1.課程內容與上課方式解說
2.樂器學基本概念
3.樂器象徵意含
4.樂器圖像學 韓國璜：〈圖像學〉，《韓國璜音樂文集二》，台北：樂韻。
5.早期樂器發展
6.中國古代樂器發展
7.近代中國樂器改革
8.中國傳統樂器分類法
9.亞洲傳統樂器分類法
10.歐洲傳統樂器分類法
11.西方近現代樂器分類體系：分類方法學
12.西方近現代樂器分類體系：H-S樂器分類法
13.西方近現代樂器分類體系
14.中國近現代樂器分類
15.期末報告
16.期末報告
17.期末報告 繳交
18.學期討論
2.樂器學基本概念
3.樂器象徵意含
4.樂器圖像學 韓國璜：〈圖像學〉，《韓國璜音樂文集二》，台北：樂韻。
5.早期樂器發展
6.中國古代樂器發展
7.近代中國樂器改革
8.中國傳統樂器分類法
9.亞洲傳統樂器分類法
10.歐洲傳統樂器分類法
11.西方近現代樂器分類體系：分類方法學
12.西方近現代樂器分類體系：H-S樂器分類法
13.西方近現代樂器分類體系
14.中國近現代樂器分類
15.期末報告
16.期末報告
17.期末報告 繳交
18.學期討論
- 教師: ted1107 蔡宗德
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
1. 課程介紹
2. Harman, G.. 2018. “ Introduction”, “A new theory of everything”, Object-oriented ontology: A new theory of everything. Penguin UK.
3. Harman, G.. 2018. “Aesthetics is the root of all philosophy”, Object-oriented ontology: A new theory of everything. Penguin UK.
4. Harman, G.. 2018. “Society and politics”, Object-oriented ontology: A new theory of everything. Penguin UK.
5. Harman, G.. 2018. “Indirect relations”, Object-oriented ontology: A new theory of everything. Penguin UK.
6. Harman, G.. 2018. “Objet-orientation ontology and its rivals”, Object-oriented ontology: A new theory of everything. Penguin UK.
7. Harman, G.. 2018. “Varying approaches to object-orientation ontology”, Object-oriented ontology: A new theory of everything. Penguin UK.
8. Harman, G.. 2018. “Object-orientation ontology in overview”, Object-oriented ontology: A new theory of everything. Penguin UK.
9. Cobussen, M. .2019. Listening and/as Imagination. In Grimshaw-Aagaard, M., Walther-Hansen, M., & Knakkergaard, M. (Eds.). The Oxford handbook of sound and imagination, Volume 1. Oxford University Press.
10. Tchumkam, H. (2019). Banlieue sounds, or, the right to exist. In Steingo, G., & Sykes, J. (Eds). Remapping sound studies. Duke University Press.
11. Krebs, S. (2012). “Sobbing, Whining, Rumbling”–Listening to Automobiles as Social Practice. In Grimshaw-Aagaard, M., Walther-Hansen, M., & Knakkergaard, M. (Eds.). The Oxford handbook of sound and imagination, Volume 1. Oxford University Press.
12. Kursell, J. (2011). A Gray Box: The Phonograph in Laboratory Experiments and Fieldwork, 1900–1920. In Grimshaw-Aagaard, M., Walther-Hansen, M., & Knakkergaard, M. (Eds.). The Oxford handbook of sound and imagination, Volume 1. Oxford University Press.
13. Jackson, M. W. (2011). From scientific instruments to musical instruments: The tuning fork, the metronome, and the siren. In Grimshaw-Aagaard, M., Walther-Hansen, M., & Knakkergaard, M. (Eds.). The Oxford handbook of sound and imagination, Volume 1. Oxford University Press.
14. Rice, T. (2012). Sounding Bodies: medical students and the acquisition of stethoscopic perspectives. In Grimshaw-Aagaard, M., Walther-Hansen, M., & Knakkergaard, M. (Eds.). The Oxford handbook of sound and imagination, Volume 1. Oxford University Press.
15. Pinch, T. & F. Trocco. 2012. Shaping the synthesizer. In Sterne J. (ed) The sound studies reader. Routledge.
16. 期末報告口頭呈現
17. 期末報告口頭呈現
18. 交期末報告
2. Harman, G.. 2018. “ Introduction”, “A new theory of everything”, Object-oriented ontology: A new theory of everything. Penguin UK.
