9/17:
1.課程介紹
2.學生自我介紹與個人專業(音樂藝術與長照)之發展和學習規劃說明
3.學生現職工作介紹,包含公司/機構/單位/職稱與工作內容和工作任務
4.個人/公司的SWOT分析
9/24:健康與老化之相關理論介紹
10/1:音樂/藝術與健康/老化相關理論與文獻介紹
10/15:
1.學生自行擬定與音樂藝術和健康長照產業發展相關之想要進行的______(職位名稱)的培訓課程
2.帶領學生完成產業分析與次級資料的蒐集後,形成職能模型底稿
10/22:於課堂上帶領學生進行專家訪談之訪談題綱、專家背景資料的建立、專家訪談與完成職能模型初稿
10/29:
1.完成專家背景資料的建立與舉行專家會議
2.完成職能模型定稿
11/5:期中考:報告(簡報+口頭報告)
11/12:期中考:書面資料繳交、交流討論與實務觀察
11/19:於課堂上帶領學生完成:職能內涵重組、課程地圖和完成專家背景資料的建立與舉行專家會議
11/26:於課堂上帶領學生完成教學目標與課程大綱初稿、修改和完成定稿
12/3:
1.於課堂上帶領學生完成教學方法與教學資源的規劃
2.完成專家背景資料的建立與舉行專家會議
12/10:於課堂上帶領學生完成師資簡歷(評量員)、課程協助人員簡歷、學員報名表(含總表)、教室日誌(含出席紀錄表)、教室與設備、學員請假單
12/17:每位學生於課程上進行課程展演,40分鐘/人
12/24:每位學生於課程上進行課程展演,40分鐘/人
12/31:帶領學生完成學習成果證據、滿意度調查表、學員心得報告、學習成績統計表
1/7:期末考:簡報檔+口頭報告(20分鐘/人)
1/14:期末考:書面資料繳交與交流討論
1.論文寫作格式討論
2.電子資料與線上資料討論
3.書評、期刊評、唱片評討論
4.論文題綱及書目檢討與報告
5.國科會計劃撰寫
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
1.新生座談、課程內容與上課方式解說
2.民族音樂學定義與範圍
3.民族音樂學歷史發展
4.近年來民族音樂學發展新趨勢
5.歷史民族音樂學
6.音樂民族誌
7.樂器學:傳統樂器分類法
8.樂器學:現代樂器分類法
9.音樂工業
10.圖像學
11.樂譜學
12.譯譜學
13.音樂風格分析