1 – 09/15 Introduction
2 - 09/22 Introduction to our university’s library and “Endnote”
3 - 09/29 Observation of the 4 human and social sciences blogs:
《芭樂人類學》、《巷口社會學》、《歷史學柑仔店》、《故事》
4 - 10/05 The structure of master thesis, introduction to the different sorts of academic literature
〈何春蕤談論文寫作〉http://sex.ncu.edu.tw/papers/1-1.php
〈甯應斌談人文碩士學位論文寫作〉http://sex.ncu.edu.tw/papers/1-2.php
5 - 10/13 Problematic setting (1)
畢恆達。2010。《教授為什麼沒告訴我》。臺北：小畢空間出版社。（第1－第3章）
6 - 10/20 Problematic setting (1)
Becker, Howard S.。2009。《這才是做研究的王道》。臺北：群學出版社。（第1－第3章）
7 - 10/27 Forms and styles of master thesis
8 - 11/03 Data collection methods
畢恆達。2010。《教授為什麼沒告訴我》。臺北：小畢空間出版社。（第5章）。
資料庫搜尋練習，準備個人電腦
9 - 11/10 Critical review writing
何春蕤。〈如何練習批判閱讀〉http://sex.ncu.edu.tw/papers/4-3-2.php
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
艾德勒，范多倫。2003。《如何閱讀一本書》。臺北：台灣商務。（第19章）
10 - 11/17 Literature review (1)
畢恆達。2010。《教授為什麼沒告訴我》。臺北：小畢空間出版社。（第六章）。
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
11 - 11/24 Literature review (2)
朱夢慈。2019。〈音樂社會學：經典理論回顧與新興議題展望〉。《音樂研究》 31:47-79。
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。
12 - 12/01 Research proposal writing
〈如何撰寫論文計劃〉，http://waytohome.blogspot.tw/2014/11/blog-post.html
13 - 12/08 The introduction and conclusion of master thesis
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
畢恆達。2010。《教授為什麼沒告訴我》。臺北：小畢空間出版社。（第11－12章）。
14 - 12/15 Academic conference and oral defence of thesis
畢恆達。2010。〈論文口試的Power與Point〉，《教授為什麼沒告訴我》。臺北：小畢空間出版社，頁213-218。
畢恆達。2010。〈整本論文的意義：結論與建議〉，《教授為什麼沒告訴我》。臺北：小畢空間出版社，頁201-204。
15 - 12/22 Research integrity and ethics
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〉。
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。
16 - 12/29 Oral presentation of final report (1)
17 - 01/05 Oral presentation of final report (2)
18 - 01/12 Submission of final report
2 - 09/22 Introduction to our university’s library and “Endnote”
3 - 09/29 Observation of the 4 human and social sciences blogs:
《芭樂人類學》、《巷口社會學》、《歷史學柑仔店》、《故事》
4 - 10/05 The structure of master thesis, introduction to the different sorts of academic literature
〈何春蕤談論文寫作〉http://sex.ncu.edu.tw/papers/1-1.php
〈甯應斌談人文碩士學位論文寫作〉http://sex.ncu.edu.tw/papers/1-2.php
5 - 10/13 Problematic setting (1)
畢恆達。2010。《教授為什麼沒告訴我》。臺北：小畢空間出版社。（第1－第3章）
6 - 10/20 Problematic setting (1)
Becker, Howard S.。2009。《這才是做研究的王道》。臺北：群學出版社。（第1－第3章）
7 - 10/27 Forms and styles of master thesis
8 - 11/03 Data collection methods
畢恆達。2010。《教授為什麼沒告訴我》。臺北：小畢空間出版社。（第5章）。
資料庫搜尋練習，準備個人電腦
9 - 11/10 Critical review writing
何春蕤。〈如何練習批判閱讀〉http://sex.ncu.edu.tw/papers/4-3-2.php
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
艾德勒，范多倫。2003。《如何閱讀一本書》。臺北：台灣商務。（第19章）
10 - 11/17 Literature review (1)
畢恆達。2010。《教授為什麼沒告訴我》。臺北：小畢空間出版社。（第六章）。
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
11 - 11/24 Literature review (2)
朱夢慈。2019。〈音樂社會學：經典理論回顧與新興議題展望〉。《音樂研究》 31:47-79。
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。
12 - 12/01 Research proposal writing
〈如何撰寫論文計劃〉，http://waytohome.blogspot.tw/2014/11/blog-post.html
13 - 12/08 The introduction and conclusion of master thesis
