第1週： 學期課程介紹、MaxMSP軟體應用於展演製作之方法
第2週： 混合音樂之程式設計方法
第3週： 期末展演程式設計發想與討論
第4週： 展演程式設計所需之MaxMSP物件實作（一）
第5週： 展演程式設計所需之MaxMSP物件實作（二）
第6週： 展演程式設計所需之MaxMSP物件實作（三）
第7週： 展演程式設計所需之MaxMSP物件實作（四）
第8週： 期末展演程式 - 初步展示 （期中考週）
第9週： 期末展演程式 - 初步展示 - 評量與討論（期中考週）
第10週： 展演程式階級架構設計（一）
第11週： 展演程式階級架構設計（二）
第12週： 展演程式階級風險排除設計（一）
第13週： 展演程式階級風險排除設計（二）
第14週： 與演奏家、藝術家、其他媒體做程式測試及協調工作（一）
第15週： 與演奏家、藝術家、其他媒體做程式測試及協調工作（二）
第16週： 與演奏家、藝術家、其他媒體做程式測試及協調工作（三）
第17週： 期末展演程式展示 （期末考週）
第18週： 期末展演程式展示 - 評量與討論（期末考週）
第2週： 混合音樂之程式設計方法
第3週： 期末展演程式設計發想與討論
第4週： 展演程式設計所需之MaxMSP物件實作（一）
第5週： 展演程式設計所需之MaxMSP物件實作（二）
第6週： 展演程式設計所需之MaxMSP物件實作（三）
第7週： 展演程式設計所需之MaxMSP物件實作（四）
第8週： 期末展演程式 - 初步展示 （期中考週）
第9週： 期末展演程式 - 初步展示 - 評量與討論（期中考週）
第10週： 展演程式階級架構設計（一）
第11週： 展演程式階級架構設計（二）
第12週： 展演程式階級風險排除設計（一）
第13週： 展演程式階級風險排除設計（二）
第14週： 與演奏家、藝術家、其他媒體做程式測試及協調工作（一）
第15週： 與演奏家、藝術家、其他媒體做程式測試及協調工作（二）
第16週： 與演奏家、藝術家、其他媒體做程式測試及協調工作（三）
第17週： 期末展演程式展示 （期末考週）
第18週： 期末展演程式展示 - 評量與討論（期末考週）
- Teacher: 陳家輝 chchen
第1週： 世界民族樂器介紹
第2週： 世界民族樂器介紹
第3週： 世界民族樂器介紹
第4週： 樂器學概論
第5週： 樂器學概論
第6週： 樂器之分類法
第7週： 中國樂器之歷史
第8週： 中國樂器之文化面相
第9週： 中國樂器之分類
第10週： 中國樂器之分類
第11週： 中國絃樂器之結構
第12週： 中國絃樂器製作概論
第13週： 中國絃樂器之頻譜
第14週： 中國絃樂器之修護概說
第15週： 古琴製作
第16週： 古琴製作
第17週： 古琴製作
第18週： 古琴製作
第2週： 世界民族樂器介紹
第3週： 世界民族樂器介紹
第4週： 樂器學概論
第5週： 樂器學概論
第6週： 樂器之分類法
第7週： 中國樂器之歷史
第8週： 中國樂器之文化面相
第9週： 中國樂器之分類
第10週： 中國樂器之分類
第11週： 中國絃樂器之結構
第12週： 中國絃樂器製作概論
第13週： 中國絃樂器之頻譜
第14週： 中國絃樂器之修護概說
第15週： 古琴製作
第16週： 古琴製作
第17週： 古琴製作
第18週： 古琴製作
- Teacher: 鄭德淵 chengty
文化與文化特質、文化的產生與傳播、次文化與反文化、文化的Universalism與relati- vism、傳統、變遷、現代化的社會變遷、全球化與本土化、音樂文化的傳統與變遷相關理論、音樂的變遷與持續、音樂文化中的傳統與變遷、音樂與文化接觸、台灣本土音樂文化的傳統與變遷
- Teacher: 蔡宗德 ted1107
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
- Teacher: 朱夢慈 chumengtze
1.Introduction to course content and class regulations
Thomas Turino (2003) Are we global yet? Globalist discourse, cultural formations and the study of Zimbabwean popular music, British Journal of Ethnomusicology, 12:2, 51-79.
2.Definition and Research Scope of Ethnomusicology Merriam, Alan: "Ethnomusicology, Discussion and Definition of the Field,"Ethnomusicology 4/3(1960):107-114.
Hood, Mantle: "The Challenge of ""Bi-Musicality," Ethnomusicology 4/2(1960):55-59.
Hood, Mantle: "Introduction," The Ethnomusicologist.
Merriam, Alan："The Study of Ethnomusicology; Toward a Theory for Ethnomusicology," The Anthropology of Music.
