1.課程介紹
主題一：戰後嬰兒潮與搖滾樂的興起
2.
Szatmary, David P., 2009, “Elvis and Rockabilly”, Rockin in Time: A Social History of Rock-and-Roll (Edition 7), Prentice Hall, ch2.
3.
Peterson, Richard, 1990, “Why 1955? Explaining the Advent of Rock Music”, Popular Music 9(1): 97-116.
主題二：唱片工業與偶像製造
4.
Szatmary, David P., 2009, “The British Invasion of America: The Beatles”, Rockin in Time: A Social History of Rock-and-Roll (Edition 7), Prentice Hall, ch7.
5.
Frith, Simon, 1981, “Making Records”, Sound Effects: Youth, Leisure, and the Politics of Rock 'n' Roll, New York: Pantheon, 89-129.
Negus, Keith & Michael Pickering, 2004, “Industry” & “Genuis”, Creativity, Communication and Culture Value, Sage Publications.
主題三：嬉皮運動與反文化
6.
Szatmary, David P., 2009, “Bob Dylan and the New Frontier”, Rockin in Time: A Social History of Rock-and-Roll (Edition 7), Prentice Hall, ch5.
7.
Kizer, Elisabeth, 1983, “Protest Song Lyrics as Rhetoric”, Popular Music and Society, Volume 9, Issue 1:3-11.
主題四：藝術搖滾與磨城唱片
8.
Szatmary, David P., 2009, “Motown: The Sound of Integration”, Rockin in Time: A Social History of Rock-and-Roll (Edition 7), Prentice Hall, ch6.
9.
Whiteley, Sheila, 1990, “Progressive Rock and Psychedelic Coding in the Work of Jimi Hendrix”, Popular Music, Volume 9, Issue 1: 37-60.
主題五：龐克浪潮與身體政治
10.
Szatmary, David P., 2009, “Punk Rock and the New Generation”, Rockin in Time: A Social History of Rock-and-Roll (Edition 7), Prentice Hall, ch15.
11.
Bennett, Andy, 2006, “Punk’s Not Dead: The Continuing Significance of Punk Rock for an Older Generation of Fans”, Sociology, 40: 219-235.
Gottlieb, Joanne, 2006, “Smells Like Teen Spirit: Riot Grrrls, Revolution and Women in Independent Rock”, in Andy Bennett & Jason Toynbee (eds.) The Popular Music Studies Reader, London, New York: Routledge.
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12、13. 期中課堂報告
主題六：重金屬與後現代
14.
Weinstein, Deena, 2000, “Heavy Metal: The Beast that Refuses to Die”, Heavy Metal and Its Culture, pp. 11-58. Da Capo Press.
15.
Kahn-Harris, Keith, 2007, Extreme Metal : Music and Cuture on the Edge, Bloomsbury Academis, Ch 6-8.
主題七：嬉哈文化與汎非洲主義
16.
Szatmary, David P., 2009, “The Hip-Hop Nation”, Rockin in Time: A Social History of Rock-and-Roll (Edition 7), Prentice Hall, ch20.
17.
Perry, Marcus, 2011, “Global Black Self-Fashionings: Hip-Hop as Diasporic Space”, in Murray Forman & Mark Anthony Neal (eds.), That’s the Joint!: The Hip-Hop Studies Reader, Taylor & Francis.
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18. 交期末報告
主題一：戰後嬰兒潮與搖滾樂的興起
2.
Szatmary, David P., 2009, “Elvis and Rockabilly”, Rockin in Time: A Social History of Rock-and-Roll (Edition 7), Prentice Hall, ch2.
3.
Peterson, Richard, 1990, “Why 1955? Explaining the Advent of Rock Music”, Popular Music 9(1): 97-116.
主題二：唱片工業與偶像製造
4.
Szatmary, David P., 2009, “The British Invasion of America: The Beatles”, Rockin in Time: A Social History of Rock-and-Roll (Edition 7), Prentice Hall, ch7.
5.
Frith, Simon, 1981, “Making Records”, Sound Effects: Youth, Leisure, and the Politics of Rock 'n' Roll, New York: Pantheon, 89-129.
Negus, Keith & Michael Pickering, 2004, “Industry” & “Genuis”, Creativity, Communication and Culture Value, Sage Publications.
主題三：嬉皮運動與反文化
6.
Szatmary, David P., 2009, “Bob Dylan and the New Frontier”, Rockin in Time: A Social History of Rock-and-Roll (Edition 7), Prentice Hall, ch5.
7.
Kizer, Elisabeth, 1983, “Protest Song Lyrics as Rhetoric”, Popular Music and Society, Volume 9, Issue 1:3-11.