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
畢恆達。2010。《教授為什麼沒告訴我》。臺北：小畢空間出版社。（第11－12章）。
14 - 12/15 Academic conference and oral defence of thesis
畢恆達。2010。〈論文口試的Power與Point〉，《教授為什麼沒告訴我》。臺北：小畢空間出版社，頁213-218。
畢恆達。2010。〈整本論文的意義：結論與建議〉，《教授為什麼沒告訴我》。臺北：小畢空間出版社，頁201-204。
15 - 12/22 Research integrity and ethics
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〉。
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。
16 - 12/29 Oral presentation of final report (1)
17 - 01/05 Oral presentation of final report (2)
18 - 01/12 Submission of final report
- 教師: chumengtze 朱夢慈
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
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
- 教師: made.hood 胡敏德
第一週 介紹工具
1.攝影（機）、錄音、燈光、剪接（之一）
2.綜合討論
第二週 介紹工具Ⅱ
1.攝影（機）、錄音、燈光、剪接（之二）
2.綜合討論
第三週 影像語法（之一）
1.實作演練（之一）過程（process）
2.基本攝影構圖方法與視角、景深、明暗等討論。
第四週 影像語法（之二）
1.實作演練（之四）訪談（blend in style）
2.深入訪談與情境訪談、時機、訪談技巧等討論。
第五週 實作演練
第六週 實作驗收與討論
第七週 影像語法（之三）
1.實作演練（之二）關係（interaction）
2.佈局、確立鏡頭、180度假想線、 引導空間與向量等討論。
第八週 實作演練
第九週 實作驗收與討論
第十週 影像語法過程、訪談、關係綜合運用與剪輯
1. 期末題材定題廣泛討論。
2. 從影像與法練習到題材實踐。
第十一週 實作驗收與討論
第十三週 影像語法（之四）
1.實作演練（之三）概念（abstraction）
2.符徵與符指、抽象訊息、與間隔語彙的討論。
第十四週 實作演練
第十五週 實作驗收與討論
第十六週 影像語法（之五）
1.實作演練（之五）場面調度（mise-en-scene）與運動（dances with the camera）
2.變焦鏡頭、入出境的設計、描述與分鏡、攝影機的運動等討論。
第十七週 實作驗收與討論
第十八週 期末作業 綜合抽象、場景調度作品分享
1.攝影（機）、錄音、燈光、剪接（之一）
2.綜合討論
第二週 介紹工具Ⅱ
1.攝影（機）、錄音、燈光、剪接（之二）
2.綜合討論
第三週 影像語法（之一）
1.實作演練（之一）過程（process）
2.基本攝影構圖方法與視角、景深、明暗等討論。
第四週 影像語法（之二）
1.實作演練（之四）訪談（blend in style）
2.深入訪談與情境訪談、時機、訪談技巧等討論。
第五週 實作演練
第六週 實作驗收與討論
第七週 影像語法（之三）
1.實作演練（之二）關係（interaction）
2.佈局、確立鏡頭、180度假想線、 引導空間與向量等討論。
第八週 實作演練
第九週 實作驗收與討論
第十週 影像語法過程、訪談、關係綜合運用與剪輯
1. 期末題材定題廣泛討論。
2. 從影像與法練習到題材實踐。
第十一週 實作驗收與討論
第十三週 影像語法（之四）
1.實作演練（之三）概念（abstraction）
2.符徵與符指、抽象訊息、與間隔語彙的討論。
第十四週 實作演練
第十五週 實作驗收與討論
第十六週 影像語法（之五）
1.實作演練（之五）場面調度（mise-en-scene）與運動（dances with the camera）
2.變焦鏡頭、入出境的設計、描述與分鏡、攝影機的運動等討論。
第十七週 實作驗收與討論
第十八週 期末作業 綜合抽象、場景調度作品分享
- 教師: cherico888 曾吉賢
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
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
- 教師: ted1107 蔡宗德
課程介紹
什麼是民族誌？
Clifford, James, 1986, “Introduction: Partial Truths”, in James Clifford & George Marcus (eds.), The Poetics and Politics of Ethnography, Berkeley and Los Angeles: University of California Press, pp. 1-26.
Marcus, George, 2002, “Ethnography Two Decades After Writing Culture: From the Experimental to the Baroque”, Anthropological Quarterly Volume 80, Number 4, Fall 2007 pp. 1127-1145.
民族音樂學早期流行音樂研究代表著作（二）- 特定都市樂種表演文化
Keil, Charles, 1966, Urban Blues, University of Chicago Press, ch I, IV, VI & VII.
民族音樂學早期流行音樂研究代表著作（一）- 音樂社會史
Waterman, Christopher Alan, 1990, Juju : A Social History and Ethnography of an African Popular Music, University of Chicago Press, ch I & IV.
流行音樂民族誌自覺
Cohen, Sara, 1991, Rock Culture in Liverpool: Popular Music in the Making, Clarendon Press, ch Introduction, I, II, VI & VII.
--1993. “Ethnography and Popular Music Studies.” Popular Music 12(2):123-138.
次文化音樂品味與群體認同 （一）
Thornton, Sarah, 1996, Club Cultures: Music, Media and Subcultural Capital, Hanover, NH:Wesleyan University Press, ch I, II & III.
