diff --git "a/Arts/test.json" "b/Arts/test.json"
new file mode 100644--- /dev/null
+++ "b/Arts/test.json"
@@ -0,0 +1,13627 @@
+[
+  {
+    "id": 4001,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "音乐思潮流变下的中国交响乐创作（1949-2019）",
+    "source": "《黄鹤的故事》是一部带有描述性、叙事性的交响作品，在1957年莫斯科举办的“第六届世界青年学生联欢会”的音乐作品比赛中获得三等奖。",
+    "reference": "《黄鹤的故事》是一部结合了描述性和叙事性的交响作品，在1957年莫斯科举办的“第六届世界青年学生联欢会”的音乐作品比赛中获得三等奖。",
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+  },
+  {
+    "id": 4017,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "童话情节与交响诗的完美结合",
+    "source": "单簧管继续演奏鸭子的主题，不同的是大提琴分奏变为三连音节奏型，在情绪上弥补了单簧管和大管的慢节奏，使其紧张性增加，作曲家想在此处在描写出鸭子跳入水中后动作变得灵活起来。",
+    "reference": "单簧管继续演奏鸭子的主题，而大提琴的分奏转变为三连音节奏型。这种变化在情绪上弥补了单簧管和大管的慢节奏，增加了音乐的紧张感。作曲家意图通过这一改变来描绘鸭子跳入水中后动作变得更加灵活的场景。",
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+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "音乐思潮流变下的中国交响乐创作（1949-2019）",
+    "source": "而革命现实主义思潮与人性主义思潮一起共同构成了建国初期到文革前期的中国音乐创作主流思潮。",
+    "reference": "建国初期至文化大革命前期，中国音乐创作的主导思想潮流是由革命现实主义和人性主义两大思潮共同塑造的。",
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+  },
+  {
+    "id": 4023,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "致敬巴赫",
+    "source": "在这里，黄安伦先生并不像贝多芬的“大赋格”那样给人留下玄机——即留下形状相似的动机让后人来猜测，而是在新主题出现时直接在上面标注了重音记号，并且写上了“B-A-C-H”四个字母，直接而明了的提示了演奏者。",
+    "reference": "在这里，黄安伦先生的做法与贝多芬的《大赋格》不同，后者留下形状相似的动机让后人去揣摩，而黄安伦先生则是在新主题呈现时，直接在其上方加上了重音记号，并明确标注了“B-A-C-H”四个字母，为演奏者提供了直接且清晰的提示。",
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+    ]
+  },
+  {
+    "id": 4028,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "艺术歌曲《诔词》的音乐特点研究及演唱分析",
+    "source": "“花”字在句尾且有两拍的时值，在演唱时需要把字中和字尾的归韵自然的过渡出来，“hu-a”“散上玫瑰花-啊”，字中的“u”不必过于强调（如下图），自然过渡就可。",
+    "reference": "“花”字在句尾且有两拍的时值，在演唱时需要把字中和字尾的归韵自然地过渡出来，“hu-a”“散上玫瑰花-啊”，字中的“u”不必过于强调（如下图），自然过渡就可。",
+    "edit": [
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+    ]
+  },
+  {
+    "id": 4029,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "古诗词艺术歌曲的演唱教学研究",
+    "source": "在中国传统文化的教学与传播过程中，激发声乐学习者对传统文化的热情，使他们产生对传统文化的兴趣，积极主动的来进行学习。",
+    "reference": "在中国传统文化的教学与传播过程中，激发声乐学习者对传统文化的兴趣，使他们产生对传统文化的热情，积极主动地来进行学习。",
+    "edit": [
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+  },
+  {
+    "id": 4032,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "汪立三音乐创作研究",
+    "source": "十二音体系最基本原则为是二个半音地位平等，一个音在剩余十一个音未出现之前不可重复使用���根据此原则勋伯格制定了完整的一套作曲方法，这便是十二音作曲法。",
+    "reference": "十二音体系最基本原则为十二个半音地位平等，一个音在剩余十一个音未出现之前不可重复使用，根据此原则勋伯格制定了一套完整的作曲方法，这便是十二音作曲法。",
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+  {
+    "id": 4034,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "罗麦朔《胤禛美人图》的创作研究",
+    "source": "在作曲家把握《烘炉观雪》一图时，对自己的亲身经历也产生了丰富的联想，这幅画使他回忆起其自身在俄罗斯留学时的下雪的场景，并尝试将自己当时雪中的心境融入到音乐中。",
+    "reference": "作曲家在把握《烘炉观雪》 这幅画时，对自己的亲身经历也产生了丰富的联想。这幅画使他回忆起了自己在俄罗斯留学时下雪的场景，并尝试将自己当时雪中的心境融入到音乐中。",
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+  {
+    "id": 4035,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "上海古筝表演艺术多元性特征研究（1978-2000）",
+    "source": "2001年3月，长宁区少年宮成立了古筝乐团，由田影老师担任团长、付沛华担任艺术顾问，已有团员9名。",
+    "reference": "2001年3月，长宁区少年宫成立了古筝乐团，由田影老师担任团长、付沛华担任艺术顾问，已有9名团员。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_interval": [
+          13,
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+        ],
+        "src_tokens": [
+          "宮"
+        ],
+        "tgt_tokens": [
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+      },
+      {
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+        "tgt_interval": [
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+        "src_tokens": [
+          "团",
+          "员",
+          "9",
+          "名"
+        ],
+        "tgt_tokens": [
+          "9",
+          "名",
+          "团",
+          "员"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4038,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "音乐思潮流变下的中国交响乐创作（1949-2019）",
+    "source": "改革开放后的中国新潮音乐发展主要经过了两个阶段，一是创始阶段，二是繁荣阶段。",
+    "reference": "改革开放以来，中国新潮音乐的发展经历了两个主要阶段：首先是创始阶段，随后是繁荣阶段。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_interval": [
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+        "tgt_tokens": [
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+      },
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+          "一"
+        ],
+        "tgt_tokens": [
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+          "先"
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+      },
+      {
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+          "二"
+        ],
+        "tgt_tokens": [
+          "随",
+          "后"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4039,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "论抗战时期云南红色革命歌曲的艺术特色及其价值",
+    "source": "1.对抗战时期云南红色革命歌曲艺术特色分析主要包括以下成果。",
+    "reference": "1.对抗战时期云南红色革命歌曲艺术特色分析包括以下成果。",
+    "edit": [
+      {
+        "src_interval": [
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+          23
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+        "tgt_interval": [
+          21,
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+        ],
+        "src_tokens": [
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+          "要"
+        ],
+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 4047,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "汪立三音乐创作研究",
+    "source": "笔者运用史料分析法，音乐文献研究法等对汪立三的音乐创作加以分析，本文共分为五章。",
+    "reference": "笔者运用史料分析法和音乐文献研究法等对汪立三的音乐创作加以分析，本文共分为五章。",
+    "edit": [
+      {
+        "src_interval": [
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+        ],
+        "tgt_interval": [
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+          "，"
+        ],
+        "tgt_tokens": [
+          "和"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4050,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "艺术歌曲《诔词》的音乐特点研究及演唱分析",
+    "source": "这里节奏上的两个切分的重音要求我们不要太过死板，利用腰腹力量唱的流动且有弹性。",
+    "reference": "这里节奏上的两个切分的重音要求我们不要太过死板，利用腰腹力量唱得流动且有弹性。",
+    "edit": [
+      {
+        "src_interval": [
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+        ],
+        "tgt_interval": [
+          31,
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+        ],
+        "src_tokens": [
+          "的"
+        ],
+        "tgt_tokens": [
+          "得"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4057,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "“泛欧洲”视域中的早期法国音乐研究",
+    "source": "同时，法国音乐的发展进程经历了从“区域性”到“泛欧洲”性的转变，音乐史中“泛欧洲”风格的发展，逐渐形成的创作群体、创作体裁、创作技术为一体的共性创作发展体系，打破了以“区域性”为主的创作发展，开始走向“泛欧洲”风格的发展道路。",
+    "reference": "同时，法国音乐的发展经历了从“区域性”到“泛欧洲”的转变。在音乐史上，“泛欧洲”风格的发展，伴随着以创作群体、创作体裁、创作技术为一体的共性创作发展体系的逐渐形成，打破了以往以“区域性”为主的创作发展，使音乐开始走向“泛欧洲”风格的发展道路。",
+    "edit": [
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+        "src_interval": [
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+        "tgt_interval": [
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+          "形",
+          "成",
+          "的"
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+        "src_tokens": [],
+        "tgt_tokens": [
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+          "使",
+          "音",
+          "乐"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4058,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "福雷艺术歌曲的风格特征及演唱方法研究",
+    "source": "对歌曲进行诠释的过程中，想象力也十分重要。",
+    "reference": "在对歌曲进行诠释的过程中，想象力是极为重要的。",
+    "edit": [
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+        "src_interval": [
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+          "十",
+          "分"
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+        "tgt_tokens": [
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+          "极",
+          "为"
+        ]
+      },
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+        "tgt_tokens": [
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+        ]
+      }
+    ]
+  },
+  {
+    "id": 4059,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "民族心灵的慰藉之声",
+    "source": "尖锐的音响效果与不和协因素的出现似乎在提醒和暗示战争带给人们的痛苦仍未散去。",
+    "reference": "尖锐的音响效果与不和谐因素的出现似乎在提醒和暗示战争带给人们的痛苦仍未散去。",
+    "edit": [
+      {
+        "src_interval": [
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+          11
+        ],
+        "tgt_interval": [
+          10,
+          11
+        ],
+        "src_tokens": [
+          "协"
+        ],
+        "tgt_tokens": [
+          "谐"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4067,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "古诗词艺术歌曲的演唱教学研究",
+    "source": "本章声乐教学过程中的用谱选自《赵季平创作歌曲精选》中第207页至第209页。",
+    "reference": "本章声乐教学过程中的用谱选自《赵季平创作歌曲精选》中第207页至第209页。",
+    "edit": []
+  },
+  {
+    "id": 4069,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "混声合唱《纹身》的艺术处理及时代意蕴研究",
+    "source": "综上所述，目前虽然对混声合唱作品及作曲家的研究很多，对《纹身》的研究还处于空白阶段。",
+    "reference": "综上所述，尽管目前对混声合唱作品及作曲家的研究很多，但对《纹身》的研究还处于空白阶段。",
+    "edit": [
+      {
+        "src_interval": [
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+          5
+        ],
+        "tgt_interval": [
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+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
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+          "管"
+        ]
+      },
+      {
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+        "tgt_interval": [
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+        "src_tokens": [
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+          "然"
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+        "tgt_tokens": []
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+      {
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+        "tgt_interval": [
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+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "但"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4077,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "混声合唱《纹身》的艺术处理及时代意蕴研究",
+    "source": "语言反映一个民族的特征,它不仅包含着该民族的历史和文化背景,而且蕴涵着该民族对人生的看法,生活方式和思维方式。",
+    "reference": "语言反映了一个民族的特征，它不仅承载着该民族的历史和文化背景，而且蕴涵着该族人民对人生的看法、生活方式和思维方式。",
+    "edit": [
+      {
+        "src_interval": [
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+          4
+        ],
+        "tgt_interval": [
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+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
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+        ]
+      },
+      {
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+        "tgt_interval": [
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+        "src_tokens": [
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+        "tgt_tokens": [
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+        ]
+      },
+      {
+        "src_interval": [
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+        "tgt_interval": [
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+        ],
+        "src_tokens": [
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+          "含"
+        ],
+        "tgt_tokens": [
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+          "载"
+        ]
+      },
+      {
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+        "src_tokens": [
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+        ],
+        "tgt_tokens": [
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+          "人",
+          "民"
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+      },
+      {
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+        "src_tokens": [
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+        ],
+        "tgt_tokens": [
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+        ]
+      }
+    ]
+  },
+  {
+    "id": 4079,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "音乐思潮流变下的中国交响乐创作（1949-2019）",
+    "source": "该研究以历时的角度，从中国历史发展现实情况为基础，深入探究中国近代音乐思潮在多种因素影响下产生的剧烈变化。",
+    "reference": "该研究采用历时角度，基于中国历史发展的现实情况，深入探讨了在多种因素影响下，中国近代音乐思潮所经历的剧烈变化。",
+    "edit": [
+      {
+        "src_interval": [
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+        ],
+        "tgt_interval": [
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+      },
+      {
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+          "生"
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+        "tgt_tokens": [
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+          "经",
+          "历"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4082,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "“泛欧洲”视域中的早期法国音乐��究",
+    "source": "十六世纪下半叶第三代作曲家有罗勒、菲利普•德•蒙特（Philippe de Monte1521-1603）、以及拉索等人。",
+    "reference": "十六世纪下半叶的第三代作曲家包括罗勒、菲利普·德·蒙特（Philippe de Monte,1521-1603）和拉索等人。",
+    "edit": [
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+          "德",
+          "•"
+        ],
+        "tgt_tokens": [
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+          "德",
+          "·"
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+      },
+      {
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+        "tgt_tokens": [
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+      }
+    ]
+  },
+  {
+    "id": 4087,
+    "category": "艺术学",
+    "discipline": "音乐美学",
+    "title": "论音乐创造形式的生命意义",
+    "source": "仿佛在告诉人们，无论人生的道路有多么的崎岖、坎坷，都要学会坚持，勇敢的向前走，最终会迎来幸福。",
+    "reference": "仿佛在告诉人们，无论人生道路多么崎岖坎坷，都应该学会坚持，勇敢地向前迈进，最终迎来幸福。",
+    "edit": [
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+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 4093,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "童话情节与交响诗的完美结合",
+    "source": "后期的音乐创作在曲式结构方面上有极大的突破，并且作曲家在保留传统调性和主题旋律写法的基础上，有意识的同二十世纪的音乐写作风格相结合，赋予作品更大的创作空间，例如在1944年的《第五交响曲》、1952年的《第七交响曲》等等。",
+    "reference": "后期的音乐创作在曲式结构上取得了重大突破。作曲家们在保留传统调性和主题旋律的写作手法的同时，有意识地将其与二十世纪的音乐写作风格相融合，从而为作品赋予了更广阔的创作空间。例如，1944年的《第五交响曲》和1952年的《第七交响曲》等作品。",
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+        "tgt_interval": [
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+        "src_tokens": [
+          "等"
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+        "tgt_tokens": [
+          "作",
+          "品"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4099,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "上海古筝表演艺术多元性特征研究（1978-2000）",
+    "source": "这一区域，演奏者可以根据演出乐曲的需要而自由定弦，具有很强的灵活性。",
+    "reference": "在这一区域，演奏者可以根据演出乐曲的需求自由定弦，展现出极强的灵活性。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_tokens": [
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+        "tgt_tokens": [
+          "展",
+          "现",
+          "出",
+          "极"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4115,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "混声合唱《纹身》的艺术处理及时代意蕴研究",
+    "source": "世界文化是多元的，他的组成离不开每一个民族，也并没有哪种文化先进，哪种文化落后之说。",
+    "reference": "世界文化是多元的，它的组成离不开每一个民族，也并没有哪种文化先进，哪种文化落后之说。",
+    "edit": [
+      {
+        "src_interval": [
+          9,
+          10
+        ],
+        "tgt_interval": [
+          9,
+          10
+        ],
+        "src_tokens": [
+          "他"
+        ],
+        "tgt_tokens": [
+          "它"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4116,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "云南传统音乐元素在交响乐创作中的应用研究",
