{"product_id":"161327","title":"What to listen to in music ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/WQt5W2RIowwI3nDI9SgfqN.png?v=1764859259\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e What to listen to in music \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/momo\/TopCate903\/MidCate002\/90216146.jpg\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eBook Introduction\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e\u003cdiv\u003e \u003cb\u003eA classic music textbook that has sold over 1.5 million copies worldwide.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e What does it mean to listen to music? There are as many and diverse music listeners around us as there are types of music, but few of them would consider themselves good listeners.\u003cbr\u003e Except for a few experts or those who have already trained their ears for many years, most people have experienced a kind of huge wall in front of music, especially classical music called 'classical', at least once or twice.\u003cbr\u003e If you have ears to hear and you just need to listen quietly, why do you find it so difficult?\u003cbr\u003e \u003cbr\u003eHere, we have a wonderful person who not only kindly explains the reason and comforts us that it's natural to struggle, but also generously shares his expert know-how to help us listen better.\u003cbr\u003e The voice of American music, the world-renowned composer representing the United States, Aaron Copland (1900-1990).\u003cbr\u003e He left behind works such as the Pulitzer Prize-winning ballet “Appalachian Spring,” “Billy the Kid,” and “Rodeo,” and actively participated in composing film scores such as “The Heiress” and “Our Town.”\u003cbr\u003e Copland devoted his life to music, not only as a composer but also as a performer, teacher, committee member, and aspiring conductor.\u003cbr\u003e \u003cbr\u003eWhat to Listen for in Music (original title: What to Listen for in Music) (1938, 1957) is a masterpiece that he left behind as a composer, teacher, and music lover, to help more people feel more familiar with music and enjoy listening to it.\u003cbr\u003e This classic work, which has sold over 1.5 million copies worldwide since its first publication in 1939, is based on a series of 15 lectures of the same title given at the New School for Social Research in New York.\u003cbr\u003e The book's value is demonstrated by its still-sparkling vitality, even after nearly 80 years. \u003cbr\u003eAlthough various people working in the music field, such as educators and critics, have written various works from their own perspectives, this book is significant in that it is the first attempt to explain the \"art of listening\" to the general public and music students from the \"composer's perspective,\" an insider in music, and is also a systematic introductory book.\u003cbr\u003e\n\n\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eindex\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e Aaron Copland, the Voice of American Music _ Leonard Slatkin\u003cbr\u003e Foreword _ Alan Rich\u003cbr\u003e Introduction _ William Schuman\u003cbr\u003e Author's Preface to the First Edition, 1939\u003cbr\u003e The author's father's note from the 1957 edition\u003cbr\u003e Acknowledgements\u003cbr\u003e\u003cbr\u003e 1 Before starting a full-scale discussion\u003cbr\u003e 2 Ways to listen to music\u003cbr\u003e 3 The creative process of music\u003cbr\u003e 4 The Four Elements of Music - I.\u003cbr\u003e rhythm\u003cbr\u003e 5 The Four Elements of Music - II.\u003cbr\u003e melody\u003cbr\u003e 6 The Four Elements of Music - III.\u003cbr\u003e Mars\u003cbr\u003e 7 The Four Elements of Music - IV.\u003cbr\u003e timbre\u003cbr\u003e 8 Textures of Music\u003cbr\u003e 9 The Structure of Music\u003cbr\u003e 10 Basic Formats - I.\u003cbr\u003e compartmentalized format\u003cbr\u003e 11 Basic Formats - II.\u003cbr\u003e Variation form\u003cbr\u003e 12 Basic Formats - III.\u003cbr\u003e Fugue form\u003cbr\u003e 13 Basic Formats - IV.\u003cbr\u003e sonata form  \u003cbr\u003e14 Basic Format - V.\u003cbr\u003e Free form\u003cbr\u003e 15 Operas and Musicals\u003cbr\u003e 16 Contemporary Music\u003cbr\u003e 17 Film Music\u003cbr\u003e 18 From composer to performer, from performer to audience\u003cbr\u003e Epilogue, \"The Story That Happened\" _ Alan Rich\u003cbr\u003e\u003cbr\u003e Recommended books\u003cbr\u003e Search\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eInto the book\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e He was a composer who represented the uniquely American spirit of enterprising spirit.\u003cbr\u003e He was also the heartbeat of New York.\u003cbr\u003e It is not fair to dismiss him as just a figure who adorned a page in American history.\u003cbr\u003e Even in a country full of innovators, Aaron Copland was a pioneer and a trailblazer who stood out.\u003cbr\u003e If you were to name a composer born in the United States who has left a distinct mark on the world of music, not many names would come to mind.