次文化音樂品味與群體認同（二）
Hodkinson, Paul, 2002, Goth : Identity, Style and Subculture, Bloomsbury Academic, ch I, VI &V.
專業音樂人展演能力養成（一）
Berliner, Paul, 1994. Thinking In Jazz: The Infinite Art Of Improvisation. Chicago: University of Chicago Press, ch Introduction, I, II, VIII, IX.
專業音樂人展演能力養成（二）
Toynbee, Jason, 2000, Making Popular Music: Musicians, Creativity and Institutions, New York: Oxford University Press, ch I, II, IV.
音樂現象學
Berger, Harris M, 1999, Metal, Rock, and Jazz: Perception and the Phenomenology of Musical Experience, Hanover, NH: University Press of New England, ch I, VI & IX.
性別與性意識
Correll, S, 1995, “The Ethnography of an Electronic Bar: The Lesbian Café”, Journal of Contemporary Ethnography 24, no. 3:270-298.
Lincoln, Sian, 2004, “Teenage Girls Bedroom Culture: Codes Versus Zones” in Bennett, A and Kahn-Harris, K. After Subculture. Hampshire: Palgrave-MacMillan.
音景
Novak, David, 2008, “2.5 x 6 Metres of Space: Japanese Music Coffeehouses and
Experimental Practices of Listening”, Popular Music, 27(1):15-34.
Sakakeeny, Matt, 2010, “‘Under the Bridge’: An Orientation to Soundscapes in New Orleans,” Ethnomusicology, 54(1):1-27.
音樂與暴力
Johnson, Bruce and Martin Cloonan, 2008, Dark Side of the Tune: Popular Music and Violence, Burlington, VT: Ashgate, ch II, III, VII.
什麼是民族誌？
Clifford, James, 1986, “Introduction: Partial Truths”, in James Clifford & George Marcus (eds.), The Poetics and Politics of Ethnography, Berkeley and Los Angeles: University of California Press, pp. 1-26.
Marcus, George, 2002, “Ethnography Two Decades After Writing Culture: From the Experimental to the Baroque”, Anthropological Quarterly Volume 80, Number 4, Fall 2007 pp. 1127-1145.
民族音樂學早期流行音樂研究代表著作（二）- 特定都市樂種表演文化
Keil, Charles, 1966, Urban Blues, University of Chicago Press, ch I, IV, VI & VII.
民族音樂學早期流行音樂研究代表著作（一）- 音樂社會史
Waterman, Christopher Alan, 1990, Juju : A Social History and Ethnography of an African Popular Music, University of Chicago Press, ch I & IV.
流行音樂民族誌自覺
Cohen, Sara, 1991, Rock Culture in Liverpool: Popular Music in the Making, Clarendon Press, ch Introduction, I, II, VI & VII.
--1993. “Ethnography and Popular Music Studies.” Popular Music 12(2):123-138.
次文化音樂品味與群體認同 （一）
Thornton, Sarah, 1996, Club Cultures: Music, Media and Subcultural Capital, Hanover, NH:Wesleyan University Press, ch I, II & III.
次文化音樂品味與群體認同（二）
Hodkinson, Paul, 2002, Goth : Identity, Style and Subculture, Bloomsbury Academic, ch I, VI &V.
專業音樂人展演能力養成（一）
Berliner, Paul, 1994. Thinking In Jazz: The Infinite Art Of Improvisation. Chicago: University of Chicago Press, ch Introduction, I, II, VIII, IX.
專業音樂人展演能力養成（二）
Toynbee, Jason, 2000, Making Popular Music: Musicians, Creativity and Institutions, New York: Oxford University Press, ch I, II, IV.
音樂現象學
Berger, Harris M, 1999, Metal, Rock, and Jazz: Perception and the Phenomenology of Musical Experience, Hanover, NH: University Press of New England, ch I, VI & IX.
性別與性意識
Correll, S, 1995, “The Ethnography of an Electronic Bar: The Lesbian Café”, Journal of Contemporary Ethnography 24, no. 3:270-298.
Lincoln, Sian, 2004, “Teenage Girls Bedroom Culture: Codes Versus Zones” in Bennett, A and Kahn-Harris, K. After Subculture. Hampshire: Palgrave-MacMillan.
音景
Novak, David, 2008, “2.5 x 6 Metres of Space: Japanese Music Coffeehouses and
Experimental Practices of Listening”, Popular Music, 27(1):15-34.
Sakakeeny, Matt, 2010, “‘Under the Bridge’: An Orientation to Soundscapes in New Orleans,” Ethnomusicology, 54(1):1-27.
音樂與暴力
Johnson, Bruce and Martin Cloonan, 2008, Dark Side of the Tune: Popular Music and Violence, Burlington, VT: Ashgate, ch II, III, VII.
- 教師: chumengtze 朱夢慈
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
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。
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。
- 教師: khchen 陳國華