Week 1-6– Epics
• Ramayana
• Mahabharata
• Panji
Week 7-12 – Folktales
• Malin Kundang (West Sumatra)
• Sangkuriang – West Java
• Timun Mas – Central Java
• Jayaprana and Layonsari – Bali
• Kang Cing Wie/ Dalem Balingkang - Bali
Week 13-18 - Final Project:
After reading folktales and legends based on local stories as well as imported and
localized Indian Epics such as Mahabharata and Ramayana, students are expected to
develop their own performative presentation in the form of drama, acting, song, etc. By
vocalizing and acting their chosen roles based on Indonesian theatre and drama, they
continue a tradition of ‘living theatre’ by reinterpreting classic narratives dating back
generations. This will amateur theatre production of 20-30 minutes that may be
presented in the local community for children, senior citizens or migrant communities.
• Ramayana
• Mahabharata
• Panji
Week 7-12 – Folktales
• Malin Kundang (West Sumatra)
• Sangkuriang – West Java
• Timun Mas – Central Java
• Jayaprana and Layonsari – Bali
• Kang Cing Wie/ Dalem Balingkang - Bali
Week 13-18 - Final Project:
After reading folktales and legends based on local stories as well as imported and
localized Indian Epics such as Mahabharata and Ramayana, students are expected to
develop their own performative presentation in the form of drama, acting, song, etc. By
vocalizing and acting their chosen roles based on Indonesian theatre and drama, they
continue a tradition of ‘living theatre’ by reinterpreting classic narratives dating back
generations. This will amateur theatre production of 20-30 minutes that may be
presented in the local community for children, senior citizens or migrant communities.
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)
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)
- 教師: khchen 陳國華
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
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
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.
（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.
- 教師: chumengtze 朱夢慈
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.
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.
- 教師: khchen 陳國華
WEEK 1
- Lecture (L): Introduction to the course, designation of class times
- Performance class: An aural approach to gamelan performance.
Assigned Reading: pages 1-10 in Becker, Judith. Traditional Music in Modern Java: Gamelan in a Changing Society. Honolulu: University Press of Hawaii. 1980.
WEEK 2
Explanation of gamelan terminology, the four major instrument groups according to function, elaborating techniques such as pancer and imbalan, and the concept of gending. The piece entitled Kembang Jeruk/ Ricik Rick is introduced.
Assigned Reading:
pages 26-36 in Becker, Judith. Traditional Music in Modern Java: Gamelan in a Changing Society. Honolulu: University Press of Hawaii. 1980.
WEEK 3
Based on the reading, gongs, percussion and metallophones explained in terms of instrumental grouping and function in orchestration and viewed as hierarchically representative of society. Introduction to theory and praxis of Javanese gamelan in relation to kepatihan cipher notation system, and basic playing techniques on principal instruments. The piece entitled Subakastawa is introduced.
WEEK 4
View Javanese video (1996), Myth and Tradition. Javanese gamelan in performance context, wayang kulit and its sociological role in community and ceremony. Vocal chorus for Subakastawa is introduced.
Assigned Reading:
p. 9-45 in Hood, Mantle., (1984) The Evolution of Javanese Gamelan, Edition Heinrichshofen. Volume 2: The Legacy of the Roaring Sea.
WEEK 5
Discussion and analysis of the Javanese gending Ketawang ‘Subakastawa’ pl. pt. nem including the analysis and practice its vocal part and arrangement.
Discussion and analysis of the Javanese gending Lancaran Gugur Gunung pl. pt. br.
The piece entitled ‘Nori Mas’ is introduced.
WEEK 6
Examination of the historical relationship between Balinese and Javanese gamelan performance practice and orchestras as segue into neighboring island of Bali. Introduction of ‘Gamelan Genta Semara’ including its history, instrumentation, and tonal system. Begin Baris ‘military march’
Assigned Reading: pages 73-85 in Tenzer, Michael. Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese
Music. Chicago: University of Chicago Press, 2000.
WEEK 7
Based on the reading, a discussion of collectivity in Balinese music groups and its relationship to musical concepts including interlocking rhythms, paired tuning, and synchopation (kotekan, polos, sangsih, ngumbang and ngisep). The piece Wira Yuda is introduced.
WEEK 8 (Mid semester performance exam)
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.
Assigned Reading: pages 249-57 in Eiseman, Fred B. Jr. Bali Sekala & Niskala: Vol. I Essays on Religion, Ritual, and Art. Hong Kong: Periplus Editions, 1990.