主題四：藝術搖滾與磨城唱片
8.
Szatmary, David P., 2009, “Motown: The Sound of Integration”, Rockin in Time: A Social History of Rock-and-Roll (Edition 7), Prentice Hall, ch6.
9.
Whiteley, Sheila, 1990, “Progressive Rock and Psychedelic Coding in the Work of Jimi Hendrix”, Popular Music, Volume 9, Issue 1: 37-60.
主題五：龐克浪潮與身體政治
10.
Szatmary, David P., 2009, “Punk Rock and the New Generation”, Rockin in Time: A Social History of Rock-and-Roll (Edition 7), Prentice Hall, ch15.
11.
Bennett, Andy, 2006, “Punk’s Not Dead: The Continuing Significance of Punk Rock for an Older Generation of Fans”, Sociology, 40: 219-235.
Gottlieb, Joanne, 2006, “Smells Like Teen Spirit: Riot Grrrls, Revolution and Women in Independent Rock”, in Andy Bennett & Jason Toynbee (eds.) The Popular Music Studies Reader, London, New York: Routledge.
＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝
12、13. 期中課堂報告
主題六：重金屬與後現代
14.
Weinstein, Deena, 2000, “Heavy Metal: The Beast that Refuses to Die”, Heavy Metal and Its Culture, pp. 11-58. Da Capo Press.
15.
Kahn-Harris, Keith, 2007, Extreme Metal : Music and Cuture on the Edge, Bloomsbury Academis, Ch 6-8.
主題七：嬉哈文化與汎非洲主義
16.
Szatmary, David P., 2009, “The Hip-Hop Nation”, Rockin in Time: A Social History of Rock-and-Roll (Edition 7), Prentice Hall, ch20.
17.
Perry, Marcus, 2011, “Global Black Self-Fashionings: Hip-Hop as Diasporic Space”, in Murray Forman & Mark Anthony Neal (eds.), That’s the Joint!: The Hip-Hop Studies Reader, Taylor & Francis.
＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝
18. 交期末報告
- 教師: chumengtze 朱夢慈
一、音樂印刷術演進史(2週)
二、音樂出版業演進史（2週）
三、錄音技術演進史（2週）
四、唱片工業的廠牌結構（1週）
五、唱片工業的神話（1週）
六、地下網絡（1週）
專題企劃期中報告
七、數位音樂（2週）
八、音樂策展（1週）
九、樂器製作（1週）
十、應用民族音樂學（2週）
十一、社會設計（2週）
專題企劃期末報告
二、音樂出版業演進史（2週）
三、錄音技術演進史（2週）
四、唱片工業的廠牌結構（1週）
五、唱片工業的神話（1週）
六、地下網絡（1週）
專題企劃期中報告
七、數位音樂（2週）
八、音樂策展（1週）
九、樂器製作（1週）
十、應用民族音樂學（2週）
十一、社會設計（2週）
專題企劃期末報告
- 教師: chumengtze 朱夢慈
Week 1 (Feb 18)
Introduction to World Musics: Introduction to the unit, including its aims, objectives, readings, listening, and assessment.
Lecture - The study of music in culture, ethnomusicology, including its approach to the study of the world of music and its areas.
Reading: Titon, Jeff Todd et. al. Worlds of Music: An Introduction to the Music of the World’s People (2nd edition) 2005; pp 1-15
Week 2 (Feb 25)
African Traditional Music. Common characteristics and musical
structures. World musical regions. musical style and culture.
Instrumental Resources and organological categories.
Reading: Nketia, J. H. K. (1974). The Music of Africa. New York: W.W. Norton, pp. 67-107.
Week 3 (Mar 4)
African Popular Music. Biographies of three prominent innovators of pop, folk and political musics including Hip Life, High Life and Afrobeat.
Reading: Garland Encyclopedia of World Music, vol. 7 (Routledge,2002), pp. 9-37.
Week 4 (Mar 11) make up class
Making Music Malaysian: National Cultural Policy on the Performing Arts. Independent and alternative art forms to dominant national cultural policy in post-national reforms.
Reading: Sooi Beng, Tan. "The Performing Arts in Malaysia: State and Society. Asian Muisc, vol. 21, no.1, 1990. p. 137-71.
Week 5 (Mar 18) National Day
Malaysian Popular Music. Hegemony and Symbolic resistance,
vocalizing, rapping and rhyming for political change. Protest songs and youth culture.
Reading: Tan Chong Yew. 2012. Hegemony and Symbolic esistance in Malaysia: A Study of Namewee’s Music. The Journal of Southeast Asia Research. Vol. 4, no. 1, p. 21-40.
