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)
1 - 09/11 課程介紹
(1)分派作業。
(2)討論每人研究題目。

2 - 09/18 認識圖書館
(1)參觀圖書館。
(2)學習Endnote書目管理系統。
(3)每人需自備行動電腦。
(4)開始建立每人50筆核心書目。

3 - 09/25 當代人文社會科學研究關懷瀏覽
人文社會科普部落格觀察與討論:
《芭樂人類學》、《巷口社會學》、《歷史學柑仔店》

4 - 10/02 一本學位論文的架構
(1)閱讀與討論:何春蕤,〈何春蕤談論文寫作〉
http://sex.ncu.edu.tw/papers/1-1.php
(2)閱讀與討論:甯應斌,〈甯應斌談人文碩士學位論文寫作〉http://sex.ncu.edu.tw/papers/1-2.php

5 - 10/09 問題意識的設定
(1)閱讀與討論:畢恆達,2010,《教授為什麼沒告訴我》,台北:小畢空間出版社。(第1-第3章)
(2)核心書目搜尋,準備行動電腦。

6 - 10/16 資料蒐集方法
(1)閱讀與討論:畢恆達,2010,《教授為什麼沒告訴我》,台北:小畢空間出版社。(第5章)。
(2)認識音樂百科全書、期刊資料庫。

7 - 10/23 批判性閱讀與書寫書評
(1)閱讀與討論:何春蕤,〈如何練習批判閱讀〉http://sex.ncu.edu.tw/papers/4-3-2.php
(2)閱讀與討論:蔣竹山,〈如何寫一篇評論性的學術書評〉file:///Users/chumengtze/Downloads/%E6%9B%B8%E8%A9%95.pdf

8 - 10/30 論文格式與書目格式
(1)認識課室不同書寫格式。
(2)史料資料庫,準備行動電腦。

9 - 11/06 書寫文獻回顧
(1)閱讀與討論:畢恆達,2010,《教授為什麼沒告訴我》,台北:小畢空間出版社。(第6章)。
(2)閱讀與討論:何春蕤,〈關聯性——文獻探討的創造性思考〉。http://sex.ncu.edu.tw/papers/4-2.php
(3)注意:上課前交50筆書目作業,逾期不收件。

10 - 11/13 文獻回顧實例閱讀
王櫻芬,2012,〈導言:錄音科技與臺灣音樂——近年研究回顧〉,《民俗曲藝》,178:1-24。
楊建章、呂心純,2009,〈音樂學研究的空間新視野〉,《人文與社會科學簡訊》,11(1): 15-23。

11 - 11/20 書寫樂評
Corozine, Vince, “How to Write a Music Review - Five Tips for a Successful Music Review”, http://www.vincecorozine.com/articles.php

12 - 11/27 書寫研究計劃書
(1)〈如何撰寫論文計劃〉,http://waytohome.blogspot.tw/2014/11/blog-post.html
(2)注意:上課前交一筆書評作業

13 - 12/04 書寫論文續論
(1)閱讀與討論:李力昌,2009,〈研究性論文「緒論」(introduction) 的重點與寫法 (7/13)〉http://blog.xuite.net/lichanglee/kuastm/25343331-%E7%A0%94%E7%A9%B6%E6%80%A7%E8%AB%96%E6%96%87%E3%80%8C%E7%B7%92%E8%AB%96%E3%80%8D(introduction)+%E7%9A%84%E9%87%8D%E9%BB%9E%E8%88%87%E5%AF%AB%E6%B3%95+(7%2F13
(2)緒論範例閱讀:藍佩嘉,2019,《跨國灰姑娘:當東南亞幫傭遇上台灣新富家庭》。國立臺灣大學出版中心。(緒論)

14 - 12/11 研究倫理
(1)閱讀與討論:台灣人類學與民族學學會,2011,〈台灣人類學與民族學學會倫理規範〉。
(2)閱讀與討論:林開世,2016,〈什麼事「人類學的田野工作」?知識情境與倫理立場的反省〉,《考古人類學刊》,84:77-110。

15 - 12/18 期末報告口頭呈現

16 - 12/25 期末報告口頭呈現

17 - 01/01 放假

18 - 01/08 交期末書面報告
繳交截止時間當天23:59:59。
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
1.Contents of the Course and regulation in the Class
2.Definition and research Scope of Ethnomusicology
3.Historical Development of Ethnomusicology
4.Research Models of Ethnomusicology
5.Ethnography of Music
6.Holiday
7.Music and Gender
8.Transcription
9.Analysis of Musical Style
10.Linguistic Analysis Models in Ethnomusicology
11.Research Methodology of Ethnomusicology
12.Commodification and Consumption
13.Soundscape *hand in mid-term paper
14.Ethnomusicology Scholarship
15.Oral Presentation for final paper
16.Turn in final paper
Week 1
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
African Traditional Music. Common characteristics and musical structures. World musical regions. musical style and culture. Cantometrics: a socio-musical theory
Reading: David Locke “Africa/Ewe, Mande, Dagbamba, Shona, BaAka” in Jeff Todd Titon et al (eds) Worlds of Music: An Introduction to the Music of the World’s People (Third edition) , Schirmer , NY, 1996, pp 71-143

Week 3
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
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
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 Resistance in Malaysia: A Study of Namewee’s Music. The Journal of Southeast Asia Research. Vol. 4, no. 1, p. 21-40.
*Listending Assignment 1 due by 5pm

Week 6
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
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
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
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
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
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
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
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
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
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
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 Exam review session for Listening and Written sections

Week 18 Final SEMESTER Exam
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
1 .聲音的性質及聽覺。
2 .聲音的物理性質。
3 .樂律理論及其實際運用。
4 .絃樂器理論。
5 .管樂器理論。
6 .擊樂器理論。