ㄧ.模板製作
二.側板製作
三.面板製作
四.背板製作
五.琴頸製作
六.上漆
七.裝配
八.調音
二.側板製作
三.面板製作
四.背板製作
五.琴頸製作
六.上漆
七.裝配
八.調音
- 教師: khchen 陳國華
課程介紹
Music as representation
Middleton, Richard, 1990, “ ‘It’s all over now’. Popular Music and Mass Culture – Adorno’s Theory”, Studying Popular Music, Milton Keynes, Philadelphia: Open University Press.
Turley, Alan C. 2001, “Max Weber and the Sociology of Music”, Sociological Forum, 16, No. 4, Dec.: 633-653.
Production of art (1)
Walter Benjamin, 1936, The Work of Art in the Age of Mechanical Reproduction.
Production of art (2)
Becker, Howard S., 1982, “Art Worlds and Collective Activity”, Art worlds, Berkeley: University of California.
Peterson, Richard A. & N. Anand, 2004, “The Production of Culture Perspective”, Annual Review of Sociology, 30:311-334.
Conflict and Creativity
Glynn, Mary Ann, 2000, “When Cymbals Become Symbols: Conflict over Organizational Identity within a Symphony Orchestra”, Organization Science 11: 285-298.
Negus, Keith, 1998, “Cultural Production and the Corporation: Musical Genres and the Strategic Management of Creativity in the US Recording Industry”, Media, Culture & Society, 20: 359-379.
The Role of Intermediaries
Du Gay, Paul and Keith Negus, 1994, “The Changing Sites of Sound: Music Retailing and the Composition of Consumers”, Media, Culture & Society, 16: 395-413.
Hennion, Antoine & Cecile Mieadel, 1986, « Programming music : radio as mediator », Media, Culture & Society, 8 : 281-303.
The Intersection of Technology & Law
Cosentino, Gabrielle, 2006, “‘Hacking’ the iPod: A Look Inside Apple's Portable Music Player”, in Cybersounds: Essays on Virtual Music Culture, edited by Michael D. Ayers, NewYork: Peter Lang, pp. 185-207.
McCourt, Tom & Patrick Burkart, 2003, “When Creators, Corporations, and Consumers Collide: Napster and the Development of On-Line Music Distribution”, Media, Culture & Society, 25:335-350.
Rationalization and Standardization
Bijsterveld, Karin & Marten Schulp, 2004, “Breaking into a World of Perfection: Innovation in Today’s Classical Music Instruments”, Social Studies of Science, 34: 649-674.
Jeppensen, Lars Bo & Lars Frederiksen, 2006, “Why Do Users Contribute to Firm-Hosted Communities? The Case of Computer-Controlled Musical Instruments”, Organization Science 17:45-63.
Constructing and Enacting Conventions
Curran, Geoffrey M., 1996, “From ‘Swinging Hard’ to ‘Rocking Out’: Classification of Style and the Creation of Identity in the World of Drumming.” Symbolic Interaction, 19: 37-60.
Walser, Robert, 1993, “Eruption:Heavy Metal Appropriations of Classical Virtuosity”, Running with the Devil: Power, Gender, and Madness in Heavy Metal Music,Hanover, NH: Wesleyan University Press, pp. 57-107.
Defining the Value of Music
Grazian, David, 2004, “The Production of Popular Music as a Confidence Game: The Case of the Chicago Blues”, Qualitative Sociology, 27: 137-158.
Dowd, Timothy J., Kathleen Liddle, Kim Lupo, & Anne Borden, 2002, “Organizing the Musical Canon: The Repertoires of Major U.S. Symphony Orchestras, 1824 to 1969.” Poetics 30: 87-110.
Evolution of the Value of Music
Skinner, Katherine, 2006, “‘Must Be Born Again’: Resurrecting the Anthology of American Folk Music”, Popular Music, 25: 57–75.
Heilbrun, James, 2001, “Empirical Evidence of a Decline in Repertory Diversity among American Opera Companies, 1991/92 to 1997/98”, Journal of Cultural Economics 25: 63–72.
Incorporating Music into Daily Life
Bennett, Andy, 2006, “Punk’s Not Dead: The Continuing Significance of Punk Rock for an Older Generation of Fans”, Sociology, 40: 219-235.