+    "source": "因研究和创作的不断深入，对创作交响乐这一想法早已在笔者心中酝酿多时。",
+    "reference": "因研究和创作的不断深入，对创作交响乐这一想法早已在笔者心中筹划了多时。",
+    "edit": [
+      {
+        "src_interval": [
+          29,
+          31
+        ],
+        "tgt_interval": [
+          29,
+          32
+        ],
+        "src_tokens": [
+          "酝",
+          "酿"
+        ],
+        "tgt_tokens": [
+          "筹",
+          "划",
+          "了"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4118,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "罗麦朔《胤禛美人图》的创作研究",
+    "source": "本文将以作曲技法分析和文化分析两个分析视角进行切入，并以作曲技法分析为主要分析手段。",
+    "reference": "本文将立足于作曲技法分析和文化分析两个分析视角进行切入，并以作曲技法分析为主要手段。",
+    "edit": [
+      {
+        "src_interval": [
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+          4
+        ],
+        "tgt_interval": [
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+        ],
+        "src_tokens": [
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+        "tgt_tokens": [
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+          "足",
+          "于"
+        ]
+      },
+      {
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+        "src_tokens": [
+          "分",
+          "析"
+        ],
+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 4119,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "民族心灵的慰藉之声",
+    "source": "在结构上来看，本乐章体现了一定的奏鸣曲式的原则。",
+    "reference": "从结构上来看，本乐章体现了奏鸣曲式的一些原则。",
+    "edit": [
+      {
+        "src_interval": [
+          0,
+          1
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+        "tgt_interval": [
+          0,
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+        "tgt_tokens": [
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+        "src_tokens": [
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+        "tgt_tokens": []
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+      {
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+        "tgt_interval": [
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+        "src_tokens": [],
+        "tgt_tokens": [
+          "一",
+          "些"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4124,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "魏军古筝协奏曲音乐创作研究",
+    "source": "旋律的陈述和乐思的表现,是通过节奏的律动和音调的起伏两个基本要素来实现。",
+    "reference": "旋律的陈述和乐思的表现由两个基本要素，通过节奏的律动和音调的起伏来实现。",
+    "edit": [
+      {
+        "src_interval": [
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+          13
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+        "tgt_interval": [
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+      {
+        "src_interval": [
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+        "tgt_interval": [
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+          "基",
+          "本",
+          "要",
+          "素"
+        ],
+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 4125,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "汪立三音乐创作研究",
+    "source": "杰弗里收到曲子之后非常满意，在回信中悉心写出什么地方写的好，具体原因是什么。",
+    "reference": "杰弗里收到曲子之后非常满意，他在回信中悉心写出什么地方写的好，以及具体原因是什么。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_interval": [
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+        ]
+      },
+      {
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+        "tgt_interval": [
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+        "src_tokens": [],
+        "tgt_tokens": [
+          "以",
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+        ]
+      }
+    ]
+  },
+  {
+    "id": 4127,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "二十世纪八十年代中国钢琴三重奏创作研究",
+    "source": "这些都是在主调音乐和复调音乐中的区别所在。",
+    "reference": "这些都是主调音乐和复调音乐的差别所在。",
+    "edit": [
+      {
+        "src_interval": [
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+          5
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+        "tgt_tokens": []
+      },
+      {
+        "src_interval": [
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+        "tgt_interval": [
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+        ],
+        "src_tokens": [
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+          "区"
+        ],
+        "tgt_tokens": [
+          "的",
+          "差"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4134,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "徐景新艺术歌曲的演唱与分析研究",
+    "source": "然而，这种结束，并不时尾声，反而是整合多样、融合一切的新生。",
+    "reference": "然而，这种结束，并不是尾声，反而是整合多样、融合一切的新生。",
+    "edit": [
+      {
+        "src_interval": [
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+        ],
+        "tgt_interval": [
+          10,
+          11
+        ],
+        "src_tokens": [
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+        ],
+        "tgt_tokens": [
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+        ]
+      }
+    ]
+  },
+  {
+    "id": 4135,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "古诗词艺术歌曲的演唱教学研究",
+    "source": "中国有着悠久的历史和文化传承，近年来，我国开始大力弘扬传统文化，为人民建立了坚定地文化信心。",
+    "reference": "中国拥有悠久的历史和文化传承，近年来，我国大力推广传统文化，以此增强人民的文化自信。",
+    "edit": [
+      {
+        "src_interval": [
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+          4
+        ],
+        "tgt_interval": [
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+          4
+        ],
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+          "着"
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+        "tgt_tokens": [
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+        ]
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+        "src_tokens": [
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+        "tgt_tokens": []
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+      {
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+        "src_tokens": [
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+          "扬"
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+        "tgt_tokens": [
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+          "广"
+        ]
+      },
+      {
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+          "强"
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+      },
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+        "tgt_tokens": [
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+        ]
+      }
+    ]
+  },
+  {
+    "id": 4137,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "童话情节与交响诗的完美结合",
+    "source": "作曲家并没有简单的改变速度，而是采取时值扩大的方式，完全符合圆号的演奏方式，所以作曲家在这个场景下采用圆号来表现彼得主题，人物形象的情绪也被表现的淋漓尽致。",
+    "reference": "作曲家并没有简单地改变速度，而是采取时值扩大的方式，这种处理符合圆号的��奏方式，所以作曲家在这个场景下采用圆号来表现彼得主题，人物形象的情绪也被表现得淋漓尽致。",
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+      }
+    ]
+  },
+  {
+    "id": 4142,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "配器视角下秦文琛“宽线条”技法研究",
+    "source": "首先是因为弦乐器由于乐器构造原因，较容易可演奏微分音且一定程度上可控制其音高的稳定性，这就为实践这一技法提供了音高上的最大可行性。",
+    "reference": "因为弦乐器是乐器构造的原因，所以在一定程度上微分音可以控制音高的稳定性这样容易演奏，这就为实践这一技法提供了音高上最大可行性。",
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+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 4148,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "福雷艺术歌曲的风格特征及演唱方法研究",
+    "source": "为保障法语的纯正，防止法语慢慢的被英语代替，促进法语以及法语文化在世界更大范围的流传，二十多个法语国家和地区共同提出“法语社区”的理念，并在世界各地设立了法语机构，推广法国文化和法国语言。",
+    "reference": "为保障法语的纯正，防止法语慢慢的被英语代替，促进法语以及法语文化在世界更大范围的流传，是二十多个法语国家和地区共同提出“法语社区”的理念，并在世界各地设立了法语机构，推广法国文化和法国语言。",
+    "edit": [
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+      }
+    ]
+  },
+  {
+    "id": 4150,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "配器视角��秦文琛“宽线条”技法研究",
+    "source": "最后：弦乐组乐器技巧、弓法灵活多样，表现力强，由其是各种滑音以及微分音的演奏相对方便，这在对于半音以内的音高填充相较于其他乐器就有了极大的优势。",
+    "reference": "最后：弦乐组乐器技巧、弓法灵活多样，表现力强，尤其是各种滑音以及微分音的演奏相对方便，这在对于半音以内的音高填充相较于其他乐器就有了极大的优势。",
+    "edit": [
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+      }
+    ]
+  },
+  {
+    "id": 4151,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "音乐思潮流变下的中国交响乐创作（1949-2019）",
+    "source": "本文将沿用冯长春对“音乐思潮”的定义。",
+    "reference": "本文将沿用冯长春对“音乐思潮”的认知。",
+    "edit": [
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+        "src_interval": [
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+      }
+    ]
+  },
+  {
+    "id": 4154,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "蒋袓馨钢琴作品中的传统音乐元素研究",
+    "source": "冬日的阳光是含蓄的，安静的，它不同于春日的明媚、夏日的炙热，这首作品用琵琶的不同技法将冬日里沉静中的喧嚣渲染的淋漓尽致，明亮却不张扬，在寒冷中给人们希望。",
+    "reference": "冬日的阳光是含蓄安静的，它不同于春日的明媚、夏日的炙热，这首作品用琵琶的不同技法，将冬日里沉静中的喧嚣渲染得淋漓尽致，明亮却不张扬，在寒冷中给人们希望。",
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+      }
+    ]
+  },
+  {
+    "id": 4160,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "魏军古筝协奏曲音乐创作研究",
+    "source": "在《鼓乐新弹——筝曲<行者>的音乐本体分析》中，薛莲是从这首作品的结构入手的，对作品中素材之间的联系与展开进行了探索，以及从音乐学角度对西安鼓乐元素在作品中的积极影响描述的惟妙惟肖，从而解读了作品所具有的独特艺术风格。",
+    "reference": "在《鼓乐新弹——筝曲<行者>的音乐本体分析》中，薛莲是从这首作品的结构入手，对作品中素材之间的联系与展开进行了探索，并且从音乐学角度描述了西安鼓乐元素在作品中的积极影响，惟妙惟肖地阐释了作品具有的独特艺术风格。",
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+    ]
+  },
+  {
+    "id": 4162,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "罗麦朔《胤禛美人图》的创作研究",
+    "source": "主题旋律建立在G徵雅乐上，以D音开始，前1-15小节，旋律围绕调式主音C进行上下“运动”，作曲家通过装饰音巧妙的润色了简洁的主题旋律，增加了音乐的“立体性与“趣味性”。",
+    "reference": "主题旋律建立在G徵雅乐上，从D音开始，前1-15小节，旋律围绕调式主音C进行上下“运动”，作曲家通过装饰音巧妙地润色了简洁的主题旋律，增加了音乐的“立体性”与“趣味性”。",
+    "edit": [
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+      }
+    ]
+  },
+  {
+    "id": 4163,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "魏军古筝协奏曲音乐创作研究",
+    "source": "犹如在协奏曲《大漠行》中，听众随着音乐的进行，热血沸腾，使人不由自主的联想到，仿佛自己回到丝绸之路的起点古长安，随着音响的变化在沙漠中行走，踏着丝路文化的步伐渐行渐远。",
+    "reference": "犹如在协奏曲《大漠行》中，听众随着音乐的进行，热血沸腾，使人不由自主地联想到，仿佛自己回到丝绸之路的起点古长安，随着音响的变化在沙漠中行走，踏着丝路文化的步伐渐行渐远。",
+    "edit": [
+      {
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+        "tgt_interval": [
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+        "tgt_tokens": [
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+      }
+    ]
+  },
+  {
+    "id": 4176,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "魏军古筝协奏曲音乐创作研究",
+    "source": "同构思维是一种潜在于跨时代、跨领域的一种思维意识。",
+    "reference": "同构思维是一种潜在于跨时代、跨领域的思维意识。",
+    "edit": [
+      {
+        "src_interval": [
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+        "src_tokens": [
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+      }
+    ]
+  },
+  {
+    "id": 4178,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "罗麦朔《胤禛美人图》的创作研究",
+    "source": "为了增加旋律线条之间各自的独立感，作曲家可以通过不同的乐器组的使用来达到这种目的，当使用不同的乐器组来创作对比式的旋律线条时，通过不同音色的对比，乐器音色自身上差异就会自然而然地增强各自旋律的存在感。",
+    "reference": "为了增加旋律线条之间各自的独立感，作曲家可以通过不同的乐器组的使用来达到这种目的，当使用不同的乐器组创作对比式的旋律线条时，通过不同音色的对比，乐器音色自身的差异就会自然而然地增强各自旋律的存在感。",
+    "edit": [
+      {
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+        "tgt_interval": [
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+      }
+    ]
+  },
+  {
+    "id": 4180,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "中国当代音乐史中的创作筝曲研究",
+    "source": "在本论文中“创作筝曲”是作曲家通过音符（符号）和声音为物质载体，按照一定的题材和体裁，对客观世界进行认知并直接产生的音乐作品。",
+    "reference": "本论文中“创作筝曲”是作曲家通过音符（符号）和声音这两种物质载体，按照一定的题材和体裁框架，对客观世界进行认知，从而创作出的音乐作品。",
+    "edit": [
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+      }
+    ]
+  },
+  {
+    "id": 4183,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "音乐思潮流变下的中国交响乐创作（1949-2019）",
+    "source": "该研究在同一专著根据研究内容的区别采用了两种不同的研究方法，对改革开放以及新时期两个阶段内我国音乐思潮的变化展开了细致的研究，是新时期中国音乐思潮史研究的优秀之作。",
+    "reference": "该研究在同一专著中根据研究内容的区别采用了两种不同的研究方法，对改革开放以及新时期两个阶段内我国音乐思潮的变化展开了细致的研究，是新时期中国音乐思潮史研究的优秀之作。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_interval": [
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+        "src_tokens": [],
+        "tgt_tokens": [
+          "中"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4186,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "论抗战时期云南红色革命歌曲的艺术特色及其价值",
+    "source": "歌曲在创作时音乐与歌词紧密的联系在一起，更真实准确的表达了人民的思想感情，人民生活。",
+    "reference": "在创作歌曲时，音乐与歌词的紧密结合能够有效地传达人民的情感和生活体验。",
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+  {
+    "id": 4197,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "致敬巴赫",
+    "source": "其次是断奏：尽管这是一首现代作品，但考虑到演奏赋格这种古老的体裁以及该赋格主题动机的类型笔者认为断奏占据作品的大部分。",
+    "reference": "其次是断奏：尽管这是一首现代作品，但考虑��演奏赋格这种古老的体裁以及该赋格主题动机的类型笔者认为断奏占据作品的绝大部分。",
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+    "id": 4199,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "蒋袓馨钢琴作品中的传统音乐元素研究",
+    "source": "他用节奏不均衡的对位关系，调性色彩的变化预示着自己对人生有着更高层次的回归，这些探索都是隐晦的蕴含在我国民族音乐精气神之中的。",
+    "reference": "他通过运用节奏不均衡的对位关系，调性色彩的变化，预示着自己对人生有着更高层次回归。这些探索都是隐晦地蕴含在我国民族音乐的精气神之中的。",
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+    "title": "艺术歌曲《诔词》的音乐特点研究及演唱分析",
+    "source": "均匀的歌唱，唱完后不慌不忙的再吸气唱下一句，这才符合整个歌的乐感。",
+    "reference": "歌唱时维持均匀的呼吸，在唱完一句歌词后再不慌不忙地吸气去唱下一句，这样控制才能符合整首歌曲的乐感。",
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+  {
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+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "罗麦朔《胤禛美人图》的创作研究",
+    "source": "由此可见，该作品在体现出作曲家极强的作曲技术功底同时也体现出对他对作品整体结构平衡的把握和驾驭能力。",
+    "reference": "由此可见，该作品在体现作曲家极强作曲技术功底的同时，也体现出他对作品整体结构平衡的把握和驾驭能力。",
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+  {
+    "id": 4214,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "二十世纪八十年代中国钢琴三重奏创作研究",
+    "source": "作曲家们在这段时期里开始立足于中国的传统文化，一如初期的一些中老年作曲家，在将中国传统音乐的文化与西方现代作曲的技法进行融合的道路上进行探索，这也为未来中国的传统问化与西方现代作曲的技法进行结合存在无限可能性奠定了基础，展示出在我国的音乐创作风格中民族性与时代性兼具的多元音乐风格。",
+    "reference": "作曲家们在这段时期里开始植根于中国的传统文化，一如初期的一些中老年作曲家，在将中国传统音乐的文化与西方现代作曲的技法进行融合的道路上进行探索，这也为未来中国的传统文化与西方现代作曲的技法进行结合提供了无限可能性，展示出我国音乐创作风格中的民族性与时代性兼具的多元音乐风格。",
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+  },
+  {
+    "id": 4224,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "建国十七年童声合唱研究",
+    "source": "史真《<我们是共产主义接班人>：唱出薪火相传的最强音》与孟红的《<我们是共产主义接班人>诞生始末》,叙述了合唱产生的社会背景，作曲家创作时的场景以及歌曲对今后的影响���",
+    "reference": "史真《<我们是共产主义接班人>：唱出薪火相传的最强音》与孟红的《<我们是共产主义接班人>诞生始末》两篇文章叙述了合唱产生的社会背景、作曲家创作时的场景以及歌曲对今后的影响。",
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+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "中国当代音乐史中的创作筝曲研究",
+    "source": "由于传统的左手“作韵”技巧逐渐减少”而且“可听性”也逐渐减弱这一现象的产生，缺失了筝本身的审美旨趣和韵味，不能满足人们的听觉，久而久之，筝曲受众层面只在专业领域发展，普及面越来越小。",
+    "reference": "由于传统左手“作韵”技巧的逐渐减少，加之“可听性”的持续减弱，筝乐失去了其本身的审美旨趣和韵味，无法满足广大听众的听觉需求。长此以往，筝曲的受众层面逐渐局限于专业领域，而其普及范围也日益缩小。",
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+    "id": 4228,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "民族心灵的慰藉之声",
+    "source": "但由转换调性给音乐带来的不和协因素，都在音乐进行中得到了解决，进而使得该作品在模糊的调式转变中仍能达到音乐上的整体和统一。",
+    "reference": "由于转换调性可能带来的不和谐因素在音乐进行中得到了妥善解决，这使得作品即便在模糊的调式转换中也能保持音乐上的完整性和统一性。",
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+      }
+    ]
+  },
+  {
+    "id": 4234,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "配器视角下秦文琛“宽线条”技法研究",
+    "source": "在节拍上音乐由引入阶段相对稳定的4/4拍变成了散拍子，且在打击乐声部使用了时间记谱法的方式，进一步使得散开阶段节拍更加自由。",
+    "reference": "在节拍上，音乐由引入阶段相对稳定的4/4拍变成了散拍子，且在打击乐声部采用了时间记谱法，进一步使得散开阶段节拍更加自由。",
+    "edit": [
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+      }
+    ]
+  },
+  {
+    "id": 4244,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "论抗战时期云南红色革命歌曲的艺术特色及其价值",
+    "source": "正因为作曲家们以国家危亡为主题，音乐采用了云南少数民族以及民间音乐元素，以其通俗的语言，明亮的风格，真实的反映出来人民的心声，得到了广大人民群众的共鸣。",
+    "reference": "正因为作曲家们以国家危亡为主题，并在音乐中融入了云南少数民族及民间音乐元素，采用了通俗易懂的表达方式和明朗的风格，真实地反映了人民的心声，从而赢得了广大人民群众的广泛共鸣。",
