group, unless it has a very long history and an extraordinary repertoire, will find much of its library duplicated. The addition of the book would, moreover, probably raise the averages of value for most libraries, for few conductors know as do these editors the vast literature from which selections can be made. T Students may enter at any time. Address C. BECKER Music Dept., De Paul University Dept. P., 64 E. Lake si, Chicago DEAN ARTHUR Band and Orchestra Instruments New and rebuttt- the better kind Special prices and terms, in keeping with present conditions, to schools and teachers. A post-card request, indicating your school connection, will bring our complete catalog. 31 N. 10th St. H. A. WEYMANN &, SON, INC. Philadelphia, Pa. October} Nineteen Tkirty-tu'o Page 57 </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Another A Cappella Chorus Book</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Another A Cappella Chorus Book</title></titleInfo><typeOfResource>text</typeOfResource><genre type="review-article" displayLabel="review-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-L5L7X3NF-P">review-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1932-10</dateIssued><copyrightDate encoding="w3cdtf">1932</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music educators journal</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">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1932</date><detail type="volume"><caption>vol.</caption><number>19</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>57</start><end>57</end></extent></part></relatedItem><identifier type="istex">8D0919FE3F56C5E1854D2FC52C06D5842B7C4A6C</identifier><identifier type="ark">ark:/67375/M70-D6FHPR13-G</identifier><identifier type="DOI">10.2307/3384164</identifier><identifier type="ArticleID">10.2307_3384164</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/8D0919FE3F56C5E1854D2FC52C06D5842B7C4A6C/metadata/json</uri></json:item></metadata><author></author><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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