\u003cbr\u003e That's about all there is to it: Ives, Gershwin, Barber, and Bernstein.\u003cbr\u003e But the top spot on this list rightfully belongs to Copland. \u003cbr\u003e--- p.6 From “Leonard Slatkin (Music Director of the Detroit Symphony Orchestra)”\u003cbr\u003e\u003cbr\u003e This book is a collection of lecture notes on \"What to Listen for in Music\" given at the New School for Social Research in Manhattan. It is a book that contains an enormous amount of value that is difficult to measure in its small size.\u003cbr\u003e Copland's book was not the first attempt to translate the experience of writing and listening to classical music into words, but it was the first, unprecedented attempt, to express the way a so-called \"insider\"—a person who actually makes music for a living—viewed the art world around him.\u003cbr\u003e That is precisely why it has produced so many passionate readers.\u003cbr\u003e --- p.12 From \"Alan Rich (music critic)\"\u003cbr\u003e \u003cbr\u003eDuring the winters of 1936 and 1937, Copland gave several lectures that laid the groundwork for the publication of this book two years later.\u003cbr\u003e The title of the lecture, like the book, was 'What to Hear from Music'.\u003cbr\u003e The expression 'to bring out' may sound somewhat grammatically awkward, but it carries a nuance that cannot be captured in the boring phrase 'how to listen to music', making it a more accurate expression.\u003cbr\u003e “These are the decisive reasons why this song is so surprising to me,” says Copeland, using beautifully chosen words to constantly remind readers.\u003cbr\u003e --- p.17 From \"Alan Rich (music critic)\"\u003cbr\u003e \u003cbr\u003eThanks to Copland's teachings, we understand the structural specificity of a Sibelius (1865-1957) symphony, the dramatic impact of a Frédéric Chopin (1810-1849) little prelude, and the way a Tchaikovsky (1840-1893) symphonic poem connects storyline and music.\u003cbr\u003e You will learn to apply the lessons you have learned from your heart to other equally excellent works, though not mentioned in this slim book.\u003cbr\u003e When we immerse ourselves in the world of great composers' works, we too become great listeners.\u003cbr\u003e It's not a big deal if you're a little late for dinner.\u003cbr\u003e --- p.27 From \"Alan Rich (music critic)\"\u003cbr\u003e\u003cbr\u003e We musicians are accustomed to reading about technical issues in music from composers who also worked as critics and writers.\u003cbr\u003e (…) There were quite a few composers who were equally proficient in both music and writing. \u003cbr\u003eHowever, Copland was the first to attempt to explain composition techniques to the general public.\u003cbr\u003e This book is one of a kind, truly unique.\u003cbr\u003e Suppose Rembrandt wrote a book called 'What to See in a Picture'.\u003cbr\u003e Then the status of Copland's book will be assessed.\u003cbr\u003e --- p.38 From “William Schuman (former director of the Juilliard School, first president of Lincoln Center)”\u003cbr\u003e\u003cbr\u003e The fate of a single work is fundamentally in the hands of the composer and performer, but it is equally influenced by the attitude and abilities of the listener.\u003cbr\u003e Ultimately, the responsibility for deciding whether to accept or reject a piece or performance lies with the listener.\u003cbr\u003e Musicians know from experience that even when the same piece is performed by the same performers, the response to it varies greatly depending on the audience. \u003cbr\u003eIn other words, the quality of music that people perceive fluctuates depending on the level of the listener who receives it.\u003cbr\u003e It's a shame, as music goes, that so many people settle for a sensory response, simply sitting in a bath of emotions and surrounded by sound.\u003cbr\u003e But we must not forget that music has order and structure, that it has not only a sensory appeal but also an intellectual appeal.\u003cbr\u003e --- p.35\u003cbr\u003e\u003cbr\u003e The purpose of this book is to 'establish the most clear foundation for intellectual music appreciation.'\u003cbr\u003e 'Explaining' music is not an easy task.\u003cbr\u003e I'm not in a position to boast that I can do that job better than others.\u003cbr\u003e However, books on music appreciation tend to approach the issue from the perspective of an educator or music critic, so much so that it could be said that there are many of them. \u003cbr\u003eOn the other hand, this book is written from the composer's perspective.\u003cbr\u003e For a composer, listening to music is a very natural and simple process.\u003cbr\u003e There's no reason why other people shouldn't feel that way.\u003cbr\u003e Yet, if I had to explain what the listener should get out of it, who better to do it than a composer who knows every detail of what went into the composition process?\u003cbr\u003e --- p.39\u003cbr\u003e\u003cbr\u003e It means that there is no reason to be humble just because you don't understand music.