*Listening Assignment 1 due by 5pm
Week 6 (Mar 25)
Music of Korea: history of musical notation, TUBS, Kugak national music and Sanjo performance conventions including rhythmic modes.
Discussion of Listening assignment on Ajeng Sanjo and Pansori.
Week 7 (April 1)
Indian Classical Music: Indus valley history, musical instrument origins and musical form, Raga and mode, Tala and rhythm and in-class Khyal vocal example with notation.
Week 8 (April 8)
Indonesian Traditional Music: gong-chime cultures, West-Sumatra, Central Java and Bali, wayang kulit and musical offerings in sacred contexts.
Reading: Margaret J. Kartomi. “Musical Strata in Sumatra, Java and Bali” in Elizabeth May, (ed.), Musics of Many Cultures, 1976, p.111-133.
Week 9 (April 15)
Music in Modern Indonesia: Gamelan inspired approach to western stringed instruments, jazz at the Australian Institute of Music in Sydney Simultaneously a marketable/familiar sound and an innovative ‘local’
music
Week 10 (April 22)
Middle East: Music and Migration, makam and usul modal and
rhythmic systems, string/wind/percussion instruments (saz, oud, dumbek, etc.), Sufi music
Reading: Stephen Blum “Hearing the Music of the Middle East” and V.
Danioelson and A. Fisher, “History of Scholarship: Narratives of Middle Eastern Music History” in V. Danielson (ed.) in Garland Encyclopaedia of World Music, Vol. 6, 2001 p. 1-27. 1139, 1141.
Week 11 (April 29) make up class
Oceania: The Power of the Voice, Hawaii and traditional chant, Micronesia and popular music, Polynesia and choral music
Reading: J.W. Love and Adrienne Kaeppler (ed.) Garland Encyclopaedia of World
Music: Vol 9, 1998, p. 1-6, 158-161, 598-599, 807-808, 914-917.
Week 12 (May 6)
Jazz History and Migration:
Blues, ragtime, creole, marching bands and the Jim Crow laws that solidified together to become Jazz. An examination of pre-Jazz elements and circumstances in the city of New Orleans.
*Listending Assignment 2 due by 5pm
Week 13 (May 13)
Jazz and the Appropriation of Black Music
Jazz as it elicited a range of corporate actions and artistic decisions among key stakeholders; Hegemonic forces marginalized periphery players in the business; Black entrepreneurs/ opportunists mediated and meddled between white Race Records and the emerging African American market.
Week 14 (May 20)
Africa and Appropriation: 100 years of historical dynamics of shifting popular music/dance forms from Latin America, Africa and North America, New World Fusion and hybridity.
Week 15 (May 27)
Arts Innovation and Sustainability: Thailand Case Study
Empowering Local Communities Through Sustainability Models
in Arts Innovation, Art as heritage as things of the past, defensive posture of collection, preserving, safeguarding, protecting through special spaces and sanctuaries. This is compared with Arts as Innovation where in Thailand the city of Amphawa is used as a case study to see how arts can foster heritage maintenance and be a viable solution.
Reading: Titon, Jeff Todd (2009). “Music and Sustainability: an Ecological Viewpoint”. The World of Music. 51(1), 119-137.
Week 16 (June 3)
The World of Music Therapy:
Exploration is ‘free improvisation’ as an approach to treating mental and psychological disorders. Case study reviews and assessment systems for diagnosing, planning and implementing mental illness treatment with music as a referential tool.
Reading: Langenberg, Metchtild. 1997. “On Understanding Music
Therapy: Free Musical Improvisation as a Method of Treatment” The World of Music. 39(1): 97-109
Week 17 (June 10) Exam review session for Listening and Written sections
Week 18 (June 17) Final SEMESTER Exam
Introduction to World Musics: Introduction to the unit, including its aims, objectives, readings, listening, and assessment.
Lecture - The study of music in culture, ethnomusicology, including its approach to the study of the world of music and its areas.
Reading: Titon, Jeff Todd et. al. Worlds of Music: An Introduction to the Music of the World’s People (2nd edition) 2005; pp 1-15
Week 2 (Feb 25)
African Traditional Music. Common characteristics and musical
structures. World musical regions. musical style and culture.
Instrumental Resources and organological categories.
Reading: Nketia, J. H. K. (1974). The Music of Africa. New York: W.W. Norton, pp. 67-107.
Week 3 (Mar 4)
African Popular Music. Biographies of three prominent innovators of pop, folk and political musics including Hip Life, High Life and Afrobeat.
