The Conductor's Art
Identifieur interne : 000A52 ( Istex/Corpus ); précédent : 000A51; suivant : 000A53The Conductor's Art
Auteurs : Frederick FennellSource :
- Music educators journal [ 0027-4321 ] ; 1966-06.
English descriptors
- Teeft :
- Abstract models, American music education, American schools, Autistic children, Best part, Better music dealers, Bruno walter, Carl bamberger, Cautious reader, Choral literature, Clinical studies, Clive robbins, Comprehensive organization, Convincing practitioners, Coral music therapy, Direct thoughts, Early experiences, Educational music field, English school, European establishment, European institutions, Examination copies marks music corporation, Exceptional knowledge, False position, Felix weingartner, Finest reed money, First time, Frederick university florida, French madrigals, Fresh english translations, General prehistory, George szell, Good measure, Gradual emergence, Great artists, Harmonic complexity, Hermann scherchen, Human relationships, Ideal reader, Important sections, Inevitable course, Initial work, Instrumental incompetence, Interpretative musicianship, Irrational vocation, Jacques clement, Large portion, Luca marenzio, Lucida stella, Maidens philippe, Many years, Modern editions, Music educators, Music educators journal book, Music therapy, Music therapy technique, Nordoff, Objective survey, Official letterhead, Opening essay, Orazio vecchi, Other music, Other people, Pathological behavior patterns, Paul nordoff, Peculiar contradiction, Personal absorption, Piano music, Pierre monteux, Predominant performer, Present olympian position, Principal developer, Proper transference, Psychotic children, Response patterns, Richer personalities, Rigid adherence, Rudolf steiner publications, Satb cappella, Separate subject, Serge koussevitzky, Severe brain damage, Similar homes, Speculative slant, Steady increase, Striking title, Such knowledge, Sunfield home, Textual content, Therapeutic significance, Turtle dove, Vast realm, Western music, William furtwangler, William steinberg, World music, Yale university.
Url:
DOI: 10.2307/3390724
Links to Exploration step
ISTEX:002626A52E4F0F3B8B1F010E33E8E40394566623Le document en format XML
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</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3390724</article-id><article-id pub-id-type="publisher-id">10.2307_3390724</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>The Conductor's Art</article-title></title-group><contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Fennell</surname><given-names>Frederick</given-names></name><aff>Conductor, University of Miami, Coral Gables, Florida</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>6</month><year>1966</year></pub-date><volume>52</volume><issue>6</issue><fpage>92</fpage><lpage>93</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>cover-date</meta-name><meta-value>June/July 1966</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> at NEW BOOKS at 40, 000 YEARS OF MUSIC. By Jacques Chailley. Translated by Rollo Myers, with a Preface by Virgil Thomson. New York: Farrar, Straus and Giroux, 1964. 229 pp., $ 10.00. THE F O U R AGES OF MUSIC: By Walter Wiora. Translated by M. D. Herter Norton. New York: W. W. Norton, 1965. 233 pp., $ 6.00. Right at the start it ought to be made clear what these books are not, but might be taken to be. Neither is the conventional textbook survey. Each is primarily concerned to urge a point of view about music in history, rather than to tell the story. The Four Ages of Music comes the closer of the two to fulfilling the expectations aroused by its title. The four ages, taken in turn are: a “ prehistoric and early period,” “ the high civilizations of antiquity and the orient,” “ western civilization,” and “ the age of techniques and of global industrial culture” which, in Wiora’ s scheme of things, is just getting under way. For each of these ages he attempts a general characterization that includes both the technical features of the music and the features of its cultural setting. But he calls his book a “ basic outline”: he is more concerned with establishing the scheme itself than with filling in detail. 