3. Harman, G.. 2018. “Aesthetics is the root of all philosophy”, Object-oriented ontology: A new theory of everything. Penguin UK.
4. Harman, G.. 2018. “Society and politics”, Object-oriented ontology: A new theory of everything. Penguin UK.
5. Harman, G.. 2018. “Indirect relations”, Object-oriented ontology: A new theory of everything. Penguin UK.
6. Harman, G.. 2018. “Objet-orientation ontology and its rivals”, Object-oriented ontology: A new theory of everything. Penguin UK.
7. Harman, G.. 2018. “Varying approaches to object-orientation ontology”, Object-oriented ontology: A new theory of everything. Penguin UK.
8. Harman, G.. 2018. “Object-orientation ontology in overview”, Object-oriented ontology: A new theory of everything. Penguin UK.
9. Cobussen, M. .2019. Listening and/as Imagination. In Grimshaw-Aagaard, M., Walther-Hansen, M., & Knakkergaard, M. (Eds.). The Oxford handbook of sound and imagination, Volume 1. Oxford University Press.
10. Tchumkam, H. (2019). Banlieue sounds, or, the right to exist. In Steingo, G., & Sykes, J. (Eds). Remapping sound studies. Duke University Press.
11. Krebs, S. (2012). “Sobbing, Whining, Rumbling”–Listening to Automobiles as Social Practice. In Grimshaw-Aagaard, M., Walther-Hansen, M., & Knakkergaard, M. (Eds.). The Oxford handbook of sound and imagination, Volume 1. Oxford University Press.
12. Kursell, J. (2011). A Gray Box: The Phonograph in Laboratory Experiments and Fieldwork, 1900–1920. In Grimshaw-Aagaard, M., Walther-Hansen, M., & Knakkergaard, M. (Eds.). The Oxford handbook of sound and imagination, Volume 1. Oxford University Press.
13. Jackson, M. W. (2011). From scientific instruments to musical instruments: The tuning fork, the metronome, and the siren. In Grimshaw-Aagaard, M., Walther-Hansen, M., & Knakkergaard, M. (Eds.). The Oxford handbook of sound and imagination, Volume 1. Oxford University Press.
14. Rice, T. (2012). Sounding Bodies: medical students and the acquisition of stethoscopic perspectives. In Grimshaw-Aagaard, M., Walther-Hansen, M., & Knakkergaard, M. (Eds.). The Oxford handbook of sound and imagination, Volume 1. Oxford University Press.
15. Pinch, T. & F. Trocco. 2012. Shaping the synthesizer. In Sterne J. (ed) The sound studies reader. Routledge.
16. 期末報告口頭呈現
17. 期末報告口頭呈現
18. 交期末報告
- 教師: chumengtze 朱夢慈
田野調查基本概念、田調準備工作、參與觀察法、訪談方法、文字資料記錄、表格製作、Genealogy、樂器與演出環境繪圖、訪談資料分析、靜態攝影、動態攝影、錄音方法與技術
- 教師: ted1107 蔡宗德
第1週： 基本裝配理論: 小提琴
第2週： 基本裝配理論: 中提琴
第3週： 基本裝配理論: 大提琴
第4週： 琴橋製作
第5週： 琴橋製作
第6週： 指板製作
第7週： 指板製作
第8週： 上下弦枕製作
第9週： 上下弦枕製作
第10週： 弦軸製作
第11週： 弦軸孔補強
第12週： 脫膠處理
第13週： 脫膠處理
第14週： 開琴
第15週： 開琴
第16週： 裂縫處理
第17週： 裂縫補丁
第18週： 補漆 合琴
第2週： 基本裝配理論: 中提琴
第3週： 基本裝配理論: 大提琴
第4週： 琴橋製作
第5週： 琴橋製作
第6週： 指板製作
第7週： 指板製作
第8週： 上下弦枕製作
第9週： 上下弦枕製作
第10週： 弦軸製作
第11週： 弦軸孔補強
第12週： 脫膠處理
第13週： 脫膠處理
第14週： 開琴
第15週： 開琴
第16週： 裂縫處理
第17週： 裂縫補丁
第18週： 補漆 合琴
- 教師: khchen 陳國華
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