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
- Lecture (L): Introduction to the course, designation of class times, etc.
- Performance class: An aural approach to gamelan performance.
Assigned Reading (found in the reserve section of the Matheson Library):
p. 3-18 in Tenzer, M. (2000) Gamelan Gong Kebyar: the Art of
20th century Balinese Music. Chicago University Press.
WEEK 2
An introduction to kebyar style music as performed on the seven-tone gamelan
Genta Semara with special emphasis on the most popular gamelan genre of the 20th
century to appreciate the compositional stylistic influences of this type of virtuosic music.
The piece entitled Jagul is introduced.
Assigned Reading (found in the reserve section of the Matheson Library):
p. 40-60 in Tenzer, M. (2000) Gamelan Gong Kebyar: the Art of
20th century Balinese Music. Chicago University Press.
WEEK 3
Examination of the historical relationship between Balinese and Javanese gamelan
performance practice and orchestras as a segue into neighboring island of Bali.
Introduction of ‘Gamelan Genta Semara’ including its history, instrumentation, and
tonal system. Begin Wira Yuda ‘military march’
Assigned Reading (in reserve section of the Matheson Library): pages 73-85 in
Tenzer, Michael. Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese
Music. Chicago: University of Chicago Press, 2000.
WEEK 4
A study of principal melody (pokok) and interlocking melodies (kotekan or
payasan) to reveal the essential polyrhythmic attributes of gong kebyar music as they
relate to modern and classical orchestral traditions. The piece Nori Mas is introduced.
Assigned Reading (found in the reserve section of the Matheson Library):
p. 328-337 McPhee, C. McPhee, Colin. (1966) Music in Bali: A Study in Form and
Instrumental Organization in Balinese Orchestral Music. New Haven: Yale
University Press.
WEEK 5
We will briefly discuss Bali’s connection to tourism, its history and affects upon
culture with specific emphasis on music by stepping away from gamelan to see
Vickers depiction of Balinese culture, including music, as a product of a ‘Paradise
Created’.
Assigned Reading (found in the reserve section of the Matheson Library):
Read the Introduction of Vickers, A. (1989) Bali: a Paradise Created, Penguin books.
WEEK 6
View Balinese video MV915.986 B186 Bali beyond the postcard and a discussion
of the influence of tourism on Balinese performing arts compared to traditional roles
in temple ceremony, life rituals such as births, wedding funerals, and secular
entertainment.
WEEK 7
Drumming class for all students. In this session we will learn the basics of the kendang
or ‘double-headed conncial drum’ and students will pair-off between ‘male’ and ‘female’
drum parts to gain an understanding of being a percussive leader of Balinese orchestral
music.
Assigned Reading (in the reserve section of Matheson Library): pages 25-37 and
249-57 Eiseman, Fred B. Jr. Bali Sekala & Niskala: Vol. I Essays on Religion,
Ritual, and Art. Hong Kong: Periplus Editions, 1990.
WEEK 8
Group outline of individual essays and Final projects including analysis of
orchestral piece Jagul in terms of musical form, elaboration, and colotomic
instruments. Sample methods of notating are presented.
WEEK 9
Ritual Context for Balinese music and the 5 Principal Services with special emphasis
on the orchestra called Gamelan Gong Gede and the Balinese marching band,
Beleganjur. Procession piece is presented in class.
WEEK 10
Ritual context continued and includes the 4-tone orchestra called gamelan angklung.
The piece entitled ‘Nori Mas’ is introduced.
Assigned Reading (in the reserve section of Matheson Library):
pages 39-64 in Bakan, Michael B. Music of Death and New Creation: Experiences in
the World of Balinese Gamelan Beleganjur. University of Chicago Press, 1999.
MID SEMESTER BREAK
WEEK 11
All music from the Balinese repertoire studied in semester two is reviewed in a
‘classroom concert’ as part of assessment for this portion of the grade.
WEEK 12 Advise students on Final Projects including essays, compositions, analyses in
preparation for submission
- Review material for 1 hour exam (MUS2490/3490)
WEEK 13
- Conclusions
- Performance Tests
WEEK 14 Sectional rehearsal of melodic instruments for dynamics, tempo and expression.
WEEK 15 Sectional rehearsals for rhythmic accompaniment (drums, ceng2 and reyong) for
all dance pieces for the concert
WEEK 16 Sectional rehearsals for melodic elaboration (kotekan)
WEEK 17 Dress rehearsal, staging and marking of repertoire rehearsal with full gamelan
WEEK 18 Final Concert
- Lecture (L): Introduction to the course, designation of class times, etc.