40, 000 Years of Music is also divided into four sections but here the sections have no relation either to chronology or to ethnic divisions. In the Introduction, Chailley describes the need to which his book is addressed: “ Whichever way he turns, the musician, when he comes to study his art, finds himself confronted by a thousand problems of which the ordinary practitioner, proceeding automatically, knows nothing: there are the problems for whose solution he must turn to the history of music.” And so the book is organized by problems: In Search of a Past, In Search of Sacred Music, In Search of Secular Music, and In Search of “ Stars.” JUNE-JULY, NINETEEN SIXTY-SIX But it seems fair to say that Chailley’ s real topic is not apparent from this scheme. The cool consideration of “ problems” is as far from his intention as is the writing of a chronological “ basic outb’ ne.” Whereas Wiora tends to look down at music from the heights of “ universal history,” Chailley looks out at it from within, from a very definite position inside the musical life of the present day. 40, 000 Years of Music is a polemic; and what we are told in it about the history of music is in large part decided by its effectiveness as ammunition rather than its effect in history. Chailley says more, for example, about the history of the technology of recording than he does about the history of the sonata. (One other limitation on what we are told ought to be mentioned: in common with many other French scholars, Chailley appears to feel that there is small need to deal with the rest of Europe once France is dealt with). In part, his subject is the impact of such techniques as recording on our musical life. But his main target is the avant-garde. The most sober and extended statement of his views on this subject is Chapter 18, “ Twentieth century twelve-note (serial) composition” but the book is filled with lively, often petulant thrusts directed especially against developments growing out of the work of Anton Webern, such as one reference to “ the oldmaidishness of a certain kind of ‘ serious’ music in search of tiresome ’ lucidities/” Unfortunately Chailley’ s feelings on the subject sometimes lead to distortion. It is simply not true to say, for example, that “ atonal music, in Schoenberg’ s conception of the term, frankly rules out… the judgment of the ear as a means of controlling or justifying the arrangements of notes.” The sad state of contemporary musical affairs, as Chailley sees them, is only the latest phase in a 40, 000 year-long process of decay: “ From the domination of cosmic forces to merely playing about with sound patterns, through a period when music was expected te give pleasure or arouse passions–and even then on a purely emotional plane–the downward curve has been continuous.“ (In passing, we might note the irony of a continuous process of decay from the music we know nothing about to that which is totally accessible.) Wiora, too, sees a curve in history, but his is the reverse of Chailley’ s; he writes, ” To anyone who knows well enough [how well is well enough?] how humanity passes from darkness to light the present is no theme for objective research but a passing stage on the road to a finer future.“ Anyone who knows all too well that things do not always work out that way may be permitted his reservations, but Wiora’ s optimism is cheering all the same. Some sort of prior scheme is, of course, necessary to the writing of any book, and especially any book that is to draw upon and organize the vast quantities of material that both of these do. But surely the scheme should not take priority over the material where there is a conflict between the t w o yet that is just what happens in both The Four Ages and 40, 000 Years. To begin with Chailley: a corollary of his continuous downard curve is that only recently has music come to express personal sorrow: ” The expression of sorrow in music, until the nineteenth century or thereabouts, had been confined to the liturgy (Passion or Penitentiary music) or to the theatre (the lamentations of fictitious characters)–in any case it had nothing to do with the musician himself.“ What would Chailley have us do with the large repertory of melancholy music running from the formes fixes of the fourteenth century through the chanson of the fifteenth and sixteenth and the madrigal of the sixteenth to the cantata of the seventeenth century, to speak only of European music? Or take Chailley’ s statement that ” even when popular songs are sad… it often seems that the music 89 You’ d look your best wearing the best. De Moulin BAND UNIFORMS since 1892 Highest quality uniforms at fair prices FREE CATALOG: N o. 4 7 2 in full color, a v a i l a b l e to school a n d b a n d officials De Moulin Bros. & Co. 1 0 7 3 So. 4 t h St., G r e e n v i l l e, III. tends to soften the sadness rather than to heighten it.“ Are there better grounds for saying this than for saying that joyous music tends to remind us that joy is fleeting? But assuming it is true, why would it not be just as true for sad nineteenth-century nonpopular music? The strain of living up to an abstract order shows up differently in Wiora’ s book. He seems to think of history as an entity that proceeds along predetermined lines: ” Like a symphony, the course of music history takes shape in four ‘ movements.’ “ Warren Dwight Allen has pointed out in his Philosophies of Music History that most divisions have been by three (should we add, for symmetry’ s sake: ” as in the concerto?“), but the studies he writes about have been largely confined to Europe. Wiora’ s topic is ” universal history,“ and for his purpose four is uncomfortably few; we find, for example, ancient Rome and China jostling each other in the Second Age. Perhaps the number four has its own fascination, since we read on p. 99 that ” in all oriental cultures four successive layers are to be distinguished.“ At any rate, what is apparently a taste for consistency persuades Wiora that his four ages of music, once established, must, again like the four movements of a symphony, balance each other out. The strain of trying to give the ” prehistoric and early period“ the same weight as the others is especially acute; but even though ” the most ancient of mankind’ s music is not accessible and palpable–as are, for example, cave paintings of the Stone Age or compositions that since the Middle Ages have been written down… it must be sought out and revealed“ (italics mine). Nowhere does Wiora frankly state how vast our ignorance of this period really is. Until the scores and records of more recent times, instruments were the only representatives of music in physical culture, and since very few instruments or pictures of musical performances have survived from the prehistoric period, Wiora is forced to go in heavily for ethnographic parallels. As long as he sticks to the evidence and talks about the uses of instruments in ritual we follow him with some measure of confidence. But intervals and rhythms are ephemeral, and he loses us when he writes: ” Bi-, tri-, tetra-, and penta-tonic systems evidently took form as early as in Paleolithic times. That the last named of these could not have arisen as late as during the Neolithic among settled matriarchal societies is shown by its diffusion among African Pygmies, Eskimo, and other particularly ancient Member, National Association of U io m Manufacturers nf r W A T LO F R HT O OK O when you buy a metronome* Look f o r U N I F O R M L O U D N E S S a t a l l t e m p o settings. Set t h e m e t r o n o m e a t 4 0. Listen t o t h e l o u d n e s s o f t h e b e a t. S e t it a t 2 0 0. Listen t o t h a t l o u d n e s s. S e t it a t 100, or a n y other tempo. Is t h e loudness a l w a y s t h e s a m e ? O r d o e s it c h a n g e f o r d i f f e r e n t settings? A r e y o u o b l i g e d t o adjust s o m e t h i n g t o k e e p t h e loudness t h e same whenever y o u change the setting? of Try several different makes metronomes. Y o u m a y b e surprised to hear the difference. T h e n j u d g e w h e t h e r this c h a r a c t e r istic w o u l d p l e a s e y o u o r n o t. * This is No. 9 in a series of helps by the makers of the Franz Electric Metronomes. _ * M =# For AMERICA’ S FINEST CLASSROOM BELLS full information write A–R E S O BELLS 1133 7th Avenue San D i e g o, C a l., 9 2 1 0 1 peoples.“ It is a virtue to know when you are beaten. If Wiora seems willing to overextend the evidence for the sake of a scheme, elsewhere he shows signs of discomfort when evidence conflicts with one. At several points in his book he writes of the perfect fourth, fifth, and octave as universal, ” natural orders.“ Confronted with tempered scales in Southeast Asia that do not conform, he finds it ” questionable whether any of these extraordinary scales are intentional, actually ‘ willed.’“ It is undoubtedly useful to refer to fourth, fifth, and octave as a standard of comparison in cross-cultural study, but to question the possibility of musicians in other cultures intentionally ignoring them is another matter. Still, he does include Southeast Asia. N o w that we have lost our musical snobbishness and isolationism it is gratifying to find an author who lives up to his conviction that ” music is not a prerogative of the Western world.“ If Wiora is a disciple of Hegel in his systematic view of history, he is a disciple of Herder in his interest in ethnic distinctions, and this is one of the most attractive features of his book. The least attractive is an awkwardness of expression that sometimes verges on the grotesque. A sentence like: ” In this way the multifarious notations debouched in the clearly readable scores of today“ is distracting, but at other times it is hard work to extract the meaning, often a perfectly ordinary one at that, from Wiora’ s prose. Unforunately this is the kind of defect that tends to cancel many virtues. In this respect there is no comparison between the two books. Chailley’ s is one of the most readable books on music to appear in a long time, and his translator should