+    "edit": [
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+        "src_tokens": [],
+        "tgt_tokens": [
+          "广",
+          "泛"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4246,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "当代中国古典诗词艺术歌曲的演唱与审美研究",
+    "source": "《颂》是赞歌，是宗庙颂神的祭乐，统治者最为看重的部分。",
+    "reference": "《颂》是赞歌，是宗庙颂神的祭乐，是统治者最为看重的部分。",
+    "edit": [
+      {
+        "src_interval": [
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+        ],
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+        ]
+      }
+    ]
+  },
+  {
+    "id": 4255,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "二十世纪八十年代中国钢琴三重奏创作研究",
+    "source": "在中国，由于民族音乐中民族调式的限制，使中国民族音乐家在使用西方作曲技法进行创作时无法完全地使用三度叠置和弦进行创作，由此就产生了民族调式之下的非三度叠置和弦。",
+    "reference": "在中国，由于民族音乐中民族调式的限制，使中国民族音乐家在使用西方作曲技法进行创作时无法完全地使用三度叠置和弦进行创作，由此就产生了民族调式之下的非三度叠置和弦。",
+    "edit": []
+  },
+  {
+    "id": 4258,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "上海古筝表演艺术多元性特征研究（1978-2000）",
+    "source": "改革开放后，在新的文艺政策与新型艺术观念的影响下，古筝表演艺术的存在和发展在一定程度上反映出这一时期人们特定的思想文化观念、价值取向。",
+    "reference": "改革开放后，在新的文艺政策与新型艺术观念的影响下，古筝表演艺术的存在和发展在一定程度上反映出这一时期人们特定的思想文化观念、价值取向。",
+    "edit": []
+  },
+  {
+    "id": 4265,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "童话情节与交响诗的完美结合",
+    "source": "在发展过程中，随着场景、环境、情节的变化，鸭子主题一共出现了二次。",
+    "reference": "在发展过程中，随着场景、环境、情节的变化，鸭子主题一共出现了两次。",
+    "edit": [
+      {
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+        ],
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+        ]
+      }
+    ]
+  },
+  {
+    "id": 4267,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "“泛欧洲”视域中的早期法国音乐研究",
+    "source": "进入十七世纪以后，法国音乐的历史影响，相对发展势头强劲的德奥音乐体系，已失去核心区域中心影响力，实为融入了西方多元化的发展格局之中。",
+    "reference": "进入十七世纪以后，法国音乐的历史影响相对减弱。相较于发展势头强劲的德奥音乐体系，法国音乐已失去了核心区域的中心影响力，并已经融入了西方多元化的发展格局之中。",
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+      }
+    ]
+  },
+  {
+    "id": 4270,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "徐景新艺术歌曲的演唱与分析研究",
+    "source": "音乐形态分析法：通过对两首艺术歌曲进行音乐结构的深度剖析，对比呈现其旋律表现类型，使笔者、学习者直观、全面的明晰音乐内容，感受到徐景新标新立异的创作风格与特点。",
+    "reference": "音乐形态分析法：通过对两首艺术歌曲进行音乐结构的深度剖析，对比其旋律的表现类型，使笔者、学习者更直观、全面地明晰音乐内容，感受徐景新标新立异的创作风格与特点。",
+    "edit": [
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+      }
+    ]
+  },
+  {
+    "id": 4274,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "中国当代音乐史中的创作筝曲研究",
+    "source": "随着社会的不断进步，经济的快速发展，人们对美的要求逐渐出呈现多样化趋势的发展。",
+    "reference": "随着社会的不断进步、经济的快速发展，人们对美的要求逐渐出呈现多样化态势的发展。",
+    "edit": [
+      {
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+        ],
+        "tgt_interval": [
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+        ],
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+          "趋"
+        ],
+        "tgt_tokens": [
+          "态"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4284,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "云南传统音乐元素在交响乐创作中的应用研究",
+    "source": "以《云南传统音乐元素在现代交响乐创作中的应用研究——兼论个人音乐创作的探索与实践》为题进行研究，目的是在于“抽取”出云南传统音乐元素在交响乐创作中的应用方法，在丰富笔者交响乐创作技术的同时，又可以通过民族文化参与者的身份，对传统音乐文化进行一定程度地保护与推广。",
+    "reference": "以《云南传统音乐元素在现代交响乐创作中的应用研究——兼论个人音乐创作的探索与实践》为题进行研究，目的是在于“抽取”云南传统音乐元素在交响乐创作中的应用方法，这不仅丰富笔者交响乐创作技术，又可以通过民族文化参与者的身份，对传统音乐文化进行一定程度地保护与推广。",
+    "edit": [
+      {
+        "src_interval": [
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+          58
+        ],
+        "tgt_interval": [
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+        ],
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+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 4285,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "二十世纪八十年代中国钢琴三重奏创作研究",
+    "source": "特别在一些青年作曲家，他们在重奏音乐创作上有着自己的想法，他们试图广泛的运用西方的创作技巧来与我国传统文化进行融合，以此创造出有着鲜明现代特点、饱含我国特殊民族风韵、中外古今浑然天成的交响音乐新风格。",
+    "reference": "特别是一些青年作曲家，他们在重奏音乐创作上有着自己的想法，他们试图广泛地运用西方的创作技巧来与我国传统文化进行融合，以此创造出有着鲜明现代特点、饱含我国特殊民族风韵、中外古今浑然天成的交响音乐新风格。",
+    "edit": [
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+      }
+    ]
+  },
+  {
+    "id": 4286,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "福雷艺术歌曲的风格特征及演唱方法研究",
+    "source": "音乐术语能让演唱者快速、清晰的知道作曲家的创作意图。",
+    "reference": "音乐术语能让演唱者快速、清晰地知道作曲家的创作意图。",
+    "edit": [
+      {
+        "src_interval": [
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+    ]
+  },
+  {
+    "id": 4290,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "魏军古筝协奏曲音乐创作研究",
+    "source": "做为陕西筝派的代表人，创作中加入陕西筝派的风格及演奏技法。",
+    "reference": "作为陕西筝派的代表人物，在创作中加入了陕西筝派的风格及演奏技法。",
+    "edit": [
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+      }
+    ]
+  },
+  {
+    "id": 4293,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "汪立三音乐创作研究",
+    "source": "根据以上在音乐传播中，对汪立三音乐作品不同角度的分析与探究，可以看到无论在音乐作品、音乐教育还是作曲家本身，所带来的影响是积极向上，是美的，是值得人们不断演奏和研究的，从传播时间来看是汪立三音乐创作的影响是及其深远且有意义的。",
+    "reference": "综上，通过对汪立三音乐作品不同角度的分析与探究，可以看到无论在音乐作品、音乐教育还是作曲家本身，汪立三所带来的影响都是积极向上的，是具有美学价值的，是值得人们不断演奏和研究的，从传播时间跨度来看，汪立三音乐创作的影响是极其深远且有意义的。",
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+        "tgt_tokens": [
+          "极"
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+      }
+    ]
+  },
+  {
+    "id": 4296,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "童话情节与交响诗的完美结合",
+    "source": "彼得在草地��悠闲的散步，此时小鸟出现了，于是双方开始了有趣的接触，你追我赶，煞是热闹，音乐表现了彼得兴高采烈的音乐形象。",
+    "reference": "彼得在草地上悠闲地散步，此时小鸟出现了，于是双方开始了有趣的接触，你追我赶，煞是热闹，音乐表现了彼得兴高采烈的音乐形象。",
+    "edit": [
+      {
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+        "tgt_tokens": [
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+        ]
+      }
+    ]
+  },
+  {
+    "id": 4303,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "童话情节与交响诗的完美结合",
+    "source": "小鸟在大家伙的头顶上盘旋起舞，得意的向大家炫耀和彼得一起把大灰狼给逮住了。",
+    "reference": "小鸟在大家伙的头顶上盘旋起舞，骄傲地向大家展示它和彼得一起成功捉到了大灰狼的壮举。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_interval": [
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+        "tgt_tokens": [
+          "骄",
+          "傲",
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+        "src_tokens": [
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+          "耀"
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+        "tgt_tokens": [
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+          "举"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4307,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "致敬巴赫",
+    "source": "其次，这些和弦连接即有级进也有跳进，要去分组两两练习，目的是为了在音乐的进行中能准确地抓住下一个和弦。",
+    "reference": "其次，这些和弦连接既有级进也有跳进，要去分组两两练习，目的是为了在音乐的进行中能准确地抓住下一个和弦。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_interval": [
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+        "src_tokens": [
+          "即"
+        ],
+        "tgt_tokens": [
+          "既"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4308,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "民族心灵的慰藉之声",
+    "source": "在这个世界上，以历史发展的角度出发，每个国家的民族文化都有着其自身的发展规律以及千变万化的衍生样貌。",
+    "reference": "在这个世界上，从历史发展的角度来看，每个国家的民族文化都有其自身的发展规律和千变万化的衍生样貌。",
+    "edit": [
+      {
+        "src_interval": [
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+        ],
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+        "tgt_tokens": [
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+      },
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+        ],
+        "tgt_tokens": [
+          "和"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4309,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "探析打击乐二重奏《京剧印象》的艺术手段与演奏技巧",
+    "source": "本篇论文通过网络、书籍等途径查阅关于基尼·科辛斯基和作品《京剧印象》的相关资料，进行归纳和整合；在实践演奏中找出本首作品的重点和难点，亲身体验作品的内涵，并且找出解决的方法，从而全面，多层次分析这首作品。",
+    "reference": "本篇论文通过网络、书籍等途径查阅关于基尼·科辛斯基和作品《京剧印象》的相关资料，进行归纳和整合；在实际演奏中找出本首作品的重点和难点，亲身体验作品的内涵，并且找出解决的方法，从而全面、多层次分析这首作品。",
+    "edit": [
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+        "src_interval": [
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+        "tgt_interval": [
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+        "tgt_tokens": [
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+        "tgt_tokens": [
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+      }
+    ]
+  },
+  {
+    "id": 4311,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "蒋袓馨钢琴作品中的传统音乐元素研究",
+    "source": "多种角度对音乐家进行深度评价，从宏观与微观二者结合的互动性研究个案出发，对文化的深层内涵进行了剖析，通过对莫扎特和贝多芬的个案比较研究，窥探到这一具体的音乐事项在整体音乐语境中所揭示的文化特征，有助于学术界对于民族音乐学新发展趋势的研究过程和现状有一个宏观的认识和理解。",
+    "reference": "多种角度对音乐家进行深度评价，从宏观与微观二者结合的互动性研究个案出发，对文化的深层内涵进行了剖析，通过比较莫扎特和贝多芬的个案研究，窥探到这一具体的音乐事项在整体音乐语境中所揭示的文化特征，有助于学术界对于民族音乐学新发展趋势的研究过程和现状有一个宏观的认识和理解。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_interval": [
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+    ]
+  },
+  {
+    "id": 4323,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "中国当代音乐史中的创作筝曲研究",
+    "source": "娄树华先生的弟子曹正先生，他在把筝从民间引向学院这个问题上，做了非常重要的工作。",
+    "reference": "娄树华先生的弟子曹正先生，在把筝从民间引向学院这个问题上，做了非常重要的工作。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_interval": [
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+        "src_tokens": [
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+      }
+    ]
+  },
+  {
+    "id": 4331,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "建国十七年童声合唱研究",
+    "source": "歌词在孩童纯真的视角，赞美祖国壮观的自然景象的人民的美好新生活，表达无尽的爱国之情。",
+    "reference": "歌词通过孩童纯真的视角赞美祖国壮丽的自然风光和人民幸福美好的新生活，表达了深沉的爱国情感。",
+    "edit": [
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+        "src_interval": [
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+        "tgt_interval": [
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+        "tgt_tokens": [
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+      }
+    ]
+  },
+  {
+    "id": 4334,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "“泛欧洲”视域中的早期法国音乐研究",
+    "source": "对于十五至十六世纪的早期音乐研究中，“人”（即作曲家）是一个不容忽视的因素。",
+    "reference": "在研究十五至十六世纪的早期音乐时，“人”（即作曲家）是一个不容忽视的因素。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_interval": [
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+      }
+    ]
+  },
+  {
+    "id": 4342,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "当代中国古典诗词艺术歌曲的演唱与审美研究",
+    "source": "末句点名唐玄宗与杨贵妃赏花的地点——亭北。",
+    "reference": "末句点明了唐玄宗与杨贵妃赏花的地点——亭北。",
+    "edit": [
+      {
+        "src_interval": [
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+      }
+    ]
+  },
+  {
+    "id": 4347,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "民族心灵的慰藉之声",
+    "source": "他们强烈意识到民族语言的发展是为提升民族自豪感和弘扬民族精神的关键，因此用英语写作出大量的以英国历史和反应英国社会现实生活为主题的作品。",
+    "reference": "他们深刻认识到发展民族语言对于提升民族自豪感和弘扬民族精神至关重要，因此创作了大量以英国历史和反映英国社会现实为主题的英文作品。",
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+        "src_tokens": [],
+        "tgt_tokens": [
+          "英",
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+        ]
+      }
+    ]
+  },
+  {
+    "id": 4352,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "艺术歌曲《诔词》的音乐特点研究及演唱分析",
+    "source": "《诔词》的歌曲节奏是符合原诗的语言逻辑的，作曲家在设计旋律节奏时，巧妙的把语言逻辑和节奏融入到了歌曲旋律中。",
+    "reference": "作曲家在设计旋律节奏时，巧妙地把语言逻辑和节奏融入到了歌曲旋律中，其中《诔词》的歌曲节奏是符合原诗的语言逻辑。",
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+      {
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+        ]
+      }
+    ]
+  },
+  {
+    "id": 4363,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "罗麦朔《胤禛美人图》的创作研究",
+    "source": "主题的旋律以八小节的两个乐句构成。",
+    "reference": "主题的旋律由八小节的两个乐句构成。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_interval": [
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+        ]
+      }
+    ]
+  },
+  {
+    "id": 4372,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "云南传统音乐元素在交响乐创作中的应用研究",
+    "source": "各族同胞在追求美好生活的同时，也将自身不同于其它民族的独特审美或标识一览无遗的展现出来。",
+    "reference": "各族同胞在追求美好生活的过程中，不仅展现了自己与其他民族不同的独特审美特征和文化标识，而且这些特征和标识也得到了充分的展现。",
+    "edit": [
+      {
+        "src_interval": [
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+        ],
+        "tgt_interval": [
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+        ],
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+        ],
+        "tgt_tokens": [
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+          "自",
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+          "与",
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+        "tgt_interval": [
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+      {
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+      {
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+        "tgt_interval": [
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+          "来"
+        ],
+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 4382,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "民族心灵的慰藉之声",
+    "source": "随着《第五交响曲》在英国音乐界获得的强烈呼声，不仅促使其成为此时期作曲家创作生涯的顶峰之作，更使沃恩·威廉斯被推崇为英国音乐复兴运动最重要的代表作曲家。",
+    "reference": "随着《第五交响曲》在英国音乐界获得强烈的呼声，不仅促使其成为此时期作曲家创作生涯的顶峰之作，更使沃恩·威廉斯被推崇为英国音乐复兴运动中最重要的代表作曲家。",
+    "edit": [
+      {
+        "src_interval": [
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+        ],
+        "tgt_interval": [
+          17,
+          20
+        ],
+        "src_tokens": [
+          "的",
+          "强",
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+        ],
+        "tgt_tokens": [
+          "强",
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+        ]
+      },
+      {
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+        "tgt_interval": [
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+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "中"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4383,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "汪立三音乐创作研究",
+    "source": "1957年汪立三创作的钢琴组曲《小奏鸣曲》并获得了上海国立音乐专科学校举办的钢琴作品创作竞赛一等奖。",
+    "reference": "1957年汪立三创作了钢琴组曲《小奏鸣曲》并获得了上海国立音乐专科学校举办的钢琴作品创作竞赛一等奖。",
+    "edit": [
+      {
+        "src_interval": [
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+          11
+        ],
+        "tgt_interval": [
+          10,
+          11
+        ],
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+          "的"
+        ],
+        "tgt_tokens": [
+          "了"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4384,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "论抗战时期云南红色革命歌曲的艺术特色及其价值",
+    "source": "在旋律上作品表现出创造新的民族形式和风格是多样的，既有外国歌曲的影响和借鉴,也有民族音调的特征（见谱例十）。",
+    "reference": "该作品在旋律上展现了创造新的民族形式和风格的多样性，既融入了外国歌曲的影响和借鉴，又保留了民族音调的特征（见谱例十）。",
+    "edit": [
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+        ]
+      }
+    ]
+  },
+  {
+    "id": 4389,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "论抗战时期云南红色革命歌曲的艺术特色及其价值",
+    "source": "抗战歌曲能够唤起人民对于祖国的无比热情，对于教育下一代这种爱国之情具有重要的意义，在现代社会中对于传唱、理解抗战歌曲，体现了当今时代对革命精神的延续。",
+    "reference": "抗战歌曲能够激发人民对祖国的无比热情，对培养下一代的爱国情怀具有重要的意义。在现代社会，传唱、理解抗战歌曲反映了当今时代对革命精神的不断传承。",
+    "edit": [
+      {
+        "src_interval": [
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+        ],
+        "tgt_interval": [
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+        ],
+        "tgt_tokens": [
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+        "tgt_tokens": [
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+      },
+      {
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+        "tgt_tokens": [
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+      },
+      {
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+        ],