Reading: Garland Encyclopedia of World Music, vol. 7 (Routledge,2002), pp. 9-37.
Week 4 (Mar 11) make up class
Making Music Malaysian: National Cultural Policy on the Performing Arts. Independent and alternative art forms to dominant national cultural policy in post-national reforms.
Reading: Sooi Beng, Tan. "The Performing Arts in Malaysia: State and Society. Asian Muisc, vol. 21, no.1, 1990. p. 137-71.
Week 5 (Mar 18) National Day
Malaysian Popular Music. Hegemony and Symbolic resistance,
vocalizing, rapping and rhyming for political change. Protest songs and youth culture.
Reading: Tan Chong Yew. 2012. Hegemony and Symbolic esistance in Malaysia: A Study of Namewee’s Music. The Journal of Southeast Asia Research. Vol. 4, no. 1, p. 21-40.
*Listening Assignment 1 due by 5pm
Week 6 (Mar 25)
Music of Korea: history of musical notation, TUBS, Kugak national music and Sanjo performance conventions including rhythmic modes.
Discussion of Listening assignment on Ajeng Sanjo and Pansori.
Week 7 (April 1)
Indian Classical Music: Indus valley history, musical instrument origins and musical form, Raga and mode, Tala and rhythm and in-class Khyal vocal example with notation.
Week 8 (April 8)
Indonesian Traditional Music: gong-chime cultures, West-Sumatra, Central Java and Bali, wayang kulit and musical offerings in sacred contexts.
Reading: Margaret J. Kartomi. “Musical Strata in Sumatra, Java and Bali” in Elizabeth May, (ed.), Musics of Many Cultures, 1976, p.111-133.
Week 9 (April 15)
Music in Modern Indonesia: Gamelan inspired approach to western stringed instruments, jazz at the Australian Institute of Music in Sydney Simultaneously a marketable/familiar sound and an innovative ‘local’
music
Week 10 (April 22)
Middle East: Music and Migration, makam and usul modal and
rhythmic systems, string/wind/percussion instruments (saz, oud, dumbek, etc.), Sufi music
Reading: Stephen Blum “Hearing the Music of the Middle East” and V.
Danioelson and A. Fisher, “History of Scholarship: Narratives of Middle Eastern Music History” in V. Danielson (ed.) in Garland Encyclopaedia of World Music, Vol. 6, 2001 p. 1-27. 1139, 1141.
Week 11 (April 29) make up class
Oceania: The Power of the Voice, Hawaii and traditional chant, Micronesia and popular music, Polynesia and choral music
Reading: J.W. Love and Adrienne Kaeppler (ed.) Garland Encyclopaedia of World
Music: Vol 9, 1998, p. 1-6, 158-161, 598-599, 807-808, 914-917.
Week 12 (May 6)
Jazz History and Migration:
Blues, ragtime, creole, marching bands and the Jim Crow laws that solidified together to become Jazz. An examination of pre-Jazz elements and circumstances in the city of New Orleans.
*Listending Assignment 2 due by 5pm
Week 13 (May 13)
Jazz and the Appropriation of Black Music
Jazz as it elicited a range of corporate actions and artistic decisions among key stakeholders; Hegemonic forces marginalized periphery players in the business; Black entrepreneurs/ opportunists mediated and meddled between white Race Records and the emerging African American market.
Week 14 (May 20)
Africa and Appropriation: 100 years of historical dynamics of shifting popular music/dance forms from Latin America, Africa and North America, New World Fusion and hybridity.
Week 15 (May 27)
Arts Innovation and Sustainability: Thailand Case Study
Empowering Local Communities Through Sustainability Models
in Arts Innovation, Art as heritage as things of the past, defensive posture of collection, preserving, safeguarding, protecting through special spaces and sanctuaries. This is compared with Arts as Innovation where in Thailand the city of Amphawa is used as a case study to see how arts can foster heritage maintenance and be a viable solution.
Reading: Titon, Jeff Todd (2009). “Music and Sustainability: an Ecological Viewpoint”. The World of Music. 51(1), 119-137.
Week 16 (June 3)
The World of Music Therapy:
Exploration is ‘free improvisation’ as an approach to treating mental and psychological disorders. Case study reviews and assessment systems for diagnosing, planning and implementing mental illness treatment with music as a referential tool.
Reading: Langenberg, Metchtild. 1997. “On Understanding Music
Therapy: Free Musical Improvisation as a Method of Treatment” The World of Music. 39(1): 97-109
Week 17 (June 10) Exam review session for Listening and Written sections
Week 18 (June 17) Final SEMESTER Exam
- 教師: made.hood 胡敏德