3. Historical Development of Ethnomusicology Merriam, Alan: "Definitions of 'Comparative Musicology' and 'Ethnomusicology': An Historical-Theoretical Perspective," Ethnomusicology 21/2(1977): 189-204.
Nettl, Bruno: "Prelude: The Harmless Drudge " The Study of Ethnomusicology： Twenty-nine Issues and Concepts. PP.4-8.
4.Nettl, Bruno: "Recent Directions in Ethnomusicology" Ethnomusicology: An Introduction. Helen Myers ed.
5.Ethnomusicology Theory (make up class)
Rice, Timothy (2017): “Ethnomusicological Theory,” Modeling
Ethnomusicology. Oxford: Oxford University Press.
6.Research Methodology of Ethnomusicology
Rice, Timothy (2017)："Toward the Remodeling of Ethnomusicology,"
Modeling Ethnomusicology. Oxford: Oxford University Press.
Witzleben, J. Lawrence. “Whose Ethnomusicology? Western
Ethnomusicology and the Study of Asian Music”. Ethnomusicology,41(2), 220-242.
7. Transcription
Nettl, Bruno:<譯譜學>,《民族音樂的理論與方法》，沈信一譯。
Jairazbhoy, Nazir A.: "The Objective and Subjective view in Music Transcription" Ethnomusicology, 21/2 (1977): 263-274.
Agawu, Kofi. (2004). “How We Got Out of Analysis, and How to Get Back in Again”. Musical Analysis. 23(2), 267-286.
8. Analysis of Musical Style
Tenzer, Michael. (2006). “Introduction: Analysis, Categorization and Theory of Musics of the World” in Analytical Studies in World Music. Oxford
University Press.
Blum, Stephen: "Analysis of Musical Style" Ethnomusicology: An
Introduction.
Herndon, Marcia. (1974). "Analysis: The Herding of Sacred Cows?" Ethnomusicology 18(2), 219-262.
9. Mid-Term Oral Reports
10. Ethnography of Music
Seeger, Anthony: "Ethnography of Music" Ethnomusicology: An
Introduction.
Nettl, Bruno: "Music and "That Complex Whole, " The Study of Ethnomusicology：Twenty-nine Issues and Concepts.
Blacking, John: "Music in Society and Culture," How Musical Is Man?
Seattle: Univ. of Washington Press.
11. Music and Sustainability
Titon, Jeff Todd (2009). “Music and Sustainability: an Ecological
Viewpoint”. The World of Music. 51(1), 119-137.
Guy, Nancy(2009). “Flowing Down Taiwan’s Tamsui River: Towards an Ecomusicology of the Environmental Imagination ” Ethnomusicology 53/2: 218-248.
12. Applied Ethnomusicology (make up class)
Harrison, Klisala and Svanibor Pettan (2010) “Introduction.” Applied
Ethnomusicology: Historical and Contemporary Approaches.
Cambridge: Cambridge Scholars.
Harrison, Klisala (2014) “The Second Wave of Applied Ethnomusicology.”
MUSIC cultures 41(1):57-72.
蔡宗德(2015)< 醫療民族音樂學:音聲、醫療與文化的互動 >，《音聲、
儀式與醫療：印尼爪哇民俗療癒文化與活動》。台北：魚籃。
13. Music, Space, and Place
Krims, Adam (2012) “Music, Space, and Place: The Geography of Music.”
The Cultural Study of Music: A Critical Introduction. New York:
Routledge.
楊建章、呂心純：〈音樂學研究的空間新視野〉，《人文與社會科學簡 訊》11/1:15-23.
＊hand in Mid-Term Paper
14. Workshop on final paper
15. Music and Diaspora
Slobin, Mark (2012) “The Destiny of “Diaspora” in Ethnomusicology.” The Cultural Study of Music: A Critical Introduction. New York: Routledge.
Braziel, Jana Evans: “ Introduction Diaspora: Key Terms.” Diaspora: An Introduction. Victoria, Australia: Blackwell Publishing. (2008)
16. Popular Music and Ethnomusicology
Grupe, Gerd (2013) “Introduction. Popular Musics: A Challenge for Ethnomusicology?” Ethnomusicology and Popular Music Studies. Gerd Grupe ed. Shaker Verlag
17. Allgayer-Kaufmann, Regine (2013) “‘Popular Music’ versus ‘Art’ and ‘Ethno’. Consequences for Musical Analysis ” Ethnomusicology and Popular Music Studies. Gerd Grupe ed. Shaker Verlag.
18. Workshop on Final Paper
Hand in Final Exam paper
Thomas Turino (2003) Are we global yet? Globalist discourse, cultural formations and the study of Zimbabwean popular music, British Journal of Ethnomusicology, 12:2, 51-79.
2.Definition and Research Scope of Ethnomusicology Merriam, Alan: "Ethnomusicology, Discussion and Definition of the Field,"Ethnomusicology 4/3(1960):107-114.