+        "tgt_interval": [
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+        ],
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+        ],
+        "tgt_tokens": [
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+      },
+      {
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+        "tgt_interval": [
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+        ],
+        "src_tokens": [
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+          "体",
+          "现"
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+        "tgt_tokens": [
+          "反",
+          "映"
+        ]
+      },
+      {
+        "src_interval": [
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+        "tgt_interval": [
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+        "src_tokens": [
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+        "tgt_tokens": [
+          "不",
+          "断",
+          "传",
+          "承"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4394,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "音乐思潮流变下的中国交响乐创作（1949-2019）",
+    "source": "但是现代主义音乐思潮从西方资本主义社会的惶恐、孤独、焦虑中诞生，与古典音乐存在天然的不同，现代人的荒芜的思想世界投射在音乐领域，出现的就不会庄严典雅的古典音乐，而是不美的现代主义音乐。",
+    "reference": "现代主义音乐思潮源于西方资本主义社会中的恐慌、孤独和焦虑，这与古典音乐的本质存在明显差异。当现代人的精神世界变得荒芜，这种状态反映在音乐领域时，所产生的不再是庄严典雅的古典音乐，而是一种与美相反的现代主义音乐。",
+    "edit": [
+      {
+        "src_interval": [
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+          2
+        ],
+        "tgt_interval": [
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+    "title": "福雷艺术歌曲的风格特征及演唱方法研究",
+    "source": "19世纪，雨果为代表的浪漫主义诗人他们向往着自由而美好的生活，勇于面对当时的黑暗社会，为了表达、抒发内心的美好愿望，创造出了大量浪漫主义诗歌，这也为艺术歌曲的创作提供了丰富的内容。",
+    "reference": "19世纪，以雨果为代表的浪漫主义诗人向往着自由而美好的生活，勇于面对当时社会的黑暗，为了表达内心的美好愿望，创造出了大量浪漫主义诗歌，这也为艺术歌曲的繁荣提供了丰富的素材。",
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+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "中国当代音乐史中的创作筝曲研究",
+    "source": "本论文以时代的进程为发展线索贯穿全文。",
+    "reference": "本文以时代的进程为发展线索贯穿全文。",
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+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "罗麦朔《胤禛美人图》的创作研究",
+    "source": "也借此机会前去聆听了一场“民乐新作品音乐会”由中央民族乐团演出。",
+    "reference": "他也借此机会前去聆听了一场由中央民族乐团演出的“民乐新作品音乐会”。",
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+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "民族心灵的慰藉之声",
+    "source": "一方面，因该作品创作背景的特殊性，作为一位对自己的祖国爱之深切的作曲家而言，沃恩·威廉斯亲眼即目睹了生命的丧失和浪费，同时又为一个区域的文化和生活方式的瞬间消逝而感到沉痛和惋惜，该作品是为危难下时代历史的见证。",
+    "reference": "一方面，由于这部作品的创作背景具有特殊性，作为一位对自己的祖国爱之深切的作曲家而言，沃恩·威廉斯既亲眼目睹了生命的丧失和浪费，同时又为一个区域的文化和生活方式的瞬间消逝而感到沉痛和惋惜，该作品是危难时代历史的见证。",
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+  {
+    "id": 4414,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "福雷艺术歌曲的风格特征及演唱方法研究",
+    "source": "从三首作品中都不难看出作曲家大量的使用了离调和弦以及调性的转换作为音乐发展的推动手法。",
+    "reference": "从三首作品中都不难看出作曲家大量地使用了离调、和弦以及调性的转换作为推动音乐发展的手法。",
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+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "罗麦朔《胤禛美人图》的创作研究",
+    "source": "在民族管弦乐版本中，由高胡、二胡、中胡、担任主奏乐器。",
+    "reference": "在民族管弦乐版本中，由高胡、二胡、中胡担任主奏乐器。",
+    "edit": [
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+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "黄虎威音乐创作的多维探析",
+    "source": "随后的中国文联第四次全国代表大会在京举行，邓小平出席并致辞，极大的鼓舞了全国艺术家。",
+    "reference": "在随后在京召开的中国文联第四次全国代表大会上，邓小平亲临现场发表感言，极大地激励了全国各地的艺术家们。",
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+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "当代中国古典诗词艺术歌曲的演唱与审美研究",
+    "source": "从春秋时期开始,大致经历了诗经、楚辞、汉乐府、唐诗、宋词、琴歌、元散曲、明清小曲等不同体裁的演变���",
+    "reference": "从春秋时期开始，大致经历了诗经、楚辞、汉乐府、唐诗、宋词、琴歌、元散曲、明清小曲等不同体裁的演变。",
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+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "乘着音乐的翅膀",
+    "source": "歌曲《佛心的阿妈》也描写了对母亲的怀念与思慕之情，也该曲的词作者，也就是斯琴朝克图的好友乌·那钦，怀着对自己祖母的思念写下了这首歌的蒙文歌词，歌词中所描绘的慈祥阿妈正是其祖母的写照，斯琴朝克图在阅读歌词后不禁也想起了自己对母亲的记忆，与词作者的情感产生共鸣，写出了这首歌，歌词用弯曲的槐树比喻阿妈因为年老和常年为家庭操劳而逐渐佝偻的身躯，词中“多重的礼物带给阿妈，都让我感觉在空手回家……阿妈的脸庞布满了沧桑，那是我心中温暖的太阳……”则表达出孩子对母亲的无私奉献感到无以回报的愧疚之情，以及对母亲深深的依恋与思念。",
+    "reference": "歌曲《佛心的阿妈》也描写了对母亲的怀念与思慕之情，此曲的词作者，是斯琴朝克图的好友乌·那钦，怀着对自己祖母的思念写下了这首歌的蒙文歌词，歌词中所描绘的慈祥阿妈正是其祖母的写照，斯琴朝克图在阅读歌词后不禁也想起了自己对母亲的记忆，与词作者的情感产生共鸣，写出了这首歌，歌词用弯曲的槐树比喻阿妈因为年老和常年为家庭操劳而逐渐佝偻的身躯，词中“多重的礼物带给阿妈，都让我感觉在空手回家……阿妈的脸庞布满了沧桑，那是我心中温暖的太阳……”则表达出孩子对母亲的无私奉献感到无以回报的愧疚之情，以及对母亲深深的依恋与思念。",
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+    "title": "徐景新艺术歌曲的演唱与分析研究",
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+    "reference": "因此，在他的音乐创作中，紧扣影片内容，在和声、配器、旋律等方面作频繁变化与发展，甚至需经过几十次的变奏。其主旨在于抓住核心音调，让观众得到良好的音响感受，从而加深对影片主题歌曲的印象。",
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+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "探析打击乐二重奏《京剧印象》的艺术手段与演奏技巧",
+    "source": "而在国内对基尼·科辛斯基《京剧印象》研究资料较少，几乎没有对打击乐二重奏《京剧印象》单独研究和论述的学术文章。",
+    "reference": "而国内对基尼·科辛斯基《京剧印象》的研究资料较少，几乎没有单独研究和论述打击乐二重奏《京剧印象》的学术文章。",
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+    "title": "云南传统音乐元素在交响乐创作中的应用研究",
+    "source": "在这种基础上，《疾风·劲草》采用具有此种民族意蕴的Do Fa Sol纯四度加大二度的三音列进行创作，这三音列作为全曲的细胞核不断衍生出新的音乐素材，并成为的控制全曲的强有力核心因素。",
+    "reference": "在这个基础上，《疾风·劲草》采用了蕴含民族特色的Do-Fa-Sol纯四度加大二度的三音列作为创作元素。这个三音列不仅是全曲的细胞核，而且不断地发展衍生出新的音乐素材，构成了整首曲子强有力的核心。",
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+    "title": "二十世纪八十年代中国钢琴三重奏创作研究",
+    "source": "他们对中国音乐的执着又努力的探索为中国的钢琴三重奏创作不仅仅在作品数量上而且还在创作上都做出了巨大的贡献，他们的继承创新，革故鼎新为中国钢琴三重奏创作乃止中国的音乐创作注入了最新鲜的血液，提供了最有活力的动力。",
+    "reference": "他们对中国音乐的执着和努力探索为中国的钢琴三重奏创作做出了巨大的贡献，这贡献不仅仅在作品数量上还包括还在创作上。他们的继承创新，为中国钢琴三重奏创作乃至中国的音乐创作注入了最新鲜的血液，提供了最有活力的动力。",
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+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "“泛欧洲”视域中的早期法国音乐研究",
+    "source": "学位论文中，黄雅《法—佛兰德作曲家的意大利牧歌创作及其影响研究》、林霞《尼德兰乐派音乐家群体研究》,前者为2019年湖南师范大学硕士学位论文，作者以法—佛兰德作曲家的牧歌创作为研究主体，探讨了作曲家在牧歌发展不同阶段的参与创作，音乐进程中在所产生的影响与价值。",
+    "reference": "学位论文中，黄雅的《法—��兰德作曲家的意大利牧歌创作及其影响研究》与林霞的《尼德兰乐派音乐家群体研究》均值得关注。其中，前者为2019年湖南师范大学的硕士学位论文。作者以法—佛兰德作曲家的牧歌创作为主要研究对象，探讨了作曲家在牧歌发展的不同阶段中的创作参与，以及在音乐进程中所产生的影响和价值。",
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+    "discipline": "音乐与舞蹈学",
+    "title": "上海古筝表演艺术多元性特征研究（1978-2000）",
+    "source": "古筝不断完善的同时，也在力求完美的阐释音乐功能和音乐内涵。",
+    "reference": "古筝在不断完善的同时，也在力求完美地表达音乐功能和音乐内涵。",
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+    "discipline": "音乐与舞蹈学",
+    "title": "《筝曲新作八首》创作技法及观念探究",
+    "source": "因此他对陕北人民祖祖辈辈“面朝黄土背朝天”生活环境感慨万千，���刻的感受到陕北独特的历史文化及地理环境，陕北音乐文化也深深打动了他的内心。",
+    "reference": "因此他对陕北人民祖祖辈辈“面朝黄土背朝天”的生活环境感慨万千，深刻地感受到了陕北独特的历史文化及地理环境，陕北音乐文化也深深打动了他的内心。",
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+        ]
+      }
+    ]
+  },
+  {
+    "id": 4462,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "魏军古筝协奏曲音乐创作研究",
+    "source": "艺术是人们生活中内心情感上的外在形式体现，往往受人们的主观意识而以客观形式所存在。",
+    "reference": "艺术是在人们生活中内心情感的外在形式体现，往往受人们的主观意识影响而以客观形式所存在。",
+    "edit": [
+      {
+        "src_interval": [
+          3,
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+        "tgt_interval": [
+          3,
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+        ],
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+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "影",
+          "响"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4465,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "建国十七年童声合唱研究",
+    "source": "歌曲开头部分，中间连接部分以及结尾衬词部分为单声部演唱，其余部分为相同节奏主调织体的二声部合唱。",
+    "reference": "歌曲的开头部分、中间连接部分以及结尾衬词部分均为单声部演唱，其余部分则采用相同节奏主调织体的二声部合唱形式。",
+    "edit": [
+      {
+        "src_interval": [
+          2,
+          2
+        ],
+        "tgt_interval": [
+          2,
+          3
+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "的"
+        ]
+      },
+      {
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+        "tgt_interval": [
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+        ],
+        "src_tokens": [
+          "，"
+        ],
+        "tgt_tokens": [
+          "、"
+        ]
+      },
+      {
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+          21
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+        "tgt_interval": [
+          22,
+          23
+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "均"
+        ]
+      },
+      {
+        "src_interval": [
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+          33
+        ],
+        "tgt_interval": [
+          34,
+          37
+        ],
+        "src_tokens": [
+          "为"
+        ],
+        "tgt_tokens": [
+          "则",
+          "采",
+          "用"
+        ]
+      },
+      {
+        "src_interval": [
+          47,
+          47
+        ],
+        "tgt_interval": [
+          51,
+          53
+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "形",
+          "式"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4487,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "古诗词艺术歌曲的演唱教学研究",
+    "source": "古诗词艺术歌曲时每一位声乐学习者都需要掌握的作品类型，作曲家是在用旋律还原古诗词的时代背景、作者情感。",
+    "reference": "古诗词艺术歌曲是每一位声乐学习者都需要掌握的作品类型，作曲家是在用旋律还原古诗词的时代背景与作者情感。",
+    "edit": [
+      {
+        "src_interval": [
+          7,
+          8
+        ],
+        "tgt_interval": [
+          7,
+          8
+        ],
+        "src_tokens": [
+          "时"
+        ],
+        "tgt_tokens": [
+          "是"
+        ]
+      },
+      {
+        "src_interval": [
+          45,
+          46
+        ],
+        "tgt_interval": [
+          45,
+          46
+        ],
+        "src_tokens": [
+          "、"
+        ],
+        "tgt_tokens": [
+          "与"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4491,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "童话情节与交响诗的完美结合",
+    "source": "在彼得主题的写作上，我们完全可以发现普罗科菲耶夫把“古典”和“创新”的创作思想完美的结合在一起。",
+    "reference": "在彼得主题的写作中，我们可以发现普罗科菲耶夫把“古典”和“创新”的创作思想完美地结合在一起。",
+    "edit": [
+      {
+        "src_interval": [
+          8,
+          9
+        ],
+        "tgt_interval": [
+          8,
+          9
+        ],
+        "src_tokens": [
+          "上"
+        ],
+        "tgt_tokens": [
+          "中"
+        ]
+      },
+      {
+        "src_interval": [
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+        ],
+        "tgt_interval": [
+          12,
+          12
+        ],
+        "src_tokens": [
+          "完",
+          "全"
+        ],
+        "tgt_tokens": []
+      },
+      {
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+          42
+        ],
+        "tgt_interval": [
+          39,
+          40
+        ],
+        "src_tokens": [
+          "的"
+        ],
+        "tgt_tokens": [
+          "地"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 4496,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "混声合唱《纹身》的艺术处理及时代意蕴研究",
+    "source": "47小节开始，从男低音开始各个声部依次进入演唱，需要注意的是，每个声部在进入时需强调字头，再其他声部进入时学会避让。",
+    "reference": "从47小节开始，从男低音开始各个声部依次进入演唱，需要注意的是，每个声部在进入时需强调字头，在其他声部进入时学会避让。",
+    "edit": [
+      {
+        "src_interval": [
+          0,
+          0
+        ],
+        "tgt_interval": [
+          0,
+          1
+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "从"
+        ]
+      },
+      {
+        "src_interval": [
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+          46
+        ],
+        "tgt_interval": [
+          46,
+          47
+        ],
+        "src_tokens": [
+          "再"
+        ],
+        "tgt_tokens": [
+          "在"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9004,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "民族心灵的慰藉之声",
+    "source": "广阔狭长的英吉利海峡橫阻在不列颠岛与欧洲大陆之间，这使英国的音乐发展自古就呈现出鲜明的区域化民族特性。",
+    "reference": "广阔狭长的英吉利海峡橫阻在不列颠岛与欧洲大陆之间，这使英国的音乐发展自古就呈现出鲜明的区域化民族特性。",
+    "edit": []
+  },
+  {
+    "id": 9015,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "云南传统音乐元素在交响乐创作中的应用研究",
+    "source": "此种手法大量的运用在了作品的各个部分。",
+    "reference": "此种手法在作品的各个部分中被大量采用。",
+    "edit": [
+      {
+        "src_interval": [
+          4,
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+        ],
+        "tgt_interval": [
+          4,
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+        ],
+        "src_tokens": [
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+          "运",
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+          "了"
+        ],
+        "tgt_tokens": [
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+        ]
+      },
+      {
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+        "tgt_interval": [
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+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "中",
+          "被",
+          "大",
+          "量",
+          "采",
+          "用"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9021,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "二十世纪八十年代中国钢琴三重奏创作研究",
+    "source": "音乐中“新潮”的出现，对于一大部分作曲家尤其是青年作曲家有着深远的影响，但是由于一般听众的音乐审美与专业作曲家并不相同，且距离较远，因此怎样能够让音乐的创新与我国的国情和当前的时代精神紧密结合成为摆在面前的一大难题，虽然一些作曲家开始关注这个问，也在作品的“回归”上下了功夫。",
+    "reference": "音乐中“新潮”的出现，对于一大部分作曲家尤其是青年作曲家有着深远的影响，但是由于一般听众的音乐审美与专业作曲家并不相同，且距离较远，因此怎样能够让音乐的创新与我国的国情和当前的时代精神紧密结合成为摆在面前的一大难题，虽然一些作曲家开始关注这个问题，也在作品的“回归”上下了功夫。",
+    "edit": [
+      {
+        "src_interval": [
+          122,
+          122
+        ],
+        "tgt_interval": [
+          122,
+          123
+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "题"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9025,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "二十世纪八十年代中国钢琴三重奏创作研究",
+    "source": "该旋律采用五声调式进行创作，旋律在级进上行后出现的相反方向的大跳鲜明的展现出塞北民歌曲调所特具的特点与旋法。",
+    "reference": "旋律在级进上行后出现的相反方向的大跳鲜明地展现出塞北民歌曲调所特具有的特点与旋法，这是旋律采用五声调式进行创作。",
+    "edit": [
+      {
+        "src_interval": [
+          0,
+          14
+        ],
+        "tgt_interval": [
+          0,
+          0
+        ],
+        "src_tokens": [
+          "该",
+          "旋",
+          "律",
+          "采",
+          "用",
+          "五",
+          "声",
+          "调",
+          "式",
+          "进",
+          "行",
+          "创",
+          "作",
+          "，"
+        ],
+        "tgt_tokens": []
+      },
+      {
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+        "tgt_interval": [
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+        "src_tokens": [
+          "的"
+        ],
+        "tgt_tokens": [
+          "地"
+        ]
+      },
+      {
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+        ],
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+          34
+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "有"
+        ]
+      },
+      {
+        "src_interval": [
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+          53
+        ],
+        "tgt_interval": [
+          40,
+          55
+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "，",
+          "这",
+          "是",
+          "旋",
+          "律",
+          "采",
+          "用",
+          "五",
+          "声",
+          "调",
+          "式",
+          "进",
+          "行",
+          "创",
+          "作"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9031,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "上海古筝表演艺术多元性特征研究（1978-2000）",
+    "source": "浙江筝派已经跳出了传统意义“流派”的范畴，而先行进入专业音乐的先列。",
+    "reference": "浙江筝派已经跳出了传统意义“流派”的范畴，而先进入专业音乐的行列。",
+    "edit": [
+      {
+        "src_interval": [
+          23,
+          24
+        ],