- Performance class: An aural approach to gamelan performance.
Assigned Reading (found in the reserve section of the Matheson Library):
p. 3-18 in Tenzer, M. (2000) Gamelan Gong Kebyar: the Art of
20th century Balinese Music. Chicago University Press.
WEEK 2
An introduction to kebyar style music as performed on the seven-tone gamelan
Genta Semara with special emphasis on the most popular gamelan genre of the 20th
century to appreciate the compositional stylistic influences of this type of virtuosic music.
The piece entitled Jagul is introduced.
Assigned Reading (found in the reserve section of the Matheson Library):
p. 40-60 in Tenzer, M. (2000) Gamelan Gong Kebyar: the Art of
20th century Balinese Music. Chicago University Press.
WEEK 3
Examination of the historical relationship between Balinese and Javanese gamelan
performance practice and orchestras as a segue into neighboring island of Bali.
Introduction of ‘Gamelan Genta Semara’ including its history, instrumentation, and
tonal system. Begin Wira Yuda ‘military march’
Assigned Reading (in reserve section of the Matheson Library): pages 73-85 in
Tenzer, Michael. Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese
Music. Chicago: University of Chicago Press, 2000.
WEEK 4
A study of principal melody (pokok) and interlocking melodies (kotekan or
payasan) to reveal the essential polyrhythmic attributes of gong kebyar music as they
relate to modern and classical orchestral traditions. The piece Nori Mas is introduced.
Assigned Reading (found in the reserve section of the Matheson Library):
p. 328-337 McPhee, C. McPhee, Colin. (1966) Music in Bali: A Study in Form and
Instrumental Organization in Balinese Orchestral Music. New Haven: Yale
University Press.
WEEK 5
We will briefly discuss Bali’s connection to tourism, its history and affects upon
culture with specific emphasis on music by stepping away from gamelan to see
Vickers depiction of Balinese culture, including music, as a product of a ‘Paradise
Created’.
Assigned Reading (found in the reserve section of the Matheson Library):
Read the Introduction of Vickers, A. (1989) Bali: a Paradise Created, Penguin books.
WEEK 6
View Balinese video MV915.986 B186 Bali beyond the postcard and a discussion
of the influence of tourism on Balinese performing arts compared to traditional roles
in temple ceremony, life rituals such as births, wedding funerals, and secular
entertainment.
WEEK 7
Drumming class for all students. In this session we will learn the basics of the kendang
or ‘double-headed conncial drum’ and students will pair-off between ‘male’ and ‘female’
drum parts to gain an understanding of being a percussive leader of Balinese orchestral
music.
Assigned Reading (in the reserve section of Matheson Library): pages 25-37 and
249-57 Eiseman, Fred B. Jr. Bali Sekala & Niskala: Vol. I Essays on Religion,
Ritual, and Art. Hong Kong: Periplus Editions, 1990.
WEEK 8
Group outline of individual essays and Final projects including analysis of
orchestral piece Jagul in terms of musical form, elaboration, and colotomic
instruments. Sample methods of notating are presented.
WEEK 9
Ritual Context for Balinese music and the 5 Principal Services with special emphasis
on the orchestra called Gamelan Gong Gede and the Balinese marching band,
Beleganjur. Procession piece is presented in class.
WEEK 10
Ritual context continued and includes the 4-tone orchestra called gamelan angklung.
The piece entitled ‘Nori Mas’ is introduced.
Assigned Reading (in the reserve section of Matheson Library):
pages 39-64 in Bakan, Michael B. Music of Death and New Creation: Experiences in
the World of Balinese Gamelan Beleganjur. University of Chicago Press, 1999.
MID SEMESTER BREAK
WEEK 11
All music from the Balinese repertoire studied in semester two is reviewed in a
‘classroom concert’ as part of assessment for this portion of the grade.
WEEK 12 Advise students on Final Projects including essays, compositions, analyses in
preparation for submission
- Review material for 1 hour exam (MUS2490/3490)
WEEK 13
- Conclusions
- Performance Tests
WEEK 14 Sectional rehearsal of melodic instruments for dynamics, tempo and expression.