Gramit, David, 2010, “Everyday Extraordinary: Music in the Letters of a German Amateur, 1803-08”, 19th-Century Music, Vol. 34, No. 2 (Fall 2010), pp. 109-140.
Music, Cultural Capital, and Habitus
Doane, Randal, 2006, “The Habitus of Dancing: Notes on the Swing Dance Revival in New York City”, Journal of Contemporary Ethnography, 35: 84-116.
Dumais, Susan A., 2002, “Cultural Capital, Gender, and School Success: The Role of Habitus”, Sociology of Education, 75: 44–68.
期末口頭報告
Music as representation
Middleton, Richard, 1990, “ ‘It’s all over now’. Popular Music and Mass Culture – Adorno’s Theory”, Studying Popular Music, Milton Keynes, Philadelphia: Open University Press.
Turley, Alan C. 2001, “Max Weber and the Sociology of Music”, Sociological Forum, 16, No. 4, Dec.: 633-653.
Production of art (1)
Walter Benjamin, 1936, The Work of Art in the Age of Mechanical Reproduction.
Production of art (2)
Becker, Howard S., 1982, “Art Worlds and Collective Activity”, Art worlds, Berkeley: University of California.
Peterson, Richard A. & N. Anand, 2004, “The Production of Culture Perspective”, Annual Review of Sociology, 30:311-334.
Conflict and Creativity
Glynn, Mary Ann, 2000, “When Cymbals Become Symbols: Conflict over Organizational Identity within a Symphony Orchestra”, Organization Science 11: 285-298.
Negus, Keith, 1998, “Cultural Production and the Corporation: Musical Genres and the Strategic Management of Creativity in the US Recording Industry”, Media, Culture & Society, 20: 359-379.
The Role of Intermediaries
Du Gay, Paul and Keith Negus, 1994, “The Changing Sites of Sound: Music Retailing and the Composition of Consumers”, Media, Culture & Society, 16: 395-413.
Hennion, Antoine & Cecile Mieadel, 1986, « Programming music : radio as mediator », Media, Culture & Society, 8 : 281-303.
The Intersection of Technology & Law
Cosentino, Gabrielle, 2006, “‘Hacking’ the iPod: A Look Inside Apple's Portable Music Player”, in Cybersounds: Essays on Virtual Music Culture, edited by Michael D. Ayers, NewYork: Peter Lang, pp. 185-207.
McCourt, Tom & Patrick Burkart, 2003, “When Creators, Corporations, and Consumers Collide: Napster and the Development of On-Line Music Distribution”, Media, Culture & Society, 25:335-350.
Rationalization and Standardization
Bijsterveld, Karin & Marten Schulp, 2004, “Breaking into a World of Perfection: Innovation in Today’s Classical Music Instruments”, Social Studies of Science, 34: 649-674.
Jeppensen, Lars Bo & Lars Frederiksen, 2006, “Why Do Users Contribute to Firm-Hosted Communities? The Case of Computer-Controlled Musical Instruments”, Organization Science 17:45-63.
Constructing and Enacting Conventions
Curran, Geoffrey M., 1996, “From ‘Swinging Hard’ to ‘Rocking Out’: Classification of Style and the Creation of Identity in the World of Drumming.” Symbolic Interaction, 19: 37-60.
Walser, Robert, 1993, “Eruption:Heavy Metal Appropriations of Classical Virtuosity”, Running with the Devil: Power, Gender, and Madness in Heavy Metal Music,Hanover, NH: Wesleyan University Press, pp. 57-107.
Defining the Value of Music
Grazian, David, 2004, “The Production of Popular Music as a Confidence Game: The Case of the Chicago Blues”, Qualitative Sociology, 27: 137-158.
Dowd, Timothy J., Kathleen Liddle, Kim Lupo, & Anne Borden, 2002, “Organizing the Musical Canon: The Repertoires of Major U.S. Symphony Orchestras, 1824 to 1969.” Poetics 30: 87-110.
Evolution of the Value of Music
Skinner, Katherine, 2006, “‘Must Be Born Again’: Resurrecting the Anthology of American Folk Music”, Popular Music, 25: 57–75.
Heilbrun, James, 2001, “Empirical Evidence of a Decline in Repertory Diversity among American Opera Companies, 1991/92 to 1997/98”, Journal of Cultural Economics 25: 63–72.