+        "tgt_interval": [
+          23,
+          23
+        ],
+        "src_tokens": [
+          "行"
+        ],
+        "tgt_tokens": []
+      },
+      {
+        "src_interval": [
+          31,
+          32
+        ],
+        "tgt_interval": [
+          30,
+          31
+        ],
+        "src_tokens": [
+          "先"
+        ],
+        "tgt_tokens": [
+          "行"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9035,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "二十世纪八十年代中国钢琴三重奏创作研究",
+    "source": "还有另外一些作品探索了现代西方的作曲技法，如陈铭志就把类似于“十二音序列”中的创作技法与三重奏妥善的结合。",
+    "reference": "还有另外一些作品探索了现代西方的作曲技法，如陈铭志就把类似于“十二音序列”中的创作技法与三重奏巧妙地结合。",
+    "edit": [
+      {
+        "src_interval": [
+          47,
+          50
+        ],
+        "tgt_interval": [
+          47,
+          50
+        ],
+        "src_tokens": [
+          "妥",
+          "善",
+          "的"
+        ],
+        "tgt_tokens": [
+          "巧",
+          "妙",
+          "地"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9044,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "二十世纪八十年代中国钢琴三重奏创作研究",
+    "source": "其次，通过对演奏室内乐的训练，可以更好的参与交响乐队排演，提高自身独奏与协奏能力与水平。",
+    "reference": "其次，通过对演奏室内乐的训练，可以更好地参与交响乐队的排演，并提升个人的独奏及协奏技能。",
+    "edit": [
+      {
+        "src_interval": [
+          19,
+          20
+        ],
+        "tgt_interval": [
+          19,
+          20
+        ],
+        "src_tokens": [
+          "的"
+        ],
+        "tgt_tokens": [
+          "地"
+        ]
+      },
+      {
+        "src_interval": [
+          26,
+          26
+        ],
+        "tgt_interval": [
+          26,
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+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "的"
+        ]
+      },
+      {
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+        ],
+        "tgt_interval": [
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+        ],
+        "src_tokens": [
+          "提",
+          "高",
+          "自",
+          "身"
+        ],
+        "tgt_tokens": [
+          "并",
+          "提",
+          "升",
+          "个",
+          "人",
+          "的"
+        ]
+      },
+      {
+        "src_interval": [
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+        ],
+        "tgt_interval": [
+          38,
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+        ],
+        "src_tokens": [
+          "与"
+        ],
+        "tgt_tokens": [
+          "及"
+        ]
+      },
+      {
+        "src_interval": [
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+        ],
+        "tgt_interval": [
+          41,
+          43
+        ],
+        "src_tokens": [
+          "能",
+          "力",
+          "与",
+          "水",
+          "平"
+        ],
+        "tgt_tokens": [
+          "技",
+          "能"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9046,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "蒋袓馨钢琴作品中的传统音乐元素研究",
+    "source": "从上世纪钢琴作为伴奏乐器为民乐伴奏到如今越来越多的作曲家创作具有民族元素的钢琴作品，并巧妙的将两者的演奏技法和人文内涵融合在一起，更加说明了钢琴和民族音乐创作的发展正在逐步走向越来越广阔的道路。",
+    "reference": "从上世纪钢琴作为伴奏乐器为民乐伴奏到如今越来越多的作曲家创作具有民族元素的钢琴作品，并巧妙地将两者的演奏技法和人文内涵融合在一起，更加说明了钢琴和民族音乐创作地发展正在逐步走向越来越广阔的道路。",
+    "edit": [
+      {
+        "src_interval": [
+          45,
+          46
+        ],
+        "tgt_interval": [
+          45,
+          46
+        ],
+        "src_tokens": [
+          "的"
+        ],
+        "tgt_tokens": [
+          "地"
+        ]
+      },
+      {
+        "src_interval": [
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+          80
+        ],
+        "tgt_interval": [
+          79,
+          80
+        ],
+        "src_tokens": [
+          "的"
+        ],
+        "tgt_tokens": [
+          "地"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9052,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "徐景新艺术歌曲的演唱与分析研究",
+    "source": "在引子（第1-第12小节）和尾声(第157～第166小节)部分表现的最为明显。",
+    "reference": "在引子（第1-第12小节）和尾声（第157～第166小节）部分表现得最为明显。",
+    "edit": [
+      {
+        "src_interval": [
+          16,
+          17
+        ],
+        "tgt_interval": [
+          16,
+          17
+        ],
+        "src_tokens": [
+          "("
+        ],
+        "tgt_tokens": [
+          "（"
+        ]
+      },
+      {
+        "src_interval": [
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+        ],
+        "tgt_interval": [
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+        ],
+        "src_tokens": [
+          ")"
+        ],
+        "tgt_tokens": [
+          "）"
+        ]
+      },
+      {
+        "src_interval": [
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+          34
+        ],
+        "tgt_interval": [
+          33,
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+        ],
+        "src_tokens": [
+          "的"
+        ],
+        "tgt_tokens": [
+          "得"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9053,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "罗麦朔《胤禛美人图》的创作研究",
+    "source": "第二乐章的首段，在前16小节的配器上，主奏乐器是曲笛和新笛，在这里依然注重局部音响的布局，曲笛和新笛以八度重复的方式演奏旋律主题，中阮以四度音程和琵琶起到了声部支撑的作用，整体音色既柔润又明朗，突出表现画中夏日闲适安逸的场景，作曲家在这段音乐中巧妙的使用了低音大锣，它的弱奏为描绘夏日休闲的场景烘托了气氛，同时也使主旋律的音乐更加生动形象。",
+    "reference": "第二乐章的首段，在前16小节的配器中，主奏乐器是曲笛和新笛，在这里依然注重局部音响的布局，曲笛和新笛以八度重复的方式演奏旋律主题，中阮以四度音程和琵琶起到了声部支撑的作用，整体音色既柔润又明朗，突出表现画中夏日闲适安逸的场景，作曲家在这段音乐中巧妙地使用了低音大锣，它的弱奏为描绘夏日休闲的场景烘托了气氛，同时也使主旋律的音乐更加生动形象。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_interval": [
+          17,
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+        "tgt_tokens": [
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+      }
+    ]
+  },
+  {
+    "id": 9055,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "中国当代音乐史中的创作筝曲研究",
+    "source": "我们可以更加清晰地看到在筝曲创作方面，传统的五声音阶调式定弦法已经不能满足对当代筝乐的创作需求。",
+    "reference": "我们可以更清楚地看到，在筝曲创作方面，传统五声音阶的调式定弦法已不足以满足现代筝乐创作的需要。",
+    "edit": [
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+      }
+    ]
+  },
+  {
+    "id": 9056,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "上海古筝表演艺术多元性特征研究（1978-2000）",
+    "source": "那么也就是说，时代观念的发展与审美意识紧密联系。",
+    "reference": "换句话说，时代观念的进步与审美意识之间存在着密切的联系。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_tokens": [
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+          "切",
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+        ]
+      }
+    ]
+  },
+  {
+    "id": 9061,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "上海古筝表演艺术多元性特征研究（1978-2000）",
+    "source": "本文以《上海古筝表演艺术多元性特征研究》（1978-2000）为题，通过“乐人”、“乐曲”、“乐器”三要素与之相关音乐事项的研究表明：乐人作为古筝表演的承载者与演绎者，推动着乐曲的发展。",
+    "reference": "本文以《上海古筝表演艺术多元性特征研究》（1978-2000）为题，通过“乐人”、“乐曲”、“乐器”三要素和与其相关音乐事项的研究表明：乐人身为古筝表演的承载者与演绎者，推动着乐曲的发展。",
+    "edit": [
+      {
+        "src_interval": [
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+        ],
+        "tgt_interval": [
+          53,
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+        ],
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+      },
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+        "src_tokens": [
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+        "tgt_tokens": [
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+        ]
+      }
+    ]
+  },
+  {
+    "id": 9068,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "古诗词艺术歌曲的演唱教学研究",
+    "source": "在具体的研究上，本文通过《别董大》这首歌曲作为具体的歌曲来进行研究，探究歌曲《别董大》的艺术特征，分析歌曲的曲式结构、词曲关系、演唱音色，从各个角度去挖掘歌曲中的艺术特征，更好的为古诗词艺术歌曲的教学研究打下基础。",
+    "reference": "在具体的研究中，本文通过《别董大》这首歌曲作为具体的研究，探究歌曲的艺术特征，并从曲式结构、词曲关系、演唱音色等各个角度进行分析，更好地为古诗词艺术歌曲的教学研究打下基础。",
+    "edit": [
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+        "tgt_tokens": []
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+        "tgt_interval": [
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+        "src_tokens": [
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+          "别",
+          "董",
+          "大",
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+        "tgt_tokens": []
+      },
+      {
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+        "tgt_interval": [
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+        "tgt_tokens": [
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+      },
+      {
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+        "tgt_tokens": [
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+      }
+    ]
+  },
+  {
+    "id": 9075,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "古诗词艺术歌曲的演唱教学研究",
+    "source": "“如贯珠”是对既是对气息连贯的要求，也是对音色的要求。",
+    "reference": "“如贯珠”既是对音色的要求，也是对气息连贯的要求。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_interval": [
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+          "气",
+          "息",
+          "连",
+          "贯"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9080,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "民族心灵的慰藉之声",
+    "source": "最终音乐在安静的消失在宽广的大调主和弦中。",
+    "reference": "在宽广的大调主和弦中音乐在安静地消失。",
+    "edit": [
+      {
+        "src_interval": [
+          0,
+          10
+        ],
+        "tgt_interval": [
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+          0
+        ],
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+          "静",
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+          "消",
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+        "tgt_tokens": []
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+        "src_tokens": [],
+        "tgt_tokens": [
+          "音",
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+          "在",
+          "安",
+          "静",
+          "地",
+          "消",
+          "失"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9089,
+    "category": "艺术学",
+    "discipline": "音乐美学",
+    "title": "论音乐创造形式的生命意义",
+    "source": "第四部分与前三部分形成鲜明的对比，萨拉萨蒂采用民间的音乐素材，将音乐创造性形式和小提琴极为高难度的演奏技巧完美的结合，把吉普赛人悲惨的命运与乐观的精神展现的淋漓尽致。",
+    "reference": "第四部分与前三部分形成鲜明的对比，萨拉萨蒂使用民间的音乐素材，将音乐创造性形式与小提琴极为高难度的演奏技巧完美地结合，把吉普赛人悲惨的命运与乐观的精神展现得淋漓尽致。",
+    "edit": [
+      {
+        "src_interval": [
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+        ],
+        "tgt_interval": [
+          21,
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+        ],
+        "src_tokens": [
+          "采"
+        ],
+        "tgt_tokens": [
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+      },
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+        ],
+        "tgt_tokens": [
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+        ]
+      },
+      {
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+        ],
+        "src_tokens": [
+          "的"
+        ],
+        "tgt_tokens": [
+          "得"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9109,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "魏军古筝协奏曲音乐创作研究",
+    "source": "在旋律中，律动的欢快、缓慢和音高的变化影响着旋律线的起伏,而旋律线的起伏正是作曲家创作时音乐随着内心思绪和情感波动的状态。",
+    "reference": "在旋律中，律动的欢快、缓慢和音高的变化影响着旋律线的起伏，而旋律线的起伏恰是作曲家创作时音乐随着内心思绪和情感波动的状态。",
+    "edit": [
+      {
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+        "tgt_interval": [
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+        ]
+      },
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+        "src_tokens": [
+          "正"
+        ],
+        "tgt_tokens": [
+          "恰"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9126,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "论抗战时期云南红色革命歌曲的艺术特色及其价值",
+    "source": "抗战时期的音乐创作，对于抗战的发展起到了推动的作用，用歌声来接近人民，让人民喜爱传唱，能够更加直接的产生宣传的作用。",
+    "reference": "抗战时期的音乐创作对抗战的发展起到了推动的作用，用歌声来接近人民，让人民喜爱传唱，能够更加直接地产生宣传的作用。",
+    "edit": [
+      {
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+        ],
+        "tgt_tokens": [
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+        ]
+      }
+    ]
+  },
+  {
+    "id": 9127,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "音乐思潮流变下的中国交响乐创作（1949-2019）",
+    "source": "作品的主部主题（艺人主题）有着鲜明的民间音乐风格，作曲家大胆的将中国竹笛加入交响乐编配中，这是首次将中国乐器应用在西洋管弦乐中的作曲家。",
+    "reference": "作品的主部主题（艺人主题）有着鲜明的民间音乐风格，作曲家大胆地将中国竹笛加入交响乐编配中，这是首次将中国乐器应用于西洋管弦乐中的作曲��。",
+    "edit": [
+      {
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+          "在"
+        ],
+        "tgt_tokens": [
+          "于"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9135,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "二十世纪八十年代中国钢琴三重奏创作研究",
+    "source": "这些新颖又丰富多彩的演奏法为三重奏音乐创作增添了独特的色彩和韵味。",
+    "reference": "这些新颖且丰富多彩的演奏法为三重奏音乐创作增添了独特的色彩和韵味。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_interval": [
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+        ],
+        "tgt_tokens": [
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+        ]
+      }
+    ]
+  },
+  {
+    "id": 9141,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "民族心灵的慰藉之声",
+    "source": "笔者之所以从众多英国史类书籍中选择该著作，是因为其涉及范围之广，作者作为专业的研究英史的专家，全面把握英国的发展历程，脉络清晰，对于英国政治经济、社会文化的变迁无不包纳在内，而且该书的译作流畅、含义深长，全面、清晰的介绍了英国历史的发展。",
+    "reference": "笔者之所以从众多英国史类书籍中选择该著作，是因为其涉及范围之广，作者作为专业研究英史的专家，全面把握英国的发展历程，脉络清晰，对于英国政治经济、社会文化的变迁无不包纳在内，而且该书的译作流畅、含义深长，全面、清晰地介绍了英国历史的发展。",
+    "edit": [
+      {
+        "src_interval": [
+          38,
+          39
+        ],
+        "tgt_interval": [
+          38,
+          38
+        ],
+        "src_tokens": [
+          "的"
+        ],
+        "tgt_tokens": []
+      },
+      {
+        "src_interval": [
+          107,
+          108
+        ],
+        "tgt_interval": [
+          106,
+          107
+        ],
+        "src_tokens": [
+          "的"
+        ],
+        "tgt_tokens": [
+          "地"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9144,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "中国当代音乐史中的创作筝曲研究",
+    "source": "20世纪80年代初用古筝模仿打击乐是非常少见的，但是王建民先生在这部分创造性的通过拍琴弦和敲击琴板来模仿鼓声（谱例52）。",
+    "reference": "20世纪80年代初用古筝模仿打击乐是非常少见的，但是王建民先生通过拍琴弦和敲击琴板来模仿鼓声（谱例52）在十分具有创造性的。",
+    "edit": [
+      {
+        "src_interval": [
+          31,
+          39
+        ],
+        "tgt_interval": [
+          31,
+          31
+        ],
+        "src_tokens": [
+          "在",
+          "这",
+          "部",
+          "分",
+          "创",
+          "造",
+          "性",
+          "的"
+        ],
+        "tgt_tokens": []
+      },
+      {
+        "src_interval": [
+          60,
+          60
+        ],
+        "tgt_interval": [
+          52,
+          61
+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "在",
+          "十",
+          "分",
+          "具",
+          "有",
+          "创",
+          "造",
+          "性",
+          "的"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9156,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "建国十七年童声合唱研究",
+    "source": "1949年10月1日中华人民共和国成立,这是中国有史以来最伟大的历史事件。",
+    "reference": "1949年10月1日中华人民共和国成立，这是中国有史以来最伟大的历史事件。",
+    "edit": [
+      {
+        "src_interval": [
+          19,
+          20
+        ],
+        "tgt_interval": [
+          19,
+          20
+        ],
+        "src_tokens": [
+          ","
+        ],
+        "tgt_tokens": [
+          "，"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9168,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "当代中国古典诗词艺术歌曲的演唱与审美研究",
+    "source": "他是我国当代著名作曲家，他的创作生涯己有30余年之久。",
+    "reference": "他是我国当代著名作曲家，他的创作生涯已有30余年之久。",
+    "edit": [
+      {
+        "src_interval": [
+          18,
