*

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

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

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
Walter Benjamin, 1936, The Work of Art in the Age of Mechanical Reproduction.
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.

一、日治時期（三週）
（一）唱片工業產製分析
王櫻芬。2008。〈聽見臺灣：試論古倫美亞唱片在臺灣音樂史上的意義〉。《民 俗曲藝》(160):169-196。
---------。2013。〈作出臺灣味：日本蓄音器商會臺灣唱片產製策略初探〉。《民 俗曲藝》(182):7-58。
林太崴。2009。〈日治時期臺語流行歌的商業操作－以古倫美亞及勝利唱片公司為例〉。《臺灣音樂研究》(8):83-104。
劉麟玉。2013。〈從選曲通知書看臺灣古倫美亞唱片公司與日本蓄音器商會之間的訊息傳遞－兼談戰爭期的唱片發行（1930s－1940s）〉。《民俗曲藝》(182):59-98。

（二）音樂作品與消費形態
李坤城。2000。〈不插電聽唱片的時代—日治時期臺灣唱片文化發展漫談〉。收於《聽到臺灣歷史的聲音》。 磺溪文化學會編。臺北：國立傳統藝術中心籌備處，5-8。
施慶安。2008。陳君玉與日治時期臺灣的流行音樂。《政大史粹》(14):37-82。
黃裕元。2014。《流風餘韻：唱片流行歌曲開臺史》。臺北：國立台灣歷史博物館。

（三）調查錄音
王櫻芬。2009。《聽見殖民地：黑澤隆朝與戰時台灣音樂調查（1943）》。臺北:國立台灣大學圖書館。

二、音樂個人研究及其風格、社會史（一週）
石計生。2014。《時代盛行曲：紀露霞與台灣歌謠年代》》。臺北：唐山出版社。
沈冬。2013。《寶島回想曲：周藍萍與四海唱片》。臺北：國立台灣大學圖書館。
邱婉婷。2012。〈「寶島低音歌王之路」：洪一峰歌唱風格發展〉。《民俗曲藝 》(178):75-162。
三、音樂與政治（兩週）
（一）禁歌
李坤城。2007。再見!禁忌的年代: 高雄市新聞處.
李筱峰。2009。〈兩蔣威權統治時期「愛國歌曲」內容析論〉。《文史台灣學報》 (1):120-162。
林靜怡。2010。《歌曲創作的美麗與哀愁：國治時期查禁歌曲管制體系之探討》。國立臺灣大學法律研究所碩士論文。

（二）回應威權的策略
張釗維。1994。《誰在那邊唱自己的歌：一九七〇年代台灣現代民歌發展史--建制、正當性論述與表現形式的形構》。臺北：時報文化。
黃翔翔。2011。《收編與轉喻—90年代後鑲嵌於中共官方意識型態下的台灣流行歌曲》。國立政治大學東亞研究所碩士論文。
四、主流唱牌唱片產製（兩週）
林怡伶。1995。《流行音樂產製之研究》。國立政治大學新聞研究所碩士論文。
葉淑明。1998。《全球與本土：台灣流行音樂工業的演變》。輔仁大學大眾傳播研究所碩士論文。
簡妙如。2002。《流行文化，美學，現代性：以八、九○年代台灣流行音樂的歷史重構為例》。國立政治大學新聞研究所博士論文。

五、獨立唱牌唱片產製（兩週）
施沛瑜。2007。《技術、流行與小眾音樂市場：以亞洲唱片公司為例之地方音樂工業研究》。國立臺南藝術大學民族音樂學研究所論文。
陳峙維。2009。〈唱片工業中的「世界音樂」商品產製：音樂交流與創作的新契機〉。《臺灣音樂研究》(9):77-98。
陳建章。2006。《非流行唱片產業的機會分析－金革唱片公司的預演規劃》。國立臺灣大學商學研究所碩士論文。
楊宜桂、梁朝雲。2007。〈台灣非流行音樂產業行銷管理之創新策略〉。《廣告學研究》(28):1-28。

六、唱片裡的傳統音樂（一週）
王安祈。2014。〈京劇影音製作的商業、權力與政治－以程派《鎖麟囊》等劇為例〉。《戲劇研究》(14):73-102。
林珀姬。2005。〈聽見臺灣南管歷史的聲音兼談臺灣南管音樂的發展－從台灣南管有聲出版品說起(1980-2005) 〉。《關渡音樂學刊》(3):185-211。
秦毓茹。2008。〈梁祝故事在臺灣之傳播媒介研究〉。《 臺灣民俗藝術彙刊》 (4):161-180。
------------2008。〈唱片樂音的隔代傳承與音樂傳統的認知建構—從桃園林祺振、謝旺龍等八音樂師的學習與表演經歷談起〉。《臺灣音樂研究》(6):167-198。
郭明木。2007。〈廈門御前清曲－廈門音樂的－段輝煌歷史以廈門御前清曲老唱片為例〉。《關渡音樂學刊》(7):215-227。