Incorporating Music into Daily Life
Bennett, Andy, 2006, “Punk’s Not Dead: The Continuing Significance of Punk Rock for an Older Generation of Fans”, Sociology, 40: 219-235.
Gramit, David, 2010, “Everyday Extraordinary: Music in the Letters of a German Amateur, 1803-08”, 19th-Century Music, Vol. 34, No. 2 (Fall 2010), pp. 109-140.
Music, Cultural Capital, and Habitus
Doane, Randal, 2006, “The Habitus of Dancing: Notes on the Swing Dance Revival in New York City”, Journal of Contemporary Ethnography, 35: 84-116.
Dumais, Susan A., 2002, “Cultural Capital, Gender, and School Success: The Role of Habitus”, Sociology of Education, 75: 44–68.
期末口頭報告
- 教師: chumengtze 朱夢慈
Learning/teaching Methods and relationship to objectives:
Lectures will introduce historical and theoretical material on the genres, including information and interpretations of the social and political contexts and meanings of early musical genres (ex. bangsawan, makyong, wayang kulit, caklempong). Listening examples will be presented in lectures and used to illustrate principal genres in Indonesia and Malaysia that provide chronological perspective in history and contemporary social context. (unit objectives 1,2).
Assignments will allow students to report on and evaluate historic events, issues of politics and representation, cross-cultural genres and musical ethnicities discussed in lectures, and to locate relevant material and extend their skill to other genres not directly discussed in lectures. (unit objective 1,2,3)
Weekly listening and reading will extend the students’ knowledge of the musical and social significance of Indonesian and Malaysian musical styles, composers and relevant works and develop their musical analytical and critical skills and relate concrete examples to conventional interpretations (unit objectives 1,2)
Weekly reading will introduce students to theories and interpretations of musical genres discussed. (unit objective 2)
Lectures will introduce historical and theoretical material on the genres, including information and interpretations of the social and political contexts and meanings of early musical genres (ex. bangsawan, makyong, wayang kulit, caklempong). Listening examples will be presented in lectures and used to illustrate principal genres in Indonesia and Malaysia that provide chronological perspective in history and contemporary social context. (unit objectives 1,2).
Assignments will allow students to report on and evaluate historic events, issues of politics and representation, cross-cultural genres and musical ethnicities discussed in lectures, and to locate relevant material and extend their skill to other genres not directly discussed in lectures. (unit objective 1,2,3)
Weekly listening and reading will extend the students’ knowledge of the musical and social significance of Indonesian and Malaysian musical styles, composers and relevant works and develop their musical analytical and critical skills and relate concrete examples to conventional interpretations (unit objectives 1,2)
Weekly reading will introduce students to theories and interpretations of musical genres discussed. (unit objective 2)
- 教師: made.hood 胡敏德
1.Introductions and Overview
2.Theory and Knowledge of Fieldwork
Nettl, Bruno
1964 “Fieldwork.” Theory and Method in
Ethnomusicology. New York: The Free Press. 2005 “Come Back
and See Next Tuesday.” The
Study of Ethnomusicology: Thirty-one Issues And Concepts.
Champaign: University of Illinois Press.
Myer, Helen
1992 “Fieldwork.” Ethnomusicology: An
Introduction. NY: The Macmillam Press.
3.Theory, Fieldwork Method and Technique
Merriam, Alan P.
1964 “Toward a Theory for Ethnomusicology.” and
“Method and Technique.” The Anthropology of Music, 17-60.
Evanston, Ill.: Northwestern University Press.
Rice, Timothy
1987 “Toward the Remodeling of
Ethnomusicology.” Ethnomusicology 31(3): 469-488.
4.Transcription and analysis
Bruno Nettl
1971 Theory and Method in Ethnomusicology.
New York: The Free Press. (see from chapter
4 to 6). Nettl, Bruno
1983 “I Can’t Say a Thing Until I’ve Seen the Score.” In The Study of Ethnomusicology: Twenty-Nine Issues and Concepts, 65-81.
Illinois: University of Illinois Press.
