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
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)
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
2. The origins and functions of music (I)
Cross, Ian. 2016. The nature of music and its evolution. In Susan Hallam, Ian Cross &
Michael Thaut (eds), The Oxford Handbook of Music Psychology. Oxford: Oxford
University Press.
Stevens Catherine & Tim Byron. 2016. Universal in musical processing: entertainment,
acquiring expectations, and learning. In Susan Hallam, Ian Cross & Michael Thaut
(eds), The Oxford Handbook of Music Psychology. Oxford: Oxford University Press.
3. The origins and functions of music (II)
Cross, Ian & Elisabeth Tolbert. 2016. Music and meaning. In Susan Hallam, Ian Cross &
Michael Thaut (eds), The Oxford Handbook of Music Psychology. Oxford: Oxford
University Press.
Clayton, Martin. 2016. The social and personal functions of music in cross-cultural
perspective. In Susan Hallam, Ian Cross & Michael Thaut (eds), The Oxford Handbook
of Music Psychology. Oxford: Oxford University Press.
4. Music and the brain (I)
Trainor, Laurel & Robert Zatorre. 2016. The neurobiology of musical expectations from
perception to emotion. In Susan Hallam, Ian Cross & Michael Thaut (eds), The Oxford
Handbook of Music Psychology. Oxford: Oxford University Press.
Loui, Psyche. 2016. Disorder of music cognition. The neurobiology of musical
expectations from perception to emotion. In Susan Hallam, Ian Cross & Michael Thaut
(eds), The Oxford Handbook of Music Psychology. Oxford: Oxford University Press.
5. Music and the brain (II)
Bella, Simone Dalla. 2016. Music and brain plasticity. In Susan Hallam, Ian Cross &
Michael Thaut (eds), The Oxford Handbook of Music Psychology. Oxford: Oxford
University Press.
Jenschke, Sebastian. 2016. The relationship between music and language. In Susan
Hallam, Ian Cross & Michael Thaut (eds), The Oxford Handbook of Music Psychology.
Oxford: Oxford University Press.
6. Music and emotions (I)
Juslin, Patrik N. 2019. Musical Emotions Explained. Oxford: Oxford University Press.
Pp3-58.
7. Music and emotions (II)
Juslin, Patrik N. 2019. Musical Emotions Explained. Oxford: Oxford University Press.
Pp61-121
8. Music and emotions (III)
Juslin, Patrik N. 2019. Musical Emotions Explained. Oxford: Oxford University Press.
Pp122-187.
9. Music and emotions (VI)
Juslin, Patrik N. 2019. Musical Emotions Explained. Oxford: Oxford University Press.
Pp188-264.
10. Music and emotions (V)
Juslin, Patrik N. 2019. Musical Emotions Explained. Oxford: Oxford University Press.
Pp265-329.
11. Music and emotions (VI)
Juslin, Patrik N. 2019. Musical Emotions Explained. Oxford: Oxford University Press.
Pp330-397.
12. Music and emotions (VII)
Juslin, Patrik N. 2019. Musical Emotions Explained. Oxford: Oxford University Press.
Pp401-468.
13. Music and emotions (VIII)
Juslin, Patrik N. 2019. Musical Emotions Explained. Oxford: Oxford University Press.
Pp469-514.
14. Memory and autobiographical memory (I)
Belfi A. M., Karlan B., Tranel D. (2016). Music evokes vivid autobiographical
memories. Memory, 24(7), 979–989.
Jäncke, Lutz. 2008. Music, memory and emotion. Journal of Biology, 7 (21): 1-5.
Snyder, Bob. 2016. Memory for music. In Susan Hallam, Ian Cross & Michael Thaut
(eds), The Oxford Handbook of Music Psychology. Oxford: Oxford University Press.
Schulkind M. D., Hennis L. K., Rubin D. C. 1999. Music, emotion, and autobiographical
memory: They’re playing your song. Memory & Cognition, 27(6), 948–955.