share in the credit for this. Its leisurely, expensive look advertises the entertainment it contains–throughout there are anecdotes, personal reminiscences, and dialogues between imaginary characters (Claude Debussy’ s Monsieur Croche comes to life again in the Epilogue, ” An Autopsy for the Twenty-first Century“). Chailley’ s quarrel with his times provides him with a sharp focus. At the same time it is true that his ironic wit and his fondness for a good yarn can sometimes take precedence over objectivity. The reader not forewarned could get the impression from 40, 000 Years that the history of music has been a succession of paradoxes, misconceptions, blunders, and forgeries. What is the usefulness of these two books? It is too bad that the value of MUSIC EDUCATORS JOURNAL 90 Wiora’ s broad-mindedness and erudition are so often obscured by his rigid adherence to abstract models and by clumsy writing. W e can congratulate Chailley on the liveliness of his polemic, and on his striking title, and only regret that they have so little to do with one another. But neither The Four Ages nor 40, 000 Years is for the reader who is looking for an objective survey. The ideal reader of both is one who brings to them a familiarity with general prehistory, history, and anthropology, as well as the history of Western music and ethnomusicology. This is not because either one depends on such knowledge for comprehensibility, but because the speculative slant of both ought to be met critically. Any survey of world music that combined Wiora’ s perspective with Chailley’ s grace of language would be a very good one indeed. Until such a book comes along, the cautious reader who is primarily after stimulus, and not information, will find it in good measure in both these volumes. –DAVID L. BURROWS, Assistant Pro- T H E C O N D U C T O R ‘ S A R T. Edited with an introduction by Carl Bamberger. Illustrated by B. F. Dolin. New York: Mc Graw-Hill, Inc., 1965. 322 pp. Hard cover, $ 6.50; paperback, $ 2.45. In this era, so strongly dominated by the performing arts, the predominant performer among them is the conductor. His gradual emergence paralleled the steady increase in the size of the orchestra. Arrival at this present Olympian position is comparatively recent and the conductor was vaulted there on the pole of rhythmic and harmonic complexity now viewed as the inevitable course of composition. The endeavor which we call conducting is little understood. The public, in its misapprehension of what one of its most convincing practitioners, William Steinberg, calls an. irrational vocation…“, is blind to the facts. To Mr. Steinberg, ” The irrationality of the vocation of conducting is obvious simply because one does not do things by oneself, but makes other people do them–which means the motive of one’ s own responsibility is entirely eliminated–and yet the conductor is held responsible for the doings of others. This peculiar contradiction imposes upon the conductor a false position as regards both the music and the audience. Is there any solution for this dilemma? I do not think so.“ These are the most direct thoughts of all which are set forth in this compilation of twenty-six writings on conducting which span almost a century and a half of music making. The words of wisdom by these conductors are both reflection and confession. Berlioz laments instrumental incompetence; Schumann writes with eloquence of ” this… distraction for the listener [who] can only be condoned as a necessary evil;“ Wagner gives lessons in interpretative musicianship reflected in his own personal absorption while producing other men’ s music; Stokowski could never write as incomparably as he conducts, nor could Bernstein or Ormandy. The best-written pieces are by William Steinberg and Hermann Scherchen, but there is much for those of curiosity to glean from the words of Bruno Walter, Serge Koussevitzky, Felix Weingartner, or William Furtwangler. Notably absent in the book are any comments or writings by Pierre Monteux and George Szell, both of whom assumed more than their share of responsibility for the proper transference of the conductor’ s art to younger men. It will come as no surprise to educators to know that no space in this MUSIC EDUCATORS JOURNAL fessor of the History of Music, School of Music, Yale University, New Haven, Connecticut. (Sound “ Proof Consider the La V o z reed; fashioned from selected cane, aged for years and crafted to a point of excellence. Consider it the finest reed money can buy. Then prove it. Play it. La V o z reeds. A t better music dealers. A n d on clarinet and s a x o p h o n e m o u t h pieces of the world’ s great artists. 