5.Discussions about Insiders vs. Outsiders and Emic vs. Etic
Nettl, Bruno
2005 “You Will Never Understand This Music:
Insiders and Outsiders.” In The Study of Ethnomusicology: Thirty-one Issues And Concepts. Pp. 149-160. Champaign: University of Illinois Press.
Chou, Chenier
2002 “Experience and Fieldwork: a Native
Researcher’s View.” Ethnomusicology 46(3):
456-486. Rice, Timothy
6.Participant observation
Spradley, James
1980 Particpant Observation. CA: Wadsworth
Publishing Co Inc. Fetterman, David
2010 Ethnography: Step by Step. London: Sage Publishication Ltd.
7.Mid Term
Design documentary film and ethnographic Research Project
Teaching Points:
1. Designing an Ethnographic Research Project
2. The Role of Literature
3. Preparing the Project
4. New models Validity and Reliability in Ethnography
5. Writing a research proposal
6. Data Management
7. Reading Ethnographic Data
8. Analysis of Ethnographic Data
9. Transformation of Ethnographic Data
10. Interpretation of Ethnographic Data
8.Work at Home
Pian, Rulan Chao
1992 “Return of the Native Ethnomusicologist.”
Yearbook for Traditional Music 24: 1-7. Stock, Jonathan P. J., and
Chou Chiener
2008 “Fieldwork at Home: European and Asian Perspectives.” In
Shadows in the Field : New Perspectives for Fieldwork in
Ethnomusicology. Barz and Cooley, ed. Pp.108-124. Oxford, New
York: Oxford University Press.
9.Musical Ethnography
Cooley, Timothy and Barz Gregory
2008 “Casting Shadows in the Field: Fieldwork is
Dead! Long Live Fieldwork!” In Shadows in the Field: New
Perspective for Fieldwork in Ethnomusicology, edited by Gregory
F. Barz and Timothy J. Cooley, 3-24. New York: Oxford
University Press.
Nettl, Bruno
2005 “The Meat and Potatoes Book: Musical
10.New Model
Rice, Timothy
2003 “Time, Place, and Metaphor in Musical
Experience and Ethnography.” Ethnomusicology 47(2): 151- 179.
Killick, Andrew
2003 “Road Test for a New Model: Korean Musical
Narrative and Theater in Comparative Context.” Ethnomusicology
47(2): 180-204.
2.Theory and Knowledge of Fieldwork
Nettl, Bruno
1964 “Fieldwork.” Theory and Method in
Ethnomusicology. New York: The Free Press. 2005 “Come Back
and See Next Tuesday.” The
Study of Ethnomusicology: Thirty-one Issues And Concepts.
Champaign: University of Illinois Press.
Myer, Helen
1992 “Fieldwork.” Ethnomusicology: An
Introduction. NY: The Macmillam Press.
3.Theory, Fieldwork Method and Technique
Merriam, Alan P.
1964 “Toward a Theory for Ethnomusicology.” and
“Method and Technique.” The Anthropology of Music, 17-60.
Evanston, Ill.: Northwestern University Press.
Rice, Timothy
1987 “Toward the Remodeling of
Ethnomusicology.” Ethnomusicology 31(3): 469-488.
4.Transcription and analysis
Bruno Nettl
1971 Theory and Method in Ethnomusicology.
New York: The Free Press. (see from chapter
4 to 6). Nettl, Bruno
1983 “I Can’t Say a Thing Until I’ve Seen the Score.” In The Study of Ethnomusicology: Twenty-Nine Issues and Concepts, 65-81.
Illinois: University of Illinois Press.
5.Discussions about Insiders vs. Outsiders and Emic vs. Etic
Nettl, Bruno
2005 “You Will Never Understand This Music:
Insiders and Outsiders.” In The Study of Ethnomusicology: Thirty-one Issues And Concepts. Pp. 149-160. Champaign: University of Illinois Press.
Chou, Chenier
2002 “Experience and Fieldwork: a Native
Researcher’s View.” Ethnomusicology 46(3):
456-486. Rice, Timothy
6.Participant observation
Spradley, James
1980 Particpant Observation. CA: Wadsworth
Publishing Co Inc. Fetterman, David
2010 Ethnography: Step by Step. London: Sage Publishication Ltd.
7.Mid Term
Design documentary film and ethnographic Research Project
Teaching Points:
1. Designing an Ethnographic Research Project
2. The Role of Literature
3. Preparing the Project
4. New models Validity and Reliability in Ethnography
5. Writing a research proposal
6. Data Management
7. Reading Ethnographic Data
8. Analysis of Ethnographic Data
9. Transformation of Ethnographic Data
10. Interpretation of Ethnographic Data
8.Work at Home
Pian, Rulan Chao
1992 “Return of the Native Ethnomusicologist.”