\u003cbr\u003e If you have any feelings of inferiority about your own reactions to music, try to shake them off.\u003cbr\u003e This is because such feelings of inferiority are often unfounded.\u003cbr\u003e --- p.48\u003cbr\u003e\u003cbr\u003e What readers should aim for is a more active type of listening. \u003cbr\u003eWhether listening to Mozart or Duke Ellington (1899-1974), a deep understanding of music is only possible when you have an awakened attitude to broaden your perception.\u003cbr\u003e Just listening isn't enough.\u003cbr\u003e You have to try to get down there.\u003cbr\u003e --- p.63-64\u003cbr\u003e\u003cbr\u003e If contemporary music, without exception, sounds like a series of dissonant sounds that continue without a moment to breathe, it would be safe to conclude that it is due to a lack of experience listening to contemporary music.\u003cbr\u003e Isn't that the case in most cases?\u003cbr\u003e It's rare to find people who listen to more music these days than they did in the past.\u003cbr\u003e --- pp.123-124\u003cbr\u003e\u003cbr\u003e In music, structure is the way the creator of a piece organizes the material logically.\u003cbr\u003e It's no different from other arts. \u003cbr\u003eHowever, the difference from other arts is that the materials of music are fluid and somewhat abstract.\u003cbr\u003e Because this is the nature of music, the composer's responsibility to build structure can be seen as doubly difficult.\u003cbr\u003e --- p.163\u003cbr\u003e\u003cbr\u003e First and foremost, it's important to remember that most creative artists approach their work with serious intentions.\u003cbr\u003e What this means is that it is rare for someone to write a song just to tease the listener.\u003cbr\u003e Therefore, from the listener's perspective, it is necessary to have an open mind and believe in the composer's good intentions.\u003cbr\u003e Composers' inclinations vary greatly in temperament and expression.\u003cbr\u003e That is precisely why contemporary music also offers opportunities for diverse musical experiences that cannot be categorized into just one.\u003cbr\u003e --- p.308\u003cbr\u003e\u003cbr\u003e Most people seem to be uncomfortable with music being controversial. \u003cbr\u003eI also don't want to shake up the habits I've built up listening to music.\u003cbr\u003e They want music to be as cozy as a sofa.\u003cbr\u003e I want to roll around on it like a fluffy pillow.\u003cbr\u003e I try to relieve the stress of my daily life and find solace in music.\u003cbr\u003e But serious music has never functioned as a mind-bending hypnotic.\u003cbr\u003e Contemporary music, in particular, is not meant to put you to sleep, but to wake you up.\u003cbr\u003e It is music that is meant to shock and excite the listener, and to make them feel as if their whole body has been shaken or even as if all their strength has been drained after listening to it.\u003cbr\u003e If you think about it, isn't that the very stimulation we expect when we go to see a play or open a novel? Why should music be the exception? --- p.316\u003cbr\u003e \u003cbr\u003eWhat exactly does it mean when we listen to a composer's music? Composers aren't like novelists, feeling obligated to tell a story.\u003cbr\u003e There is no need to 'copy' nature like a sculptor.\u003cbr\u003e A musician's work, like an architect's drawings, has no practical function.\u003cbr\u003e So what does the composer offer us? To me, there seems to be only one possible answer.\u003cbr\u003e What the composer gives is himself.\u003cbr\u003e Of course, the works created by every artist are his own expression.\u003cbr\u003e But in the case of music, the relationship between the work and the creator is much more direct. \u003cbr\u003eThe composer, without relying on external 'events', reveals to us the essential part of himself - the most complete and profound expression of his experience as a human being and as a being living in the world.\u003cbr\u003e --- pp.333-334\u003cbr\u003e\u003cbr\u003e To be able to freely surrender yourself to music, you must first broaden your tastes.\u003cbr\u003e It's not enough to love music by only focusing on the aspects you've traditionally liked.\u003cbr\u003e Taste is similar to sensitivity, so it is to some extent an innate quality, but it is also a quality that can be developed with purposeful and consistent practice.\u003cbr\u003e That is, we must give equal opportunities to all styles of music, without discriminating between old and new music, or between conservative and modern music.\u003cbr\u003e What is required is listening without prejudice.\u003cbr\u003e As viewers, each of you must take seriously your responsibility. \u003cbr\u003eWhether we're professionals in music or just ordinary people, I hope we all have the attitude of always striving to understand the art of music a little more deeply.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e --- p.343\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003ePublisher's Review\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e \u003cb\u003e“Just listening isn’t enough.