WEEK 15 Sectional rehearsals for rhythmic accompaniment (drums, ceng2 and reyong) for
all dance pieces for the concert
WEEK 16 Sectional rehearsals for melodic elaboration (kotekan)
WEEK 17 Dress rehearsal, staging and marking of repertoire rehearsal with full gamelan
WEEK 18 Final Concert
- 教師: made.hood 胡敏德
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
Learning/teaching Methods and relationship to objectives:
Practical rehearsals and lectures will introduce movement systems from genres, including information and interpretations of the choreomusical interconnections where dance and music are interdependent (ex. Arja, drama tari, jaipongan, Khon, Zapin). Video Youtube examples will be presented in lectures and practical rehearsals used to illustrate principal genres in Indonesia, Thailand and the Philippines that provide visual examples of movement systems in the social context. (unit objectives 1,2).
Assignments will allow students to report on and evaluate creative ways to integrate movement into performance, characterize or personify theatrical elements, and express visual forms such as costumes discussed in lectures. (unit objective 1,2,3)
Weekly in-class practical sessions in movement and readings will extend the students’ knowledge of the dance and theatrical significance of Southeast Asian styles to develop body awareness in their analytical and critical skills (unit objectives 1,2)
Weekly reading will introduce students to theories and interpretations of dance genres discussed. (unit objective 2)
Practical rehearsals and lectures will introduce movement systems from genres, including information and interpretations of the choreomusical interconnections where dance and music are interdependent (ex. Arja, drama tari, jaipongan, Khon, Zapin). Video Youtube examples will be presented in lectures and practical rehearsals used to illustrate principal genres in Indonesia, Thailand and the Philippines that provide visual examples of movement systems in the social context. (unit objectives 1,2).
Assignments will allow students to report on and evaluate creative ways to integrate movement into performance, characterize or personify theatrical elements, and express visual forms such as costumes discussed in lectures. (unit objective 1,2,3)
Weekly in-class practical sessions in movement and readings will extend the students’ knowledge of the dance and theatrical significance of Southeast Asian styles to develop body awareness in their analytical and critical skills (unit objectives 1,2)
Weekly reading will introduce students to theories and interpretations of dance genres discussed. (unit objective 2)
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
1 – Introduction and course overview
2 -
Reading:
Fosier-Lussier, Danielle. 2015. “Introduction: Instruments of Diplomacy”, Music in America’s Cold War Diplomacy. California: University of California Press.
Schmelz, Peter. 2009. “Introduction: Music in the Cold War”, The Journal of Musicology 26(1): 3-16.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Comrades. CNN.
3 -
Reading:
Fosier-Lussier, Danielle. 2015. “Classical Music and the Mediation of Prestige”, “Classical Music as Development Aid”, Music in America’s Cold War Diplomacy. California: University of California Press.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Iron Curtain. CNN.
4 -
Reading:
Clegg, Mindy L. 2015. “When Jazz was King: Selling Records with the Cold War”, The Journal of American Culture 38(3): 246-254.
Fosier-Lussier, Danielle. 2015. “Jazz in the Cultural Presentation Program”, Music in America’s Cold War Diplomacy. California: University of California Press.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Marshall Plan. CNN.
5 -
Reading:
Crist, Stephen A. 2009. “Jazz as Democracy? Dave Brubeck and Cold War Politics.” Journal of Musicology 26: 133–174.
Delvin, Paul. 2015. “Jazz Autobiography and the Cold War”, Popular Music and Society 38(2): 140-159.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Berlin. CNN.
6 -
7 -
Reading:
Fosier-Lussier, Danielle. 2015. “The Double-Edged Diplomacy of Popular Music”, Music in America’s Cold War Diplomacy. California: University of California Press.
Brown, Timothy S. 2009. “Music As a Weapon? Ton Steine Scherben and the Politics of Rock in Cold War Berlin.” German Studies Review 32(1): 1–22.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Korea. CNN.
8 -
Reading:
Cohen, Harvey G. 2011. “Vision of Freedom: Duke Ellington in the Soviet Union. “ Popular Music 30, 297-313.
Schmelz, Peter J. 2009. “Alfred Schnittke’s Nagasaki: Soviet Nuclear Culture, Radio Moscow, and the Global Cold War.” Journal of the American Musicological Society 62(2): 413-474.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – The Wall . CNN.
9 -
Reading:
Silverberg, Laura. 2009. “Between Dissonance and Dissidence: Socialist Modernism in the German Democratic Republic.” Journal of Musicology 26: 44–84.