92 Wiora’ s broad-mindedness and erudition are so often obscured by his rigid adherence to abstract models and by clumsy writing. W e can congratulate Chailley on the liveliness of his polemic, and on his striking title, and only regret that they have so little to do with one another. But neither The Four Ages nor 40, 000 Years is for the reader who is looking for an objective survey. The ideal reader of both is one who brings to them a familiarity with general prehistory, history, and anthropology, as well as the history of Western music and ethnomusicology. This is not because either one depends on such knowledge for comprehensibility, but because the speculative slant of both ought to be met critically. Any survey of world music that combined Wiora’ s perspective with Chailley’ s grace of language would be a very good one indeed. Until such a book comes along, the cautious reader who is primarily after stimulus, and not information, will find it in good measure in both these volumes. –DAVID L. BURROWS, Assistant Pro- T H E C O N D U C T O R ‘ S A R T. Edited with an introduction by Carl Bamberger. Illustrated by B. F. Dolin. New York: Mc Graw-Hill, Inc., 1965. 322 pp. Hard cover, $ 6.50; paperback, $ 2.45. In this era, so strongly dominated by the performing arts, the predominant performer among them is the conductor. His gradual emergence paralleled the steady increase in the size of the orchestra. Arrival at this present Olympian position is comparatively recent and the conductor was vaulted there on the pole of rhythmic and harmonic complexity now viewed as the inevitable course of composition. The endeavor which we call conducting is little understood. The public, in its misapprehension of what one of its most convincing practitioners, William Steinberg, calls an “… irrational vocation…”, is blind to the facts. To Mr. Steinberg, “ The irrationality of the vocation of conducting is obvious simply because one does not do things by oneself, but makes other people do them–which means the motive of one’ s own responsibility is entirely eliminated–and yet the conductor is held responsible for the doings of others. This peculiar contradiction imposes upon the conductor a false position as regards both the music and the audience. Is there any solution for this dilemma? I do not think so.” These are the most direct thoughts of all which are set forth in this compilation of twenty-six writings on conducting which span almost a century and a half of music making. The words of wisdom by these conductors are both reflection and confession. Berlioz laments instrumental incompetence; Schumann writes with eloquence of “ this… distraction for the listener [who] can only be condoned as a necessary evil;” Wagner gives lessons in interpretative musicianship reflected in his own personal absorption while producing other men’ s music; Stokowski could never write as incomparably as he conducts, nor could Bernstein or Ormandy. The best-written pieces are by William Steinberg and Hermann Scherchen, but there is much for those of curiosity to glean from the words of Bruno Walter, Serge Koussevitzky, Felix Weingartner, or William Furtwangler. Notably absent in the book are any comments or writings by Pierre Monteux and George Szell, both of whom assumed more than their share of responsibility for the proper transference of the conductor’ s art to younger men. It will come as no surprise to educators to know that no space in this MUSIC EDUCATORS JOURNAL fessor of the History of Music, School of Music, Yale University, New Haven, Connecticut. (Sound “ Proof Consider the La V o z reed; fashioned from selected cane, aged for years and crafted to a point of excellence. Consider it the finest reed money can buy. Then prove it. Play it. La V o z reeds. A t better music dealers. A n d on clarinet and s a x o p h o n e m o u t h pieces of the world’ s great artists. 92 book is given to the conductor in American music education. Perhaps Mr. Bamberger (b. Vienna 1902), who has lived in the United States since 1937, elected to treat this as a separate subject in another book. A b sence of any contribution to this volume from the vast realm of conducting that exists in American schools can hardly go unnoticed: the conductor’ s art is also practiced there. Maintenance of the European establishment as the controlling force in American musical life is still a full-time job to many influential people. Mr. Bamberger’ s opening essay is perhaps the best part of the book, presenting the evolution of the conductor’ s art in meaningful historic panorama; here is a comprehensive organization of facts which should be known to all who read this Journal. When, and if, Mr. Bamberger’ s publishers consider a revised and enlarged edition it will certainly have to include chapter twenty-seven of Gregor Piatigorsky’ s marvelous book, Cellist (Doubleday, 1965) for here are words no book on the conductor’ s art–nor any conductor–can ignore. –FREDERICK FENNELL, Conductor, the Continent, and through clinical studies at the Institute of Logopedics in Wichita, Kansas, and more recently in the Department of Psychiatry, The University of Pennsylvania. A large portion of the book is devoted to the author’ s early experiences in developing the techniques in European institutions. The most important sections of the book are those which attempt to detail the techniques utilized in the clinical setting. T w o sections devoted to photographs of children in the clinical environment–in some instances a type of time-lapse photography–give added meaning to the textual content of the volume. Dr. Nordoff, the principal developer of this music therapy technique, is a trained composer who became interested in music therapy while visiting England. The co-author, Clive Robbins, was a teacher in the English school first visited by Dr. Nordoff. Although the concepts presented in this work are not always as clear as one might wish them, and while some activities as described are more meaningful when observed in action, those sections describing the techniques utilized by Dr. Nordoff and Mr. Robbins would seem to be required read- REDISCOVERED MADRIGALS Edited by Don M a l i n SATB a cappella ome of these Italian and French madrigals are appearing for the first time in modern editions. Others, though published many years ago, had fallen into oblivion. They are, in a sense, “ rediscovered” and are presented here with new and fresh English translations. University Florida. of Miami, Coral Gables, MUSIC THERAPY F O R H A N D I CAPPED C H I L D R E N: Investigations and Experiences. By Paul Nordoff and Clive Robbins. Blauvelt, New York: Rudolf Steiner Publications, 1965, 150 pp., $ 5.00. The development of a technique for using music as a non-conflictual entrance into the consciousness of autistic children and children with severe brain damage aptly describes the contents of this book. The technique involves the composing and improvisation of music in terms of the actions and reactions of children during clinical musical settings. The authors have developed, from work with one hundred and forty-five children, a list of thirteen response patterns to improvised piano music. They report that, “ improvised music with psychotic children has diagnostic and therapeutic significance…. Improvised music can establish communication, develop human relationships, initiate or extend speech, dispel pathological behavior patterns, and so build stronger, richer personalities.” The development of this technique (which is too involved and complicated to specify here) is traced through the author’ s initial work in 1958 at the Sunfield Children’ s Home in Worcestershire, England, through twenty-six similar children’ s homes on JUNE-JULY, NINETEEN SIXTY-SIX on Malin has been associated with the educational music field for many years. His name is known to music educators throughout the country. He has an exceptional knowledge of choral literature and is the editor of many outstanding collections. Orazio Vecchi I A M THE PHOENIX (lo son fenke) Luca Marenzio AH! WEARY AM I (Ma per me lasso) (Dissi a Vamata mia lucida stella) HEAR ME N O W, BELOVED Jacques Clement COME N O W, YE MAIDENS Philippe D e Monte LIKE AS T H E each 25 write Dept. M-4 on official letterhead for examination copies TURTLE DOVE (Comme la tourterelle) MARKS MUSIC CORPORATION 136 W e s t 5 2 n d S t r e e t, N e w Y o r k, N.Y. 1 0 0 1 9 93 </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>The Conductor's Art</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>The Conductor's Art</title></titleInfo><name type="personal"><namePart type="given">Frederick</namePart><namePart type="family">Fennell</namePart><affiliation>Conductor, University of Miami, Coral Gables, Florida</affiliation></name><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">1966-06</dateIssued><copyrightDate encoding="w3cdtf">1966</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>1966</date><detail type="volume"><caption>vol.</caption><number>52</number></detail><detail type="issue"><caption>no.</caption><number>6</number></detail><extent unit="pages"><start>92</start><end>93</end></extent></part></relatedItem><identifier type="istex">002626A52E4F0F3B8B1F010E33E8E40394566623</identifier><identifier type="ark">ark:/67375/M70-7CLPFWZ8-X</identifier><identifier type="DOI">10.2307/3390724</identifier><identifier type="ArticleID">10.2307_3390724</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/002626A52E4F0F3B8B1F010E33E8E40394566623/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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