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, Balaganjur.
Assigned Reading: pages 39-46 in Bakan, Michael B. Music of Death and New Creation: Experiences in the World of Balinese Gamelan Beleganjur. University of Chicago Press, 1999.
WEEK 10
Ritual context continued and includes the 4-tone orchestra called gamelan angklung.
WEEK 11
Sectional rehearsals for saron, gender, bonang and gongs
WEEK 12
- Review material for exams
WEEK 13
- Discussion and workshop on essay writing projects
WEEK 14 Essay due date
WEEK 15 Rehearsal of all pieces/repertoire
All music from the Javanese and Balinese repertoire studied in semester two is reviewed in a ‘classroom concert’ as part of assessment for this portion of the grade.
WEEK 16 Review for Written Exam
WEEK 17 Written Exam
WEEK 18 Performance Exam
- Lecture (L): Introduction to the course, designation of class times
- Performance class: An aural approach to gamelan performance.
Assigned Reading: pages 1-10 in Becker, Judith. Traditional Music in Modern Java: Gamelan in a Changing Society. Honolulu: University Press of Hawaii. 1980.
WEEK 2
Explanation of gamelan terminology, the four major instrument groups according to function, elaborating techniques such as pancer and imbalan, and the concept of gending. The piece entitled Kembang Jeruk/ Ricik Rick is introduced.
Assigned Reading:
pages 26-36 in Becker, Judith. Traditional Music in Modern Java: Gamelan in a Changing Society. Honolulu: University Press of Hawaii. 1980.
WEEK 3
Based on the reading, gongs, percussion and metallophones explained in terms of instrumental grouping and function in orchestration and viewed as hierarchically representative of society. Introduction to theory and praxis of Javanese gamelan in relation to kepatihan cipher notation system, and basic playing techniques on principal instruments. The piece entitled Subakastawa is introduced.
WEEK 4
View Javanese video (1996), Myth and Tradition. Javanese gamelan in performance context, wayang kulit and its sociological role in community and ceremony. Vocal chorus for Subakastawa is introduced.
Assigned Reading:
p. 9-45 in Hood, Mantle., (1984) The Evolution of Javanese Gamelan, Edition Heinrichshofen. Volume 2: The Legacy of the Roaring Sea.
WEEK 5
Discussion and analysis of the Javanese gending Ketawang ‘Subakastawa’ pl. pt. nem including the analysis and practice its vocal part and arrangement.
Discussion and analysis of the Javanese gending Lancaran Gugur Gunung pl. pt. br.
The piece entitled ‘Nori Mas’ is introduced.
WEEK 6
Examination of the historical relationship between Balinese and Javanese gamelan performance practice and orchestras as segue into neighboring island of Bali. Introduction of ‘Gamelan Genta Semara’ including its history, instrumentation, and tonal system. Begin Baris ‘military march’
Assigned Reading: pages 73-85 in Tenzer, Michael. Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese
Music. Chicago: University of Chicago Press, 2000.
WEEK 7
Based on the reading, a discussion of collectivity in Balinese music groups and its relationship to musical concepts including interlocking rhythms, paired tuning, and synchopation (kotekan, polos, sangsih, ngumbang and ngisep). The piece Wira Yuda is introduced.
WEEK 8 (Mid semester performance exam)
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.
Assigned Reading: pages 249-57 in Eiseman, Fred B. Jr. Bali Sekala & Niskala: Vol. I Essays on Religion, Ritual, and Art. Hong Kong: Periplus Editions, 1990.
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, Balaganjur.
Assigned Reading: pages 39-46 in Bakan, Michael B. Music of Death and New Creation: Experiences in the World of Balinese Gamelan Beleganjur. University of Chicago Press, 1999.
WEEK 10
Ritual context continued and includes the 4-tone orchestra called gamelan angklung.
WEEK 11
Sectional rehearsals for saron, gender, bonang and gongs
WEEK 12
- Review material for exams
WEEK 13
- Discussion and workshop on essay writing projects
WEEK 14 Essay due date
WEEK 15 Rehearsal of all pieces/repertoire
All music from the Javanese and Balinese repertoire studied in semester two is reviewed in a ‘classroom concert’ as part of assessment for this portion of the grade.
WEEK 16 Review for Written Exam
WEEK 17 Written Exam
WEEK 18 Performance Exam
- 教師: made.hood 胡敏德