Tompkins, David G. 2014. “Against ‘Pop-Song’ Poison from the West: Early Cold War Attempts to Develop a Socialist Popular Music in Poland and the GDR”, in Youth and Rock in the Soviet Bloc: Youth Cultures, Music, and the State in Russia and Eastern Europe, edited by W. J. Risch. Lanham, MD: Lexington Books.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Vietnam. CNN.
10 -
Reading:
Gibbs, Jason. 2008. “How Does Hanoi Rock? The Way to Rock and Roll in Vietnam.” Asian Music 39(1): 5-25.
Taylor, Philip. 2000. “Music as A ‘Neocolonial Poison’ in Postwar Southern Vietnam”. Crossroads: An Interdisciplinary Journal of Southeast Asian Studies, 99-131
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Make Love Not War. CNN.
11 -
Reading:
Fung, Anthony. 2007. “The Emerging (national) Popular Music Culture in China.” Inter‐Asia Cultural Studies, 8(3), 425-437.
Huang, Nicola. 2013. “Listening to Films: Politics of the Auditory in 1970s China.” Journal of Chinese Cinemas, 7(3), 187-206.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – China. CNN.
12 -
Reading:
Tōya, Mamoru. 2015. “The Culture of Popular Music in Occupied Japan.” in Made in Japan: Studies in Popular Music, edited by Toru Mitsui, 52-70. New York: Routledge.
Yoshimi, Shunya & David Buist. 2003. “America as Desire and Violence: Americanization in Postwar Japan and Asia during the Cold War.” Inter-Asia Cultural Studies 4(3), 433-450.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Détente. CNN.
13 -
Reading:
Chang, Hyun Kyong Hannah. 2014. “Exilic Suffering: Music, Nation, and Protestantism in Cold War South Korea.” Music and Politics, 8(1).
Shin, Hyunjoon. 2017. “The Stage Show and the Dance Floor: A History of “Live Music” in Korea.” in Made in Korea: Studies in Popular Music, edited by Hyunjoon Shin & Seung-Ah Lee, 15-22. New York: Routledge.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Spies. CNN.
14 -
Reading:
Shin, Hyunjoon & Tung‐Hung Ho. 2009. “Translation of ‘America’ during the Early Cold War Period: A Comparative Study on the History of Popular Music in South Korea and Taiwan.” Inter‐Asia Cultural Studies 10(1), 83-102.
Wang, Xiaojue. 2018. “Radio Culture in Cold War Hong Kong.” Interventions 20(8): 1153-1170.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Star Wars. CNN.
15 -
Reading:
Chu, Meng Tze. 2019. “Rock and Roll from Rest and Recreation (R&R): The Collective Memory of the Aging Pop-Rock Lovers in Taiwan.” In Made in Taiwan, 105-118, edited by Eva Tsai, Tung-Hung Ho & Miaoju Jian. Routledge.
Yang, Tsu-Chuen. 2017. “Revisiting the Social Milieu Preceding the Emergence of the Singer-Songwriters’ Cultural Movement Among 1970s’ Taiwanese College Students.” Communication, Culture & Politics 6: 1-85.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – The Wall Comes Down. CNN.
16 - Oral presentation of final report
17.18- submission of final research pape
2 -
Reading:
Fosier-Lussier, Danielle. 2015. “Introduction: Instruments of Diplomacy”, Music in America’s Cold War Diplomacy. California: University of California Press.
Schmelz, Peter. 2009. “Introduction: Music in the Cold War”, The Journal of Musicology 26(1): 3-16.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Comrades. CNN.
3 -
Reading:
Fosier-Lussier, Danielle. 2015. “Classical Music and the Mediation of Prestige”, “Classical Music as Development Aid”, Music in America’s Cold War Diplomacy. California: University of California Press.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Iron Curtain. CNN.
4 -
Reading:
Clegg, Mindy L. 2015. “When Jazz was King: Selling Records with the Cold War”, The Journal of American Culture 38(3): 246-254.
Fosier-Lussier, Danielle. 2015. “Jazz in the Cultural Presentation Program”, Music in America’s Cold War Diplomacy. California: University of California Press.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Marshall Plan. CNN.
5 -
Reading:
Crist, Stephen A. 2009. “Jazz as Democracy? Dave Brubeck and Cold War Politics.” Journal of Musicology 26: 133–174.