七、透過唱片的西洋古典音樂（一週）
李怡慧。2003。《古典音樂在台灣的呈現──以台北愛樂電台為例》。國立臺灣大學音樂學研究所碩士論文。
徐大衛。2005。《繆思的使徒──台灣戰後古典音樂樂評人的軌跡與信念》。國立臺灣大學社會學研究所碩士論文。

八、原住民唱片音樂（兩週）
孫俊彥。2013。〈原漢共譜的「山地」戀曲－談〈馬蘭姑娘〉的可能源流與認同想像〉。《民俗曲藝》(181):265-319。
陳俊斌。2014。《臺灣原住民音樂的後現代聆聽：媒體文化、詩學/政治學、文化意義》。臺北。國立臺北藝術大學。
黃國超。2012。〈1970年代另類「校園歌曲」的喧囂：山地歌曲與救國團康樂歌唱的音樂政治〉。《台灣原住民研究論叢》 (11):25-51。
黃國超。2012。〈臺灣「山地音樂工業」與「山地歌曲」發展的軌跡：1960至70年代鈴鈴唱片及群星唱片、心心唱片的產製與競爭〉。《民俗曲藝》(178):163-205.

九、載體與音樂（兩週）
何易霖。2002。《音樂載具的演進對音樂傳播的影響--一個歷史觀點的論述》。國立政治大學新聞研究所碩士論文。
汪宜正。2001。《數位音樂對唱片公司與音樂產業影響之探索性研究》。國立臺灣大學商學研究所碩士論文。
陳恭平、謝長江。2010。〈數位音樂市場：以iPod及iTunes為例〉。《經濟論文叢刊》38(3):355-386。
廖高成。2009。〈在消費主義與基本教義之間：《黑色唱片》的倫理、認同與晚期資本主義〉。《中外文學》 38(1):115-153.

1.O. E. Rodgers, "Tonal tests of prize winning violins at the 2004 VSA competition”, Catgut Acoustical ICSV14 Cairns • Australia 9-12 July, 2007
Saitis C., Giordano B., Fritz C., & Scavone G. Perceptual evaluation of violins: A quantitative analysis of preference judgments by experienced players. J Acoust Soc Am. 2012;132(6):4002–4012.
2.Boutin, Henri; Besnainou, Charles (2008). "Physical parameters of the violin bridge changed by active control". Journal of the Acoustical Society of America. 123 (5): 7248
3.Freiberg, Sarah (12 May 2005). "How to Tame Annoying Howling Wolf Tones". Strings. Retrieved 11 May 2020.
4."A Study of input mobility functions as a violin's bridge"
Jie Pan and Robert Wilkins Society Newsletter, summer, 75-94, 2005.
5.The effect of wood removal on bridge frequencies
O.E. Rodgers and T.R. Masino
University of Delaware. Newark. DE 19711. USA
6.7.Analysing the surprisingly complex geometry of the fingerboard
14 JUNE 2018 M.J. Kwan. the Strad
8.Strobel, H (1992) Useful Measurements for Violin. Self published.
9.Fritz C, Curtin J, Poitevineau J, Morrel-Samuels P, Tao F-C. Player preferences among new and old violins. Proc Natl Acad Sci USA. 2012;109(3):760–763.
10.Stoel BC, Borman TM, de Jongh R. Wood densitometry in 17th and 18th century Dutch, German, Austrian and French violins, compared to classical Cremonese and modern violins. PLoS One, 7(10):e46629, 10 Oct 2012
11.Nagyvary, J., Guillemette RN, Spiegelman CH. Mineral preservatives in the wood of Stradivari and Guarneri. PLoS One, 4(1):e4245, 22 Jan 2009
12.Tai HC, et al. Chemical distinctions between Stradivari’s maple and modern tonewood. Proc Natl Acad Sci USA. 2017;114:27–32.
13.Mineral preservatives in the wood of Stradivari and Guarneri.
Nagyvary J, Guillemette RN, Spiegelman CH
PLoS One, 4(1):e4245, 22 Jan 2009
14.Stoel, B. Wood densitometry in 17th and 18th century Dutch, German, Austrian and French violins, compared to classical Cremonese and modern violins. PLoS One, 7(10):e46629, 10 Oct 2012
15.Burckle, L. Stradivari, violins, tree rings, and the Maunder Minimum: A hypothesis. Dendrochronologia. 2003;21:41–45.
16.Bissinger, G. Structural acoustics of good and bad violins.
J Acoust Soc Am, 124(3):1764-1773, 01 Sep 2008
17.Hudelmayer, A.“Hold on tight” The Strad Nov 2001 article on crack repair
18.Brandmair B, Greiner PS. Stradivari Varnish. B. Brandmair; Munich: 2010
Schelleng J. Acoustical effects of violin varnish. J Acoust Soc Am. 1968;44:1175–1183.

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)