15. Memory and autobiographical memory (II)
Baumgartner, Hans. 1992. Remembrance of Things Past: Music, Autobiographical
Memory, and Emotion. In NA - Advances in Consumer Research Volume 19(eds) John
F. Sherry, Jr. and Brian Sternthal, Provo, UT: Association for Consumer Research,
Pages: 613-620.
Cuddy L. L., Sikka R., Silveira K., Bai S., Vanstone A. 2017. Music-evoked
autobiographical memories (MEAMs) in Alzheimer disease: Evidence for a positivity
effect. Cogent Psychology, 4(1), 1–20.
Janata P., Tomic S. T., Rakowski S. K. 2007. Characterization of music-evoked
autobiographical memories. Memory, 15(8), 845–860.
Zator K., Katz A. N. 2017. The language used in describing autobiographical memories
prompted by life period visually presented verbal cues, event-specific visually presented
verbal cues and short musical clips of popular music. Memory, 25(6), 831–844.
16. Memory and autobiographical memory (III)
Baird A., Gelding R., Brancatisano O., Thompson W. F. (2020b). A Preliminary
Exploration of the Stability of Music- and Photo-Evoked Autobiographical Memories in
People with Alzheimer's and Behavioral Variant Frontotemporal Dementia. Music &
Science, 3, 1–15.
Jakubowski K., Ghosh A. (2021). Music-evoked autobiographical memories in everyday
life. Psychology of Music, 49(3), 649–666
Kopiez R., Weigang J., Platz F., Düvel N. 2021. Farewell to Holbrook & Schindler's
(1989) “Song-Specific Age”? – Little Evidence for Lifelong Influence of Age-Specific
Musical Preferences. Music & Science, 4, 1–20.
Lamont, A., & Loveday, C. 2020. A New Framework for Understanding Memories and
Preference for Music. Music & Science.
1. Oral presentation of final term paper (I)
2. Oral presentation of final term paper (II)
2. The origins and functions of music (I)
Cross, Ian. 2016. The nature of music and its evolution. In Susan Hallam, Ian Cross &
Michael Thaut (eds), The Oxford Handbook of Music Psychology. Oxford: Oxford
University Press.
Stevens Catherine & Tim Byron. 2016. Universal in musical processing: entertainment,
acquiring expectations, and learning. In Susan Hallam, Ian Cross & Michael Thaut
(eds), The Oxford Handbook of Music Psychology. Oxford: Oxford University Press.
3. The origins and functions of music (II)
Cross, Ian & Elisabeth Tolbert. 2016. Music and meaning. In Susan Hallam, Ian Cross &
Michael Thaut (eds), The Oxford Handbook of Music Psychology. Oxford: Oxford
University Press.
Clayton, Martin. 2016. The social and personal functions of music in cross-cultural
perspective. In Susan Hallam, Ian Cross & Michael Thaut (eds), The Oxford Handbook
of Music Psychology. Oxford: Oxford University Press.
4. Music and the brain (I)
Trainor, Laurel & Robert Zatorre. 2016. The neurobiology of musical expectations from
perception to emotion. In Susan Hallam, Ian Cross & Michael Thaut (eds), The Oxford
Handbook of Music Psychology. Oxford: Oxford University Press.
Loui, Psyche. 2016. Disorder of music cognition. The neurobiology of musical
expectations from perception to emotion. In Susan Hallam, Ian Cross & Michael Thaut
(eds), The Oxford Handbook of Music Psychology. Oxford: Oxford University Press.
5. Music and the brain (II)
Bella, Simone Dalla. 2016. Music and brain plasticity. In Susan Hallam, Ian Cross &
Michael Thaut (eds), The Oxford Handbook of Music Psychology. Oxford: Oxford
University Press.
Jenschke, Sebastian. 2016. The relationship between music and language. In Susan
Hallam, Ian Cross & Michael Thaut (eds), The Oxford Handbook of Music Psychology.