+          19
+        ],
+        "tgt_interval": [
+          18,
+          19
+        ],
+        "src_tokens": [
+          "己"
+        ],
+        "tgt_tokens": [
+          "已"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9174,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "古诗词艺术歌曲的演唱教学研究",
+    "source": "因此在声乐教学中，选择古诗词艺术歌曲作为必唱曲目，更好的利用古诗词艺术歌曲的价值是十分必要的。",
+    "reference": "因此在声乐教学中，选择古诗词艺术歌曲作为必唱曲目，更好地发挥古诗词艺术歌曲的价值是十分必要的。",
+    "edit": [
+      {
+        "src_interval": [
+          27,
+          30
+        ],
+        "tgt_interval": [
+          27,
+          30
+        ],
+        "src_tokens": [
+          "的",
+          "利",
+          "用"
+        ],
+        "tgt_tokens": [
+          "地",
+          "发",
+          "挥"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9177,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "中国当代音乐史中的创作筝曲研究",
+    "source": "1.本论文在撰写前期，主要运用读书法、网络查询法、材料分类法、考据法这四种研究方法，对筝的历史发展脉络从音频、视频、图片、考古实物入手，对筝的起源、流派分支、作品传承以及筝曲创作来解读其蕴含的音乐特点与艺术特征。",
+    "reference": "1.本论文在撰写前期，主要运用读书法、网络查询法、材料分类法、考据法这四种研究方法，对筝的历史发展脉络从音频、视频、图片、考古实物入手，对筝的起源、流派分支、作品传承以及筝曲创作进行解读其蕴含的音乐特点与艺术特征。",
+    "edit": [
+      {
+        "src_interval": [
+          89,
+          90
+        ],
+        "tgt_interval": [
+          89,
+          91
+        ],
+        "src_tokens": [
+          "来"
+        ],
+        "tgt_tokens": [
+          "进",
+          "行"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9178,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "上海古筝表演艺术多元性特征研究（1978-2000）",
+    "source": "1988年，朱晓谷创作第一首蝶式筝曲《红楼梦》1994年由蒋文军独奏、上海交响乐团协奏，首演于上海兰心大剧院。",
+    "reference": "1988年，朱晓谷创作第一首蝶式筝曲《红楼梦》1994年由蒋文军独奏、上海交响乐团协奏，首演于上海兰心大剧院。",
+    "edit": []
+  },
+  {
+    "id": 9183,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "云南传统音乐元素在交响乐创作中的应用研究",
+    "source": "在形成整体结构的逻辑基础里，中观结构具有承前启后的作用。",
+    "reference": "在形成整体结构的逻辑基础中，中观结构具有承前启后的作用。",
+    "edit": [
+      {
+        "src_interval": [
+          12,
+          13
+        ],
+        "tgt_interval": [
+          12,
+          13
+        ],
+        "src_tokens": [
+          "里"
+        ],
+        "tgt_tokens": [
+          "中"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9187,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "上海古筝表演艺术多元性特征研究（1978-2000）",
+    "source": "同月录制了部分考级曲目（精选的内部资料）录像带；1997考级人数为615人，在考级后，筝会组织会员召开考级交流研讨会，总结当年考级情况，并举办同级別比赛；1998年考级人数达到1000余人。",
+    "reference": "同月录制了部分考级曲目（精选的内部资料）录像带；1997考级人数是615人，在考级后，筝会组织会员召开考级交流研讨会，总结当年考级情况，并举办同级別比赛；1998年考级人数达到1000多人。",
+    "edit": [
+      {
+        "src_interval": [
+          32,
+          33
+        ],
+        "tgt_interval": [
+          32,
+          33
+        ],
+        "src_tokens": [
+          "为"
+        ],
+        "tgt_tokens": [
+          "是"
+        ]
+      },
+      {
+        "src_interval": [
+          92,
+          93
+        ],
+        "tgt_interval": [
+          92,
+          93
+        ],
+        "src_tokens": [
+          "余"
+        ],
+        "tgt_tokens": [
+          "多"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9188,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "三木稔《筝谭诗集第三集“夏”》艺术特色及演奏特点探析",
+    "source": "经过对《筝谭诗集第三集“夏”》五首作品中定弦、演奏技法与标记、曲式分析、演奏特点、艺术风格以及音乐内容的连接与演变等角度的阐述与分析，借此希望让广大演奏者学习像《筝谭诗集第三集“夏”》这类七声弦制筝乐作品时，能��有一定的参照，在演奏过程中能够有更好的理解和演绎。",
+    "reference": "通过对《筝谭诗集第三集“夏”》的五首作品中定弦、演奏技法与标记、曲式分析、演奏特点、艺术风格以及音乐内容的连接与演变等角度的阐述与分析，借此希望让广大演奏者学习像《筝谭诗集第三集“夏”》这类七声弦制筝乐作品时，能够有一定的参照，在演奏过程中能够有更好的理解和演绎。",
+    "edit": [
+      {
+        "src_interval": [
+          0,
+          1
+        ],
+        "tgt_interval": [
+          0,
+          1
+        ],
+        "src_tokens": [
+          "经"
+        ],
+        "tgt_tokens": [
+          "通"
+        ]
+      },
+      {
+        "src_interval": [
+          15,
+          15
+        ],
+        "tgt_interval": [
+          15,
+          16
+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "的"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9190,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "致敬巴赫",
+    "source": "可以说五声调式充满了整个圣咏部分成为了整部作品中最具有中国特色的乐段。",
+    "reference": "可以说整部作品中最具有中国特色的乐段是五声调式充满了整个圣咏部分。",
+    "edit": [
+      {
+        "src_interval": [
+          3,
+          19
+        ],
+        "tgt_interval": [
+          3,
+          3
+        ],
+        "src_tokens": [
+          "五",
+          "声",
+          "调",
+          "式",
+          "充",
+          "满",
+          "了",
+          "整",
+          "个",
+          "圣",
+          "咏",
+          "部",
+          "分",
+          "成",
+          "为",
+          "了"
+        ],
+        "tgt_tokens": []
+      },
+      {
+        "src_interval": [
+          34,
+          34
+        ],
+        "tgt_interval": [
+          18,
+          32
+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "是",
+          "五",
+          "声",
+          "调",
+          "式",
+          "充",
+          "满",
+          "了",
+          "整",
+          "个",
+          "圣",
+          "咏",
+          "部",
+          "分"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9192,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "汪立三音乐创作研究",
+    "source": "汪立三可以考据的第一首钢琴作品是《扬琴的印象》，这所作品创作于1950年。",
+    "reference": "汪立三可以考据的第一首钢琴作品是《扬琴的印象》，这首作品创作于1950年。",
+    "edit": [
+      {
+        "src_interval": [
+          25,
+          26
+        ],
+        "tgt_interval": [
+          25,
+          26
+        ],
+        "src_tokens": [
+          "所"
+        ],
+        "tgt_tokens": [
+          "首"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9198,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "中国当代音乐史中的创作筝曲研究",
+    "source": "第二主题是藏族的踢踏舞，又称“堆谐”。",
+    "reference": "第二主题是藏族的踢踏舞，又称“堆谐”。",
+    "edit": []
+  },
+  {
+    "id": 9203,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "魏军古筝协奏曲音乐创作研究",
+    "source": "在三部协奏曲中均采用了中西融汇的旋律发展手法来创作。",
+    "reference": "在三部协奏曲中均采用了中西融汇的旋律发展手法来创作。",
+    "edit": []
+  },
+  {
+    "id": 9206,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "“泛欧洲”视域中的早期法国音乐研究",
+    "source": "在汉斯·亨利希·埃格布雷特的《西方音乐》，唐纳德·杰·格劳特的《西方音乐史》中，都提到约十五至十六世纪由北方音乐家开始形成的音乐文化特征，它酝酿于十五世纪勃艮第乐派，形成于十五世纪下半叶至十六世纪法-佛兰德的音乐创作中，伴随北方作曲家向南方的流动，在十六世纪进一步融南北各地区特色为一体的音乐风格；具体内涵是指弱化地域色彩，在音乐创作中体裁、技术相统一的共性写作特征。",
+    "reference": "汉斯·亨利希·埃格布雷特的《西方音乐》，唐纳德·杰·格劳特的《西方音乐史》中，都提到约十五至十六世纪由北方音乐家开始形成的音乐文化特征，它酝酿于十五世纪勃艮第乐派，形成于十五世纪下半叶至十六世纪法-佛兰德的音乐创作中，伴随北方作曲家向南方的流动，在十六世纪进一步融南北各地区特色为一体的音乐风格；具体内涵是指弱化地域色彩，在音乐创作中体裁、技术相统一的共性写作特征。",
+    "edit": [
+      {
+        "src_interval": [
+          0,
+          1
+        ],
+        "tgt_interval": [
+          0,
+          0
+        ],
+        "src_tokens": [
+          "在"
+        ],
+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 9208,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "音乐思潮流变下的中国交响乐创作（1949-2019）",
+    "source": "借助\"历史唯物主义\"对历史事件的出现予以解释：\"所有重要历史实践出现的根本原因与潜在动力均为社会经济体系的持续发展。",
+    "reference": "借助“历史唯物主义对历史事件的出现予以阐释：“所有重要历史实践出现的根本原因与潜在动力均为社会经济体系的持续发展。",
+    "edit": [
+      {
+        "src_interval": [
+          2,
+          3
+        ],
+        "tgt_interval": [
+          2,
+          3
+        ],
+        "src_tokens": [
+          "\""
+        ],
+        "tgt_tokens": [
+          "“"
+        ]
+      },
+      {
+        "src_interval": [
+          9,
+          10
+        ],
+        "tgt_interval": [
+          9,
+          9
+        ],
+        "src_tokens": [
+          "\""
+        ],
+        "tgt_tokens": []
+      },
+      {
+        "src_interval": [
+          20,
+          21
+        ],
+        "tgt_interval": [
+          19,
+          20
+        ],
+        "src_tokens": [
+          "解"
+        ],
+        "tgt_tokens": [
+          "阐"
+        ]
+      },
+      {
+        "src_interval": [
+          23,
+          24
+        ],
+        "tgt_interval": [
+          22,
+          23
+        ],
+        "src_tokens": [
+          "\""
+        ],
+        "tgt_tokens": [
+          "“"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9214,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "扬琴新技法的运用与探讨",
+    "source": "笔者将这两个技法进行组合，并在《思古悠情》中创新运用。",
+    "reference": "笔者将这两种技法进行组合，并在《思古悠情》中创新运用。",
+    "edit": [
+      {
+        "src_interval": [
+          5,
+          6
+        ],
+        "tgt_interval": [
+          5,
+          6
+        ],
+        "src_tokens": [
+          "个"
+        ],
+        "tgt_tokens": [
+          "种"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9216,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "艺术歌曲《诔词》的音乐特点研究及演唱分析",
+    "source": "从第二小节开始，作曲家别出心裁的用了4个二度对位（如下图），二度音程尖锐的音响效果听起来紧张、不和谐，通过前奏的铺垫，把朋友离世的心痛表现的淋漓尽致。",
+    "reference": "从第二小节开始，作曲家别出心裁地用了4个二度对位（如下图），二度音程尖锐的音响效果听起来紧张、不和谐，基于前奏的铺垫，把朋友离世的心痛表现得淋漓尽致。",
+    "edit": [
+      {
+        "src_interval": [
+          15,
+          16
+        ],
+        "tgt_interval": [
+          15,
+          16
+        ],
+        "src_tokens": [
+          "的"
+        ],
+        "tgt_tokens": [
+          "地"
+        ]
+      },
+      {
+        "src_interval": [
+          51,
+          53
+        ],
+        "tgt_interval": [
+          51,
+          53
+        ],
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+  {
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+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "扬琴新技法的运用与探讨",
+    "source": "本节将对“音效类”中的一些技法进行创新运用。",
+    "reference": "本节将创新运用“音效类”中的一些技法。",
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+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "民族心灵的慰藉之声",
+    "source": "虽在结构上采用传统的德奥交响曲范式，但在音乐语言和表现手法已充分显现出该作曲家别��一格的民族性创作风格特征。",
+    "reference": "虽在结构上使用了传统的德奥交响曲范式，但在音乐语言和表现手法方面，已充分显现出该作曲家别具一格的民族性创作风格特征。",
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+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "扬琴新技法的运用与探讨",
+    "source": "本文就扬琴演奏技法的运用与创新，进行了深入的分析与探讨，通过三个章节进行阐述。",
+    "reference": "本文就扬琴演奏技法的运用和创新，进行了细致的分析和探讨，通过三个章节进行阐述。",
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+    "category": "艺术学",
+    "discipline": "音乐美学",
+    "title": "论音乐创造形式的生命意义",
+    "source": "在美国的《纽约时报》上，曾报道苏珊·朗格是一位居领导地位的哲学家。",
+    "reference": "在美国的《纽约时报》上，曾报道苏珊·朗格是一位位居领导地位的哲学家。",
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+    "discipline": "音乐与舞蹈学",
+    "title": "《筝曲新作八首》创作技法及观念探究",
+    "source": "‘倾杯’则具有两种含义，其一是指舞马演出时衔着杯子屈膝向皇帝祝寿的招牌动作，其二是指舞马表演时配有一首必伴的倾杯乐作品。",
+    "reference": "‘倾杯’则具有双重含义，一方面是指舞马在表演过程中，通过衔着杯子并屈膝向皇帝表示祝福的标志性动作；另一方面指的是在舞马表演中必不可少的伴奏音乐——倾杯乐。",
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+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "魏军古筝协奏曲音乐创作研究",
+    "source": "从三部古筝协奏曲的音乐本体分析入手，到宏观的结构布局、微观动机的相互关系上进行把握，再从音乐材料的构成与发展以及变化与统一的辩证关系进行全面的分析与研究，使分析具有客观有效、全面贴切的特点，从而更深入的解析魏军的筝曲音乐创作。",
+    "reference": "从三部古筝协奏曲的音乐本体分析入手，宏观上把握结构布局，微观上理解动机的相互关系，再全面分析与研究音乐材料的构成与发展以及变化与统一的辩证关系，确保分析客观有效、全面贴切，从而更深入地解析魏军的筝曲音乐创作。",
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+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "民族心灵的慰藉之声",
+    "source": "该书相对于《西方文明中的音乐》来说是一本易读的、半叙述性的著作，书中按地域及年代划分，轮廓清晰，在写英国音乐发展方面，虽未能面面俱到，但对14世纪后英国音乐发展的主要特点阐述的比较详细。",
+    "reference": "该书相对于《西方文明中的音乐》来说是一本易读的、半叙述性的著作，书中按地域及年代划分，轮廓清晰，在阐释英国音乐发展方面，虽未能面面俱到，但对14世纪后英国音乐发展的主要特点阐述得比较详细。",
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+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "建国十七年童声合唱研究",
+    "source": "本章从题材、音乐以及歌词三方面入手，对建国十七年童声合唱的内容与形式进行深层次的研究与解析。",
+    "reference": "本文从题材、音乐以及歌词三方面入手，对建国十七年童声合唱的内容与形式进行深层次的研究与解析。",
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+  },
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+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "论抗战时期云南红色革命歌曲的艺术特色及其价值",
+    "source": "又受到了时代背景，民族反抗的主题影响。",
+    "reference": "又受到了时代背景与民族反抗主题的影响。",
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+    "category": "艺术学",
+    "discipline": "音乐美学",
+    "title": "论音乐创造形式的生命意义",
+    "source": "十九世纪末,受象征主义文学与绘画的影响，在欧洲出现了一种新的音乐风格——印象主义音乐。",
+    "reference": "十九世纪末，受象征主义文学与绘画的影响，在欧洲出现了一种新的音乐风格——印象主义音乐。",
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+    "discipline": "音乐与舞蹈学",
+    "title": "论抗战时期云南红色革命歌曲的艺术特色及其价值",
+    "source": "重复的手法使得音乐形象更加深入，这也能够使演唱者能够通过重复的旋律更好的演唱歌曲。",
+    "reference": "重复的手法使得音乐形象更加深入，这也使演唱者能够更好地通过重复的旋律来演唱歌曲。",
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+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "“泛欧洲”视域中的早期法国音乐研究",
+    "source": "文艺复兴运动的发展促使了人们对古希腊罗马文化典籍的研究，同时也促进了对古代基督教文献和古代教父的著作的考证与研究。",
+    "reference": "文艺复兴运动的发展促进了人们对古希腊罗马文化典籍的研究，同时还促进了对古代基督教文献和古代教父的著作的考证与研究。",
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+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "民族心灵的慰藉之声",
+    "source": "民族民间音乐是为一个国家音乐文化底蕴的传承和见证，民族音乐家是为一个国家民族民间音乐的挖掘者和传承者，民族主义音乐经由民族音乐家之手成为能反应一个民族时代精神的最真实的声音。",
+    "reference": "民族民间音乐是一个国家音乐文化底蕴的传承和见证，民族音乐家是一个国家民族民间音乐的挖掘者以及传承者，民族主义音乐经由民族音乐家之手成为能反映一个民族时代精神的最真实的声音。",
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+          "应"
+        ],
+        "tgt_tokens": [
+          "映"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9313,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "中国当代音乐史中的创作筝曲研究",
+    "source": "通过筛选后与本论文最贴近的主要研究成果综述如下：王英睿著的《筝——中国国粹艺术读本》以及谢晓滨著的《古筝艺术与名曲》是两部以历史线索为背景的综合性著作。",
+    "reference": "通过筛选后，与本论文最贴近的主要研究成果综述如下：王英睿著的《筝——中国国粹艺术读本》以及谢晓滨著的《古筝艺术与名曲》是两部以历史线索为背景的综合性著作。",
+    "edit": [
+      {
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+      }
+    ]
+  },
+  {
+    "id": 9315,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "上海古筝表演艺术多元性特征研究（1978-2000）",
+    "source": "全曲借鉴了西方奏鸣曲式的结构，除引子外分为三段，分别刻画了草原放牧、与暴风雪战斗及亲人们来营救。",
+    "reference": "全曲借鉴了西方奏鸣曲式的结构，除引子外分为三段，分别刻画了草原放牧、与暴风雪战斗及亲人们来营救。",
+    "edit": []
+  },
+  {
+    "id": 9317,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "《筝曲新作八首》创作技法及观念探究",
+    "source": "还有一些是舞马表演时的步法和动作，如“蹬榻旋舞”是则是舞马之戏中的高难度动作。",
+    "reference": "还有一些是舞马表演时的步法和动作，如“蹬榻旋舞”，这是舞马之戏中的高难度动作。",
+    "edit": [
+      {
+        "src_interval": [
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+          "则"
+        ],
+        "tgt_tokens": [
+          "，",
+          "这"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9324,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "《筝曲新作八首》创作技法及观念探究",
+    "source": "进入21世纪后，陕西筝派的演奏家及专业作曲家不断的在为陕西筝派的筝曲创作发展添砖加瓦，筝曲作品不断地推陈出新，其中也体现着作曲家们日臻成熟的创作理念及手法。",
+    "reference": "进入21世纪后，陕西筝派的演奏家及专业作曲家不断为陕西筝派的筝曲创作发展添砖加瓦，筝曲作品不断地推陈出新，其中也体现出作曲家们日趋成熟的创作理念及手法。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_interval": [
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+        "tgt_tokens": [
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+        "src_tokens": [
+          "臻"
+        ],
+        "tgt_tokens": [
+          "趋"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9332,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "艺术歌曲《诔词》的音乐特点研究及演唱分析",
+    "source": "只有我们有意识、有计划的控制整首歌里的呼吸节奏，科学的均匀的呼吸，就能达到演唱的完整性和连贯性，更好的表达歌曲的情感。",
+    "reference": "想要达到演唱的完整性和连贯性，更好的表达歌曲的情感，需要我们有意识、有计划地控制整首歌里的呼吸节奏，科学均匀呼吸。",
+    "edit": [
+      {
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+          "好",
+          "的",
+          "表",
+          "达",
+          "歌",
+          "曲",
+          "的",
+          "情",
+          "感"
+        ],