Yearbook for Traditional Music 24: 1-7. Stock, Jonathan P. J., and
Chou Chiener
2008 “Fieldwork at Home: European and Asian Perspectives.” In
Shadows in the Field : New Perspectives for Fieldwork in
Ethnomusicology. Barz and Cooley, ed. Pp.108-124. Oxford, New
York: Oxford University Press.
9.Musical Ethnography
Cooley, Timothy and Barz Gregory
2008 “Casting Shadows in the Field: Fieldwork is
Dead! Long Live Fieldwork!” In Shadows in the Field: New
Perspective for Fieldwork in Ethnomusicology, edited by Gregory
F. Barz and Timothy J. Cooley, 3-24. New York: Oxford
University Press.
Nettl, Bruno
2005 “The Meat and Potatoes Book: Musical
10.New Model
Rice, Timothy
2003 “Time, Place, and Metaphor in Musical
Experience and Ethnography.” Ethnomusicology 47(2): 151- 179.
Killick, Andrew
2003 “Road Test for a New Model: Korean Musical
Narrative and Theater in Comparative Context.” Ethnomusicology
47(2): 180-204.
- 教師: made.hood 胡敏德
ㄧ.聲音之物理
二.音之傳播
三.弦樂器結構及其聲學
四.管樂器結構及其聲學
五.打擊樂器結構及其聲學
六.室內音響學(room acoustics)
二.音之傳播
三.弦樂器結構及其聲學
四.管樂器結構及其聲學
五.打擊樂器結構及其聲學
六.室內音響學(room acoustics)
- 教師: khchen 陳國華
1. 課程介紹
2. 音樂印刷與出版史
Printing and Publishing of Music. In Oxford Music Online.
3. 錄音演進史（1）
Recorded sound –I. History of recording. In Oxford Music Online.
4. 錄音演進史（2）
Recorded sound – II. Technology of recording, reproduction and transmission. In Oxford Music Online.
5. 錄音室實作
6. 唱片工業的廠牌結構
Wikström, Patrik, 2013, “Inside the Industry”, “Music and the Media”, The Music Industry. Polity Press.
7. 地下經濟網絡
Gosling, Tim, 2004, "‘Not for sale’: The Underground Network of Anarcho–Punk." Music Scenes: Local, Translocal, and Virtual, pp. 168-186.
Lobert, Anja, 2015, “Penfriendship,Exchange Economies,and ‘FBs’:Take That Fans Networking before the Digital Revolution”, Popular Music and Society, 38/1:73-94.
8. 數位音樂
Leyshon, Andrew, Peter Webb, Shaun French, Nigel Thrift & Louise Crewe. 2005. “On the Reproduction of the Musical Economy after the Internet”, Media, Culture and Society 27(2): 177-209.
Wikström, Patrik, 2013, “ The Social and Creative Music Fan”, “ Future Sound”, The Music Industry. Polity Press.
9. 期中報告口頭呈現
10. STS與音樂研究
Avanti,Peter, 2013, “Black Musics,Technology,and Modernity: Exhibit A, the Drum Kit”, Popular Music and Society, 36/4:476-504.
Bijsterveld, Karin & Marten Schulp, 2004, “Breaking into a World of Perfection – Innovation in Today’s Classical Musical Instruments”, Social Studies of Science, Vol. 34/5:649-674.
Hagen,Nylund Anja, 2015, “The Playlist Experience : Personal Playlists in Music Streaming Services”, Popular Music and Society, 38/5:625-645.
11. 應用民族音樂學（1）
Van Buren, Kathleen, 2010, “Applied Ethnomusicology and HIV and AIDS: Responsibility, Ability, and Action”. Ethnomusicology. 54(2): 202-223.
Pettan, Svanibor, 2008, “Applied Ethnomusicology and Empowerment Strategies: Views from across the Atlantic”. Musicological Annual. 44(1).