Oxford: Oxford University Press.
6. Music and emotions (I)
Juslin, Patrik N. 2019. Musical Emotions Explained. Oxford: Oxford University Press.
Pp3-58.
7. Music and emotions (II)
Juslin, Patrik N. 2019. Musical Emotions Explained. Oxford: Oxford University Press.
Pp61-121
8. Music and emotions (III)
Juslin, Patrik N. 2019. Musical Emotions Explained. Oxford: Oxford University Press.
Pp122-187.
9. Music and emotions (VI)
Juslin, Patrik N. 2019. Musical Emotions Explained. Oxford: Oxford University Press.
Pp188-264.
10. Music and emotions (V)
Juslin, Patrik N. 2019. Musical Emotions Explained. Oxford: Oxford University Press.
Pp265-329.
11. Music and emotions (VI)
Juslin, Patrik N. 2019. Musical Emotions Explained. Oxford: Oxford University Press.
Pp330-397.
12. Music and emotions (VII)
Juslin, Patrik N. 2019. Musical Emotions Explained. Oxford: Oxford University Press.
Pp401-468.
13. Music and emotions (VIII)
Juslin, Patrik N. 2019. Musical Emotions Explained. Oxford: Oxford University Press.
Pp469-514.
14. Memory and autobiographical memory (I)
Belfi A. M., Karlan B., Tranel D. (2016). Music evokes vivid autobiographical
memories. Memory, 24(7), 979–989.
Jäncke, Lutz. 2008. Music, memory and emotion. Journal of Biology, 7 (21): 1-5.
Snyder, Bob. 2016. Memory for music. In Susan Hallam, Ian Cross & Michael Thaut
(eds), The Oxford Handbook of Music Psychology. Oxford: Oxford University Press.
Schulkind M. D., Hennis L. K., Rubin D. C. 1999. Music, emotion, and autobiographical
memory: They’re playing your song. Memory & Cognition, 27(6), 948–955.
15. Memory and autobiographical memory (II)
Baumgartner, Hans. 1992. Remembrance of Things Past: Music, Autobiographical
Memory, and Emotion. In NA - Advances in Consumer Research Volume 19(eds) John
F. Sherry, Jr. and Brian Sternthal, Provo, UT: Association for Consumer Research,
Pages: 613-620.
Cuddy L. L., Sikka R., Silveira K., Bai S., Vanstone A. 2017. Music-evoked
autobiographical memories (MEAMs) in Alzheimer disease: Evidence for a positivity
effect. Cogent Psychology, 4(1), 1–20.
Janata P., Tomic S. T., Rakowski S. K. 2007. Characterization of music-evoked
autobiographical memories. Memory, 15(8), 845–860.
Zator K., Katz A. N. 2017. The language used in describing autobiographical memories
prompted by life period visually presented verbal cues, event-specific visually presented
verbal cues and short musical clips of popular music. Memory, 25(6), 831–844.
16. Memory and autobiographical memory (III)
Baird A., Gelding R., Brancatisano O., Thompson W. F. (2020b). A Preliminary
Exploration of the Stability of Music- and Photo-Evoked Autobiographical Memories in
People with Alzheimer's and Behavioral Variant Frontotemporal Dementia. Music &
Science, 3, 1–15.
Jakubowski K., Ghosh A. (2021). Music-evoked autobiographical memories in everyday
life. Psychology of Music, 49(3), 649–666
Kopiez R., Weigang J., Platz F., Düvel N. 2021. Farewell to Holbrook & Schindler's
(1989) “Song-Specific Age”? – Little Evidence for Lifelong Influence of Age-Specific
Musical Preferences. Music & Science, 4, 1–20.
Lamont, A., & Loveday, C. 2020. A New Framework for Understanding Memories and
Preference for Music. Music & Science.
1. Oral presentation of final term paper (I)
2. Oral presentation of final term paper (II)
- 教師: chumengtze 朱夢慈