+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 9333,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "“泛欧洲”视域中的早期法国音乐研究",
+    "source": "在十二世纪中叶,法国北部在受到特罗巴多的影响下,也形成了游吟诗人创作中心，被称为“特罗威尔”,他们用古法语（奥依语）写作。",
+    "reference": "十二世纪中叶，法国北部在受到特罗巴多的影响下，也形成了游吟诗人的创作中心，被称为“特罗威尔”。他们使用古法语（奥依语）进行写作。",
+    "edit": [
+      {
+        "src_interval": [
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+          1
+        ],
+        "tgt_interval": [
+          0,
+          0
+        ],
+        "src_tokens": [
+          "在"
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+        "tgt_tokens": []
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+      {
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+        "tgt_interval": [
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+          ","
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+        "tgt_interval": [
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+        "src_tokens": [
+          ","
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+        "tgt_tokens": [
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+      {
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+          32
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+      },
+      {
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+        "tgt_interval": [
+          46,
+          47
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+        "src_tokens": [
+          ","
+        ],
+        "tgt_tokens": [
+          "。"
+        ]
+      },
+      {
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+          49,
+          49
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+        "tgt_interval": [
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+          50
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+        "src_tokens": [],
+        "tgt_tokens": [
+          "使"
+        ]
+      },
+      {
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+          58
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+        "tgt_interval": [
+          59,
+          61
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+        "src_tokens": [],
+        "tgt_tokens": [
+          "进",
+          "行"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9339,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "论抗战时期云南红色革命歌曲的艺术特色及其价值",
+    "source": "坦白诚恳，勇敢向前,是我们的精神，刻苦勤劳,活泼团结,是我们的作风。",
+    "reference": "我们的精神是坦白诚恳、勇敢向前；我们的作风是刻苦勤劳、活泼团结。",
+    "edit": [
+      {
+        "src_interval": [
+          0,
+          0
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+        "tgt_interval": [
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+          6
+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "我",
+          "们",
+          "的",
+          "精",
+          "神",
+          "是"
+        ]
+      },
+      {
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+        "tgt_interval": [
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+          11
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+        "src_tokens": [
+          "，"
+        ],
+        "tgt_tokens": [
+          "、"
+        ]
+      },
+      {
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+          11
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+        "tgt_interval": [
+          15,
+          16
+        ],
+        "src_tokens": [
+          ",",
+          "是"
+        ],
+        "tgt_tokens": [
+          "；"
+        ]
+      },
+      {
+        "src_interval": [
+          14,
+          17
+        ],
+        "tgt_interval": [
+          19,
+          22
+        ],
+        "src_tokens": [
+          "精",
+          "神",
+          "，"
+        ],
+        "tgt_tokens": [
+          "作",
+          "风",
+          "是"
+        ]
+      },
+      {
+        "src_interval": [
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+          22
+        ],
+        "tgt_interval": [
+          26,
+          27
+        ],
+        "src_tokens": [
+          ","
+        ],
+        "tgt_tokens": [
+          "、"
+        ]
+      },
+      {
+        "src_interval": [
+          26,
+          33
+        ],
+        "tgt_interval": [
+          31,
+          31
+        ],
+        "src_tokens": [
+          ",",
+          "是",
+          "我",
+          "们",
+          "的",
+          "作",
+          "风"
+        ],
+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 9340,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "混声合唱《纹身》的艺术处理及时代意蕴研究",
+    "source": "高度溶合的音色。",
+    "reference": "高度溶合的音色。",
+    "edit": []
+  },
+  {
+    "id": 9344,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "当代中国古典诗词艺术歌曲的演唱与审美研究",
+    "source": "以上12种曲式结构，可以看出重复、变化重复对于词句和旋律而言，都是人们极早就发现的。",
+    "reference": "以上12种曲式结构，可以看出重复、变化重复对于词句和旋律而言，都是人们很早就发现的。",
+    "edit": [
+      {
+        "src_interval": [
+          35,
+          36
+        ],
+        "tgt_interval": [
+          35,
+          36
+        ],
+        "src_tokens": [
+          "极"
+        ],
+        "tgt_tokens": [
+          "很"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9349,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "“泛欧洲”视域中的早期法国音乐研究",
+    "source": "以及在同时期的德国，马丁·路德发动的宗教改革运动，通过对德语新教众赞歌的创造力，为德国宗教音乐的拓展了一条新的道路。",
+    "reference": "以及在同时期的德国，马丁·路德发动的宗教改革运动，通过德语新教众赞歌的创造力，为德国宗教音乐拓展了一条新的道路。",
+    "edit": [
+      {
+        "src_interval": [
+          27,
+          28
+        ],
+        "tgt_interval": [
+          27,
+          27
+        ],
+        "src_tokens": [
+          "对"
+        ],
+        "tgt_tokens": []
+      },
+      {
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+          48
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+        "tgt_interval": [
+          46,
+          46
+        ],
+        "src_tokens": [
+          "的"
+        ],
+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 9350,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "上海古筝表演艺术多元性特征研究（1978-2000）",
+    "source": "本文是有关上海地区古筝表演实践及理论问题的探讨，主要关注“乐人”、“乐曲”、“乐器”三个发展要素与之相关联的音乐事项，从民族音乐学学科的研究视角对古筝创作、古筝表演中演奏技术以及古筝表演实践三方面的深入研究，梳理上海古筝表演艺术的发展脉络，探寻其多元性发展特征。",
+    "reference": "本文是有关上海地区古筝表演实践及理论问题的分析，主要关注“乐人”、“乐曲”及“乐器”三个发展要素与之相关联的音乐事项，以民族音乐学学科的研究视角对古筝创作、古筝表演中演奏技术以及古筝表演实践三方面进行深入研究，梳理上海古筝表演艺术的发展道路，探寻其多元性发展特征。",
+    "edit": [
+      {
+        "src_interval": [
+          21,
+          23
+        ],
+        "tgt_interval": [
+          21,
+          23
+        ],
+        "src_tokens": [
+          "探",
+          "讨"
+        ],
+        "tgt_tokens": [
+          "分",
+          "析"
+        ]
+      },
+      {
+        "src_interval": [
+          37,
+          38
+        ],
+        "tgt_interval": [
+          37,
+          38
+        ],
+        "src_tokens": [
+          "、"
+        ],
+        "tgt_tokens": [
+          "及"
+        ]
+      },
+      {
+        "src_interval": [
+          59,
+          60
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+        "tgt_interval": [
+          59,
+          60
+        ],
+        "src_tokens": [
+          "从"
+        ],
+        "tgt_tokens": [
+          "以"
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+      },
+      {
+        "src_interval": [
+          98,
+          99
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+        "tgt_interval": [
+          98,
+          100
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+        "src_tokens": [
+          "的"
+        ],
+        "tgt_tokens": [
+          "进",
+          "行"
+        ]
+      },
+      {
+        "src_interval": [
+          117,
+          119
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+        "tgt_interval": [
+          118,
+          120
+        ],
+        "src_tokens": [
+          "脉",
+          "络"
+        ],
+        "tgt_tokens": [
+          "道",
+          "路"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9356,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "致敬巴赫",
+    "source": "巴赫后辈的作曲家们出于对巴赫的敬意也写了许多带有巴赫签名动机的作品：贝多芬晚期的弦乐四重奏“大赋格”、罗伯特·舒曼的作品第60号《用巴赫姓氏所作的六首赋格》、李斯特的《根据B-A-C-H主题而作的幻想曲与赋格》等。",
+    "reference": "巴赫后辈的作曲家们出于对巴赫的敬意也写了许多带有巴赫签名动机的作品：贝多芬晚期的弦乐四重奏《大赋格》、罗伯特·舒曼的作品第60号《用巴赫姓氏所作的六首赋格》、李斯特的《根据B-A-C-H主题而作的幻想曲与赋格》等。",
+    "edit": [
+      {
+        "src_interval": [
+          45,
+          46
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+        "tgt_interval": [
+          45,
+          46
+        ],
+        "src_tokens": [
+          "“"
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+        "tgt_tokens": [
+          "《"
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+          50
+        ],
+        "tgt_interval": [
+          49,
+          50
+        ],
+        "src_tokens": [
+          "”"
+        ],
+        "tgt_tokens": [
+          "》"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9365,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "致敬巴赫",
+    "source": "这样的处理可以更加明确两个动机型的特点，有着明显的对比。",
+    "reference": "这样的处理可以更加明确两个动机型的特点，并形成明显的对比",
+    "edit": [
+      {
+        "src_interval": [
+          20,
+          22
+        ],
+        "tgt_interval": [
+          20,
+          23
+        ],
+        "src_tokens": [
+          "有",
+          "着"
+        ],
+        "tgt_tokens": [
+          "并",
+          "形",
+          "成"
+        ]
+      },
+      {
+        "src_interval": [
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+        ],
+        "tgt_interval": [
+          28,
+          28
+        ],
+        "src_tokens": [
+          "。"
+        ],
+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 9368,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "云南传统音乐元素在交响乐创作中的应用研究",
+    "source": "因传播途径的相对保守、生活方式的不一和民族审美的选择，云南的传统音乐大多以单声部为主，多声部较少。",
+    "reference": "因传播途径的相对保守、生活方式的不同和民族审美的选择，云南的传统音乐大多是以单声部为主，在多声部方面较少。",
+    "edit": [
+      {
+        "src_interval": [
+          17,
+          18
+        ],
+        "tgt_interval": [
+          17,
+          18
+        ],
+        "src_tokens": [
+          "一"
+        ],
+        "tgt_tokens": [
+          "同"
+        ]
+      },
+      {
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+          36
+        ],
+        "tgt_interval": [
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+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "是"
+        ]
+      },
+      {
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+          43,
+          43
+        ],
+        "tgt_interval": [
+          44,
+          45
+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "在"
+        ]
+      },
+      {
+        "src_interval": [
+          46,
+          46
+        ],
+        "tgt_interval": [
+          48,
+          50
+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "方",
+          "面"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9369,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "徐景新艺术歌曲的演唱与分析研究",
+    "source": "《飞天》自身的旋律与旋法呈现出的民族特征相对显著，主要是五声旋律风格，又综合了上方五度调的特点，另外还有变徵音的润色，使旋律古朴典雅；在有些乐句结尾处出现润腔形式，类似戏曲的下滑音，充满中国传统音乐的古典魅力，就像一副美不胜收的音画。",
+    "reference": "《飞天》自身的旋律与旋法呈现出的民族特征相对显著，主要是五声旋律风格，又综合了上方五度调的特点，另外还有变徵音的润色，使旋律古朴典雅；在有些乐句结尾处出现润腔形式，类似戏曲的下滑音，充满了中国传统音乐的古典魅力，就像一幅美不胜收的音画。",
+    "edit": [
+      {
+        "src_interval": [
+          93,
+          93
+        ],
+        "tgt_interval": [
+          93,
+          94
+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "了"
+        ]
+      },
+      {
+        "src_interval": [
+          108,
+          109
+        ],
+        "tgt_interval": [
+          109,
+          110
+        ],
+        "src_tokens": [
+          "副"
+        ],
+        "tgt_tokens": [
+          "幅"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9370,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "上海古筝表演艺术多元性特征研究（1978-2000）",
+    "source": "以上论文大多从历史的角度出发，阐述时代背景对古筝音乐的发展影响。",
+    "reference": "以上论文大多从历史的角度出发，阐述时代背景对古筝音乐发展的影响。",
+    "edit": [
+      {
+        "src_interval": [
+          26,
+          29
+        ],
+        "tgt_interval": [
+          26,
+          29
+        ],
+        "src_tokens": [
+          "的",
+          "发",
+          "展"
+        ],
+        "tgt_tokens": [
+          "发",
+          "展",
+          "的"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9371,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "民族心灵的慰藉之声",
+    "source": "沃恩·威廉斯身为英国民族乐派的一员，率领同时代作曲家以发扬新时代英国民族主义音乐为己任，不负众望的使英国音乐再次成为大时代下的潮流。",
+    "reference": "沃恩·威廉斯，作为英国民族乐派的一员，率领同时代作曲家以发扬新时代英国民族主义音乐为己任，并不负众望地使英国音乐再次成为大时代下的潮流。",
+    "edit": [
+      {
+        "src_interval": [
+          6,
+          7
+        ],
+        "tgt_interval": [
+          6,
+          8
+        ],
+        "src_tokens": [
+          "身"
+        ],
+        "tgt_tokens": [
+          "，",
+          "作"
+        ]
+      },
+      {
+        "src_interval": [
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+          44
+        ],
+        "tgt_interval": [
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+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "并"
+        ]
+      },
+      {
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+        ],
+        "tgt_interval": [
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+        ],
+        "src_tokens": [
+          "的"
+        ],
+        "tgt_tokens": [
+          "地"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9379,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "民族心灵的慰藉之声",
+    "source": "这种音乐氛围也正与时而紧张严峻时而欢快活泼的A段形成了强烈对比，不仅给人们营造出一个温暖平静的田园梦境，更加突出了三重奏在谐谑曲乐章的重要性。",
+    "reference": "这种音乐氛围也正与时而紧张严峻时而欢快活泼的A段形成了强烈对比，不仅突出了三重奏在谐谑曲乐章的重要性，更给人们营造出一个温暖平静的田园梦境。",
+    "edit": [
+      {
+        "src_interval": [
+          34,
+          34
+        ],
+        "tgt_interval": [
+          34,
+          52
+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "突",
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+          "了",
+          "三",
+          "重",
+          "奏",
+          "在",
+          "谐",
+          "谑",
+          "曲",
+          "乐",
+          "章",
+          "的",
+          "重",
+          "要",
+          "性",
+          "，",
+          "更"
+        ]
+      },
+      {
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+        "tgt_interval": [
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+        "src_tokens": [
+          "，",
+          "更",
+          "加",
+          "突",
+          "出",
+          "了",
+          "三",
+          "重",
+          "奏",
+          "在",
+          "谐",
+          "谑",
+          "曲",
+          "乐",
+          "章",
+          "的",
+          "重",
+          "要",
+          "性"
+        ],
+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 9383,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "罗麦朔《胤禛美人图》的创作研究",
+    "source": "部分研究论文也都只是对作品进行了简要地解构分析，未能对作品的创作方面进行系统梳理、剖析。",
+    "reference": "部分研究论文也只是对作品进行了简要的解构分析，未能对作品的创作方面进行系统的梳理和剖析。",
+    "edit": [
+      {
+        "src_interval": [
+          7,
+          8
+        ],
+        "tgt_interval": [
+          7,
+          7
+        ],
+        "src_tokens": [
+          "都"
+        ],
+        "tgt_tokens": []
+      },
+      {
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+        ],