Hood, Mantle: "The Challenge of ""Bi-Musicality," Ethnomusicology 4/2(1960):55-59.
Hood, Mantle: "Introduction," The Ethnomusicologist.
Merriam, Alan："The Study of Ethnomusicology; Toward a Theory for Ethnomusicology," The Anthropology of Music.
3. Historical Development of Ethnomusicology Merriam, Alan: "Definitions of 'Comparative Musicology' and 'Ethnomusicology': An Historical-Theoretical Perspective," Ethnomusicology 21/2(1977): 189-204.
Nettl, Bruno: "Prelude: The Harmless Drudge " The Study of Ethnomusicology： Twenty-nine Issues and Concepts. PP.4-8.
4.Nettl, Bruno: "Recent Directions in Ethnomusicology" Ethnomusicology: An Introduction. Helen Myers ed.
5.Ethnomusicology Theory (make up class)
Rice, Timothy (2017): “Ethnomusicological Theory,” Modeling
Ethnomusicology. Oxford: Oxford University Press.
6.Research Methodology of Ethnomusicology
Rice, Timothy (2017)："Toward the Remodeling of Ethnomusicology,"
Modeling Ethnomusicology. Oxford: Oxford University Press.
Witzleben, J. Lawrence. “Whose Ethnomusicology? Western
Ethnomusicology and the Study of Asian Music”. Ethnomusicology,41(2), 220-242.
7. Transcription
Nettl, Bruno:<譯譜學>,《民族音樂的理論與方法》，沈信一譯。
Jairazbhoy, Nazir A.: "The Objective and Subjective view in Music Transcription" Ethnomusicology, 21/2 (1977): 263-274.
Agawu, Kofi. (2004). “How We Got Out of Analysis, and How to Get Back in Again”. Musical Analysis. 23(2), 267-286.
8. Analysis of Musical Style
Tenzer, Michael. (2006). “Introduction: Analysis, Categorization and Theory of Musics of the World” in Analytical Studies in World Music. Oxford
University Press.
Blum, Stephen: "Analysis of Musical Style" Ethnomusicology: An
Introduction.
Herndon, Marcia. (1974). "Analysis: The Herding of Sacred Cows?" Ethnomusicology 18(2), 219-262.
9. Mid-Term Oral Reports
10. Ethnography of Music
Seeger, Anthony: "Ethnography of Music" Ethnomusicology: An
Introduction.
Nettl, Bruno: "Music and "That Complex Whole, " The Study of Ethnomusicology：Twenty-nine Issues and Concepts.
Blacking, John: "Music in Society and Culture," How Musical Is Man?
Seattle: Univ. of Washington Press.
11. Music and Sustainability
Titon, Jeff Todd (2009). “Music and Sustainability: an Ecological
Viewpoint”. The World of Music. 51(1), 119-137.
Guy, Nancy(2009). “Flowing Down Taiwan’s Tamsui River: Towards an Ecomusicology of the Environmental Imagination ” Ethnomusicology 53/2: 218-248.
12. Applied Ethnomusicology (make up class)
Harrison, Klisala and Svanibor Pettan (2010) “Introduction.” Applied
Ethnomusicology: Historical and Contemporary Approaches.
Cambridge: Cambridge Scholars.
Harrison, Klisala (2014) “The Second Wave of Applied Ethnomusicology.”
MUSIC cultures 41(1):57-72.
蔡宗德(2015)< 醫療民族音樂學:音聲、醫療與文化的互動 >，《音聲、
儀式與醫療：印尼爪哇民俗療癒文化與活動》。台北：魚籃。
13. Music, Space, and Place
Krims, Adam (2012) “Music, Space, and Place: The Geography of Music.”
The Cultural Study of Music: A Critical Introduction. New York:
Routledge.
楊建章、呂心純：〈音樂學研究的空間新視野〉，《人文與社會科學簡 訊》11/1:15-23.
＊hand in Mid-Term Paper
14. Workshop on final paper
15. Music and Diaspora
Slobin, Mark (2012) “The Destiny of “Diaspora” in Ethnomusicology.” The Cultural Study of Music: A Critical Introduction. New York: Routledge.
Braziel, Jana Evans: “ Introduction Diaspora: Key Terms.” Diaspora: An Introduction. Victoria, Australia: Blackwell Publishing. (2008)
16. Popular Music and Ethnomusicology
Grupe, Gerd (2013) “Introduction. Popular Musics: A Challenge for Ethnomusicology?” Ethnomusicology and Popular Music Studies. Gerd Grupe ed. Shaker Verlag
17. Allgayer-Kaufmann, Regine (2013) “‘Popular Music’ versus ‘Art’ and ‘Ethno’. Consequences for Musical Analysis ” Ethnomusicology and Popular Music Studies. Gerd Grupe ed. Shaker Verlag.
18. Workshop on Final Paper
Hand in Final Exam paper
- Teacher: 胡敏德 made.hood