\u003cbr\u003e “We must try to get down”\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Before beginning his writing, Copeland asks the reader two questions:\u003cbr\u003e 1) Can you hear everything in the music as it progresses? 2) Are you truly sensitive to the progression of the music? If you can't answer \"yes\" to either of these questions, the author urges you to read this book immediately.\u003cbr\u003e As you can guess from the question, from the author's perspective, the act of listening to music is 'listening' rather than 'hearing'. \u003cbr\u003eHe goes a step further and argues that music should not simply be 'listened to', but rather an act of 'listening for' everything with effort.\u003cbr\u003e Of course, there are some music experts who take a position opposing Copland's.\u003cbr\u003e In other words, the opinion is that you don't always need to pay attention when listening to music.\u003cbr\u003e However, the author believes that the reason why ordinary people find classical music difficult is because they do not put in the effort to listen and 'listen' to it.\u003cbr\u003e In other words, like everything else, becoming a good listener requires effort.\u003cbr\u003e In order to listen with such sensitivity and not miss anything, you must have some basic knowledge about music.\u003cbr\u003e This is where this book starts.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e 《What to Hear from Music》 consists of 18 chapters. \u003cbr\u003eIt covers everything from basic explanations of the four major elements of music—rhythm, melody, harmony, and timbre—to more complex explanations of the texture and structure of music, and even the forms that compose music.\u003cbr\u003e But there's no need to be scared from the start.\u003cbr\u003e As this is a book written for the general public, the author adjusts the level of difficulty when the content becomes increasingly difficult, thereby reassuring the reader.\u003cbr\u003e Chapter 2.\u003cbr\u003e As mentioned in 'How to Listen to Music', if up until now, ordinary listeners have listened to music at a 'sensory level' without any thought, after reading this book, Copland's purpose in writing this book is to help readers read the 'expressive level' that the music itself is trying to say, and ultimately reach the 'pure musical level' of listening to music in its entirety by knowing the materials and composition methods actually used in music.\u003cbr\u003e \u003cbr\u003eThis book was revised in 1957 and chapters on film music and modern music were added.\u003cbr\u003e The author's intention to consider modern people living in a flood of music, not just classical music, is evident.\u003cbr\u003e To music lovers who shake their heads at the mention of 'contemporary music', Copland tells them that composers are people who work with serious intentions and never write music to fool the listener, and urges them to listen to his music with an open mind and repeatedly whenever they have the chance.\u003cbr\u003e Additionally, at the end of each chapter, a list of albums recommended by Copland is clearly organized.\u003cbr\u003e It's a great opportunity to confirm what you've learned from reading books through music.\u003cbr\u003e\u003cbr\u003e Music stands out as a genre of art that enriches our lives. \u003cbr\u003eThe reason this book, written in the last century, is still widely read today is probably because the public's interest in music and desire to learn about it are so great.\u003cbr\u003e The age-old truth that 'you see as much as you know' is no exception here.\u003cbr\u003e Just listening to music won't get you to the next level.\u003cbr\u003e As this book consistently emphasizes, music appreciation is a skill that can only be acquired through experience and learning, and thus, it only reveals itself to those who practice it consistently.\u003cbr\u003e Art and technology may seem like two words that don't go together at first glance, but sometimes they can be so close.\u003cbr\u003e Let's take the first step toward music appreciation: \"listening intently, listening consciously, and using all of our intellect.\" \u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e GOODS SPECIFICS \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eDate of issue:\u003c\/strong\u003e September 1, 2016\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 368 pages | 153*210*30mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9788993818826\u003c\/div\u003e\n\n \u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e- \u003cstrong\u003eISBN10:\u003c\/strong\u003e 8993818827 \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/center\u003e\n\n\n\u003c\/center\u003e","brand":"LIBRAIRIE COREENNE","offers":[{"title":"Default Title","offer_id":43889695260714,"sku":"161327","price":31.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/7cae16fc59e5a0e89f0e2a46847c9953.jpg?v=1765264179","url":"https:\/\/librairie.coreenne.fr\/en\/products\/161327","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}