12. 應用民族音樂學（2）
Dirksen, Rebecca, 2012, “Reconsidering Theory and Practice in Ethnomusicology: Applying, Advocating, and Engaging Beyond Academia”. Ethnomusicology Review. 17.
Tan, Sooi Beng, 2008, “Activism in Southeast Asian Ethnomusicology: Empowering Youths to Revitalize Traditions and Bridge Cultural Barriers”. Musicological Annual. 44(1).
13. 社會設計（1）
Whitley, Nigel,。2014。《為社會而設計》。游萬來、楊敏英、李盈盈譯。台北：聯經出版公司。
14. 社會設計（2）
宋世祥，2016，《百工裡的人類學家》。果力文化。
15. 社會設計（3）
社會企業從業者專題演講（名單待定）
16. 社會設計（4）
企業法規與組織規範專題演講
演講者:公道法律事務所法律顧問 蔡政忠
17. 期末報告口頭呈現
18. 期末報告口頭呈現
2. 音樂印刷與出版史
Printing and Publishing of Music. In Oxford Music Online.
3. 錄音演進史（1）
Recorded sound –I. History of recording. In Oxford Music Online.
4. 錄音演進史（2）
Recorded sound – II. Technology of recording, reproduction and transmission. In Oxford Music Online.
5. 錄音室實作
6. 唱片工業的廠牌結構
Wikström, Patrik, 2013, “Inside the Industry”, “Music and the Media”, The Music Industry. Polity Press.
7. 地下經濟網絡
Gosling, Tim, 2004, "‘Not for sale’: The Underground Network of Anarcho–Punk." Music Scenes: Local, Translocal, and Virtual, pp. 168-186.
Lobert, Anja, 2015, “Penfriendship,Exchange Economies,and ‘FBs’:Take That Fans Networking before the Digital Revolution”, Popular Music and Society, 38/1:73-94.
8. 數位音樂
Leyshon, Andrew, Peter Webb, Shaun French, Nigel Thrift & Louise Crewe. 2005. “On the Reproduction of the Musical Economy after the Internet”, Media, Culture and Society 27(2): 177-209.
Wikström, Patrik, 2013, “ The Social and Creative Music Fan”, “ Future Sound”, The Music Industry. Polity Press.
9. 期中報告口頭呈現
10. STS與音樂研究
Avanti,Peter, 2013, “Black Musics,Technology,and Modernity: Exhibit A, the Drum Kit”, Popular Music and Society, 36/4:476-504.
Bijsterveld, Karin & Marten Schulp, 2004, “Breaking into a World of Perfection – Innovation in Today’s Classical Musical Instruments”, Social Studies of Science, Vol. 34/5:649-674.
Hagen,Nylund Anja, 2015, “The Playlist Experience : Personal Playlists in Music Streaming Services”, Popular Music and Society, 38/5:625-645.
11. 應用民族音樂學（1）
Van Buren, Kathleen, 2010, “Applied Ethnomusicology and HIV and AIDS: Responsibility, Ability, and Action”. Ethnomusicology. 54(2): 202-223.
Pettan, Svanibor, 2008, “Applied Ethnomusicology and Empowerment Strategies: Views from across the Atlantic”. Musicological Annual. 44(1).
12. 應用民族音樂學（2）
Dirksen, Rebecca, 2012, “Reconsidering Theory and Practice in Ethnomusicology: Applying, Advocating, and Engaging Beyond Academia”. Ethnomusicology Review. 17.
Tan, Sooi Beng, 2008, “Activism in Southeast Asian Ethnomusicology: Empowering Youths to Revitalize Traditions and Bridge Cultural Barriers”. Musicological Annual. 44(1).
13. 社會設計（1）
Whitley, Nigel,。2014。《為社會而設計》。游萬來、楊敏英、李盈盈譯。台北：聯經出版公司。
14. 社會設計（2）
宋世祥，2016，《百工裡的人類學家》。果力文化。
15. 社會設計（3）
社會企業從業者專題演講（名單待定）
16. 社會設計（4）
企業法規與組織規範專題演講
演講者:公道法律事務所法律顧問 蔡政忠
17. 期末報告口頭呈現
18. 期末報告口頭呈現
- 教師: chumengtze 朱夢慈