Delvin, Paul. 2015. “Jazz Autobiography and the Cold War”, Popular Music and Society 38(2): 140-159.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Berlin. CNN.
6 -
7 -
Reading:
Fosier-Lussier, Danielle. 2015. “The Double-Edged Diplomacy of Popular Music”, Music in America’s Cold War Diplomacy. California: University of California Press.
Brown, Timothy S. 2009. “Music As a Weapon? Ton Steine Scherben and the Politics of Rock in Cold War Berlin.” German Studies Review 32(1): 1–22.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Korea. CNN.
8 -
Reading:
Cohen, Harvey G. 2011. “Vision of Freedom: Duke Ellington in the Soviet Union. “ Popular Music 30, 297-313.
Schmelz, Peter J. 2009. “Alfred Schnittke’s Nagasaki: Soviet Nuclear Culture, Radio Moscow, and the Global Cold War.” Journal of the American Musicological Society 62(2): 413-474.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – The Wall . CNN.
9 -
Reading:
Silverberg, Laura. 2009. “Between Dissonance and Dissidence: Socialist Modernism in the German Democratic Republic.” Journal of Musicology 26: 44–84.
Tompkins, David G. 2014. “Against ‘Pop-Song’ Poison from the West: Early Cold War Attempts to Develop a Socialist Popular Music in Poland and the GDR”, in Youth and Rock in the Soviet Bloc: Youth Cultures, Music, and the State in Russia and Eastern Europe, edited by W. J. Risch. Lanham, MD: Lexington Books.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Vietnam. CNN.
10 -
Reading:
Gibbs, Jason. 2008. “How Does Hanoi Rock? The Way to Rock and Roll in Vietnam.” Asian Music 39(1): 5-25.
Taylor, Philip. 2000. “Music as A ‘Neocolonial Poison’ in Postwar Southern Vietnam”. Crossroads: An Interdisciplinary Journal of Southeast Asian Studies, 99-131
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Make Love Not War. CNN.
11 -
Reading:
Fung, Anthony. 2007. “The Emerging (national) Popular Music Culture in China.” Inter‐Asia Cultural Studies, 8(3), 425-437.
Huang, Nicola. 2013. “Listening to Films: Politics of the Auditory in 1970s China.” Journal of Chinese Cinemas, 7(3), 187-206.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – China. CNN.
12 -
Reading:
Tōya, Mamoru. 2015. “The Culture of Popular Music in Occupied Japan.” in Made in Japan: Studies in Popular Music, edited by Toru Mitsui, 52-70. New York: Routledge.
Yoshimi, Shunya & David Buist. 2003. “America as Desire and Violence: Americanization in Postwar Japan and Asia during the Cold War.” Inter-Asia Cultural Studies 4(3), 433-450.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Détente. CNN.
13 -
Reading:
Chang, Hyun Kyong Hannah. 2014. “Exilic Suffering: Music, Nation, and Protestantism in Cold War South Korea.” Music and Politics, 8(1).
Shin, Hyunjoon. 2017. “The Stage Show and the Dance Floor: A History of “Live Music” in Korea.” in Made in Korea: Studies in Popular Music, edited by Hyunjoon Shin & Seung-Ah Lee, 15-22. New York: Routledge.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Spies. CNN.
14 -
Reading:
Shin, Hyunjoon & Tung‐Hung Ho. 2009. “Translation of ‘America’ during the Early Cold War Period: A Comparative Study on the History of Popular Music in South Korea and Taiwan.” Inter‐Asia Cultural Studies 10(1), 83-102.
Wang, Xiaojue. 2018. “Radio Culture in Cold War Hong Kong.” Interventions 20(8): 1153-1170.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Star Wars. CNN.
15 -
Reading:
Chu, Meng Tze. 2019. “Rock and Roll from Rest and Recreation (R&R): The Collective Memory of the Aging Pop-Rock Lovers in Taiwan.” In Made in Taiwan, 105-118, edited by Eva Tsai, Tung-Hung Ho & Miaoju Jian. Routledge.
Yang, Tsu-Chuen. 2017. “Revisiting the Social Milieu Preceding the Emergence of the Singer-Songwriters’ Cultural Movement Among 1970s’ Taiwanese College Students.” Communication, Culture & Politics 6: 1-85.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – The Wall Comes Down. CNN.
16 - Oral presentation of final report
17.18- submission of final research pape
- 教師: chumengtze 朱夢慈