+        "tgt_interval": [
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+          18
+        ],
+        "src_tokens": [
+          "地"
+        ],
+        "tgt_tokens": [
+          "的"
+        ]
+      },
+      {
+        "src_interval": [
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+          38
+        ],
+        "tgt_interval": [
+          37,
+          38
+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "的"
+        ]
+      },
+      {
+        "src_interval": [
+          40,
+          41
+        ],
+        "tgt_interval": [
+          40,
+          41
+        ],
+        "src_tokens": [
+          "、"
+        ],
+        "tgt_tokens": [
+          "和"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9384,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "上海古筝表演艺术多元性特征研究（1978-2000）",
+    "source": "作者认为，筝乐艺术发展多元化的原因主要受三个方面的影响，西方音乐文化思想的冲击、专业作曲家对筝乐专业化创作以及音乐思潮和文化政策的影响。",
+    "reference": "作者认为，筝乐艺术发展多元化主要受三个方面的影响：西方音乐文化思想的冲击、专业作曲家对筝乐专业化创作以及音乐思潮和文化政策。",
+    "edit": [
+      {
+        "src_interval": [
+          14,
+          17
+        ],
+        "tgt_interval": [
+          14,
+          14
+        ],
+        "src_tokens": [
+          "的",
+          "原",
+          "因"
+        ],
+        "tgt_tokens": []
+      },
+      {
+        "src_interval": [
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+          28
+        ],
+        "tgt_interval": [
+          24,
+          25
+        ],
+        "src_tokens": [
+          "，"
+        ],
+        "tgt_tokens": [
+          "："
+        ]
+      },
+      {
+        "src_interval": [
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+          67
+        ],
+        "tgt_interval": [
+          61,
+          61
+        ],
+        "src_tokens": [
+          "的",
+          "影",
+          "响"
+        ],
+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 9390,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "论抗战时期云南红色革命歌曲的艺术特色及其价值",
+    "source": "通过对于云南抗战时期红色革命歌曲的回顾，激励和引导青少年要学习前辈对侵略者的反抗精神和对于祖国的热爱等。",
+    "reference": "通过对云南抗战时期红色革命歌曲的回顾，激励和引导青少年学习前辈对侵略者的反抗精神和对祖国的热爱等。",
+    "edit": [
+      {
+        "src_interval": [
+          3,
+          4
+        ],
+        "tgt_interval": [
+          3,
+          3
+        ],
+        "src_tokens": [
+          "于"
+        ],
+        "tgt_tokens": []
+      },
+      {
+        "src_interval": [
+          28,
+          29
+        ],
+        "tgt_interval": [
+          27,
+          27
+        ],
+        "src_tokens": [
+          "要"
+        ],
+        "tgt_tokens": []
+      },
+      {
+        "src_interval": [
+          44,
+          45
+        ],
+        "tgt_interval": [
+          42,
+          42
+        ],
+        "src_tokens": [
+          "于"
+        ],
+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 9397,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "“泛欧洲”视域中的早期法国音乐研究",
+    "source": "音乐从而成为统治者政治欲望的体现，反而言之这种音乐作品的政治性影响着音乐风格的发展。",
+    "reference": "音乐从而成为统治者政治欲望的体现，反而言之音乐风格的发展受到音乐作品的政治性影响。",
+    "edit": [
+      {
+        "src_interval": [
+          21,
+          23
+        ],
+        "tgt_interval": [
+          21,
+          30
+        ],
+        "src_tokens": [
+          "这",
+          "种"
+        ],
+        "tgt_tokens": [
+          "音",
+          "乐",
+          "风",
+          "格",
+          "的",
+          "发",
+          "展",
+          "受",
+          "到"
+        ]
+      },
+      {
+        "src_interval": [
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+          41
+        ],
+        "tgt_interval": [
+          40,
+          40
+        ],
+        "src_tokens": [
+          "着",
+          "音",
+          "乐",
+          "风",
+          "格",
+          "的",
+          "发",
+          "展"
+        ],
+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 9417,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "罗麦朔《胤禛美人图》的创作研究",
+    "source": "对于完成本次论文写作的目的，首先是笔者自身对三年研究生学业的一次阶段性总结，并希望能将自己的所得所学应用到本次论文的分析写作中。",
+    "reference": "完成本次论文写作的目的，首先是笔者自身对三年研究生学业的一次阶段性总结，并希望能将自己的所得所学应用到本次论文的分析写作中。",
+    "edit": [
+      {
+        "src_interval": [
+          0,
+          2
+        ],
+        "tgt_interval": [
+          0,
+          0
+        ],
+        "src_tokens": [
+          "对",
+          "于"
+        ],
+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 9422,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "童话情节与交响诗的完美结合",
+    "source": "小鸟看到彼得从家里出来后，急忙飞过来和彼得打招呼，在树上叽叽喳喳的叫着，欢快极了，此时音乐表达了小鸟活泼欢快的一面，所以作曲家以这样的一段音乐开始小鸟主题的陈述。",
+    "reference": "作曲家之所以以这样的一段音乐开始小鸟主题的陈述，是因为小鸟看到彼得从家里出来后，急忙飞过来和彼得打招呼，在树上叽叽喳喳地叫着，欢快极了，此时音乐表达了小鸟活泼欢快的一面。",
+    "edit": [
+      {
+        "src_interval": [
+          0,
+          0
+        ],
+        "tgt_interval": [
+          0,
+          27
+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "作",
+          "曲",
+          "家",
+          "之",
+          "所",
+          "以",
+          "以",
+          "这",
+          "样",
+          "的",
+          "一",
+          "段",
+          "音",
+          "乐",
+          "开",
+          "始",
+          "小",
+          "鸟",
+          "主",
+          "题",
+          "的",
+          "陈",
+          "述",
+          "，",
+          "是",
+          "因",
+          "为"
+        ]
+      },
+      {
+        "src_interval": [
+          32,
+          33
+        ],
+        "tgt_interval": [
+          59,
+          60
+        ],
+        "src_tokens": [
+          "的"
+        ],
+        "tgt_tokens": [
+          "地"
+        ]
+      },
+      {
+        "src_interval": [
+          57,
+          80
+        ],
+        "tgt_interval": [
+          84,
+          84
+        ],
+        "src_tokens": [
+          "，",
+          "所",
+          "以",
+          "作",
+          "曲",
+          "家",
+          "以",
+          "这",
+          "样",
+          "的",
+          "一",
+          "段",
+          "音",
+          "乐",
+          "开",
+          "始",
+          "小",
+          "鸟",
+          "主",
+          "题",
+          "的",
+          "陈",
+          "述"
+        ],
+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 9430,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "扬琴新技法的运用与探讨",
+    "source": "扬琴演奏技法在不同历史时期有着各具的技法分类。",
+    "reference": "扬琴演奏技法在历史上经历了不同的时期，每个时期都有其独特的技法分类。",
+    "edit": [
+      {
+        "src_interval": [
+          7,
+          7
+        ],
+        "tgt_interval": [
+          7,
+          13
+        ],
+        "src_tokens": [],
+        "tgt_tokens": [
+          "历",
+          "史",
+          "上",
+          "经",
+          "历",
+          "了"
+        ]
+      },
+      {
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+        ],
+        "tgt_interval": [
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+        ],
+        "src_tokens": [
+          "历",
+          "史"
+        ],
+        "tgt_tokens": [
+          "的",
+          "时",
+          "期",
+          "，",
+          "每",
+          "个"
+        ]
+      },
+      {
+        "src_interval": [
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+          17
+        ],
+        "tgt_interval": [
+          23,
+          28
+        ],
+        "src_tokens": [
+          "有",
+          "着",
+          "各",
+          "具"
+        ],
+        "tgt_tokens": [
+          "都",
+          "有",
+          "其",
+          "独",
+          "特"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9433,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "福雷艺术歌曲的风格特征及演唱方法研究",
+    "source": "雨果的浪漫就浓缩在了这一首五月里，这首诗中不仅仅将两个人爱情绽放的美好体现的淋漓尽致，更把这份爱情比作了大自然中最为美丽的东西。",
+    "reference": "雨果的浪漫就浓缩在这一首五月里，这首诗不仅仅淋漓尽致地展现了两个人爱情的美好，更将这份爱情比作了大自然中最美丽的东西。",
+    "edit": [
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+          "放"
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+          "为"
+        ],
+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 9434,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "“泛欧洲”视域中的早期法国音乐研究",
+    "source": "因此，宗教改的序幕首先从德国拉开。",
+    "reference": "因此，宗教改革的序幕首先从德国拉开。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_interval": [
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+        "src_tokens": [],
+        "tgt_tokens": [
+          "革"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9437,
+    "category": "艺术学",
+    "discipline": "音乐",
+    "title": "云南传统音乐元素在交响乐创作中的应用研究",
+    "source": "正如本文第六章第六节对点描技术的阐述那样，音色旋律常与点描技术结合起来...。",
+    "reference": "正如本文第六章第六节对点描技术的阐述那样，音色旋律常与点描技术结合起来。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_interval": [
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+          ".",
+          "."
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+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 9446,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "中国当代音乐史中的创作筝曲研究",
+    "source": "北宋时期，随着市民音乐的蓬勃发展，促使了筝乐艺术的广泛传播。",
+    "reference": "北宋时期，随着市民音乐的蓬勃发展，促使了筝乐艺术的广泛传播。",
+    "edit": []
+  },
+  {
+    "id": 9452,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "论抗战时期云南红色革命歌曲的艺术特色及其价值",
+    "source": "在这部分作曲家中，所创作的作品能够看出创作上更加专业，能够展现出当时人们所受到音乐教育下所进行的创作，音乐曲体较为规整，句子的长短有规律，在他们在作品中能够看出“起承转合”的乐句划分。",
+    "reference": "这部分作曲家的作品展现出了更加专业的创作水平，反映了当时人们在音乐教育影响下所进行的创作。他们的音乐曲体较为规整，句子的长短有规律，作品中能够清晰地看出“起承转合”的乐句划分。",
+    "edit": [
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+        "tgt_tokens": [
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+      }
+    ]
+  },
+  {
+    "id": 9453,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "汪立三音乐创作研究",
+    "source": "音乐是抽象的艺术，它表现得是人在生命活动中所获得的情感。",
+    "reference": "音乐是抽象的艺术，它表现的是人在生命活动中所获得的情感。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_interval": [
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+        ]
+      }
+    ]
+  },
+  {
+    "id": 9454,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "中国当代音乐史中的创作筝曲研究",
+    "source": "随着时代的不断前进和马克思���艺理论的深入，结合我国国情，使我国的文艺建设逐步开展了中国化的进程。",
+    "reference": "随着时代的不断前进和马克思文艺理论的深入，结合我国国情，我国的文艺建设逐步开展了中国化的进程。",
+    "edit": [
+      {
+        "src_interval": [
+          28,
+          29
+        ],
+        "tgt_interval": [
+          28,
+          28
+        ],
+        "src_tokens": [
+          "使"
+        ],
+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 9456,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "徐景新艺术歌曲的演唱与分析研究",
+    "source": "多种唱法的结合运用，不仅在风格上可以更好地表达出作曲家的音乐理念和思想，更能够以一种喜闻乐见的艺术形象为不同人群、不同听众、观众所接受，更好的贴近人们的生活。",
+    "reference": "多种唱法的结合运用，不仅在风格上可以更好地表达作曲家的音乐理念和思想，更能以一种喜闻乐见的艺术形象被不同人群、不同听众、观众所接受，更好地贴近人们的生活。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_interval": [
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+          "的"
+        ],
+        "tgt_tokens": [
+          "地"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9458,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "上海古筝表演艺术多元性特征研究（1978-2000）",
+    "source": "柳尧章改编的《春江花月夜》,共十二行曲谱，所用乐器为琵琶、筝、三弦、二胡、京胡、笛、萧、笙、管、扬琴、云锣和鼓板。",
+    "reference": "柳尧章改编的《春江花月夜》，共十二行曲谱，所用乐器为琵琶、筝、三弦、二胡、京胡、笛、箫、笙、管、扬琴、云锣和鼓板。",
+    "edit": [
+      {
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+        "tgt_interval": [
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+        "src_tokens": [
+          "萧"
+        ],
+        "tgt_tokens": [
+          "箫"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9464,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "论抗战时期云南红色革命歌曲的艺术特色及其价值",
+    "source": "云南民间音乐具有浓郁民族音乐元素，不管是本土作曲家还是非本土作曲家在旋律的创作都受到了云南民间音乐的影响。",
+    "reference": "本土作曲家还是非本土作曲家在旋律的创作都受到了云南民间音乐的影响，因为云南民间音乐具有浓郁民族音乐元素。",
+    "edit": [
+      {
+        "src_interval": [
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+          20
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+        "tgt_interval": [
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+          "浓",
+          "郁",
+          "民",
+          "族",
+          "音",
+          "乐",
+          "元",
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+        ]
+      }
+    ]
+  },
+  {
+    "id": 9470,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "民族心灵的慰藉之声",
+    "source": "经过发展一段时间的发展，整个第二部分结束在D大调明亮的主音和弦中。",
+    "reference": "在一段时间的发展后，整个第二部分结束在D大调的明亮主音和弦中。",
+    "edit": [
+      {
+        "src_interval": [
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+        "tgt_interval": [
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+        ],
+        "tgt_tokens": [
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+      {
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+          "后"
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+      },
+      {
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+        "tgt_interval": [
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+        "tgt_tokens": [
+          "的",
+          "明",
+          "亮"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9472,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "二十世纪八十年代中国钢琴三重奏创作研究",
+    "source": "由于一部分西方作曲家的访问或中国作曲家国外访学的归来，使西方的作曲技法迅速传入中国，掀起了作曲家们寻求“新音乐”创作的“热潮”，他们打破了以往单一的创作观念，在遵循本民族传统音乐文化的同时也融入西方现代作曲技法，既有民族性又有时代特色。",
+    "reference": "由于一部分西方作曲家的访问或中国作曲家国外访学的归来，西方的作曲技法迅速传入中国，掀起了作曲家们寻求“新音乐”创作的“热潮”，他们打破了以往单一的创作观念，在遵循本民族传统音乐文化的同时也融入西方现代作曲技法，既有民族性又有时代特色。",
+    "edit": [
+      {
+        "src_interval": [
+          27,
+          28
+        ],
+        "tgt_interval": [
+          27,
+          27
+        ],
+        "src_tokens": [
+          "使"
+        ],
+        "tgt_tokens": []
+      }
+    ]
+  },
+  {
+    "id": 9473,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "二十世纪八十年代中国钢琴三重奏创作研究",
+    "source": "旋律用小提琴亲切温暖又舒缓的展现出来，其中大跨度的音程走向以及悠长的气息体现出塞北民歌一些典型的音乐特点。",
+    "reference": "旋律用小提琴亲切温暖又舒缓的展现出来，其中塞北民歌一些典型的音乐特点通过大跨度的音程走向以及悠长的气息体现了出来。",
+    "edit": [
+      {
+        "src_interval": [
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+          21
+        ],
+        "tgt_interval": [
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+        ],
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+          "民",
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+          "典",
+          "型",
+          "的",
+          "音",
+          "乐",
+          "特",
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+        ]
+      },
+      {
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+          "北",
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+          "点"
+        ],
+        "tgt_tokens": [
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+          "出",
+          "来"
+        ]
+      }
+    ]
+  },
+  {
+    "id": 9492,
+    "category": "艺术学",
+    "discipline": "音乐与舞蹈学",
+    "title": "论抗战时期云南红色革命歌曲的艺术特色及其价值",
+    "source": "为了歌曲传播考虑，作曲家有意识的进行创作。",
+    "reference": "为了歌曲的传播考虑，作曲家有意识地进行创作。",
+    "edit": [
+      {
+        "src_interval": [
+          4,
+          4
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+        "tgt_interval": [
+          4,
+          5
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+        "tgt_interval": [
+          16,
+          17
+        ],
+        "src_tokens": [
+          "的"
+        ],
+        "tgt_tokens": [
+          "地"
+        ]
+      }
+    ]
+  }
+]
\ No newline at end of file