1.Introduction to computer programming: fundamental concepts, syntax, and structure of programming languages(1)
2.Introduction to computer programming: fundamental concepts, syntax, and structure of programming languages(2)
3.Basic data types and control structures: variables, operators, loops, and decision-making(1)
4.Basic data types and control structures: variables, operators, loops, and decision-making(2)
5.Object-oriented programming: classes, objects, inheritance, and polymorphism(1)
6.Object-oriented programming: classes, objects, inheritance, and polymorphism(2)
7.Algorithm design and problem-solving: principles of good design and techniques for solving common programming challenges(1)
8.Algorithm design and problem-solving: principles of good design and techniques for solving common programming challenges(2)
9.Composition in computer programming: techniques for combining and reusing code, such as functions, modules, and libraries(1)
10.Composition in computer programming: techniques for combining and reusing code, such as functions, modules, and libraries(2)
11.Web development: introduction to HTML, CSS, and JavaScript for creating dynamic web pages(1)
12.Web development: introduction to HTML, CSS, and JavaScript for creating dynamic web pages(2)
13.Database programming: design and implementation of databases and SQL(1)
14.Database programming: design and implementation of databases and SQL(2)
15.Testing and debugging: methods for identifying and resolving errors in code(1)
16.Testing and debugging: methods for identifying and resolving errors in code(2)
17.Project development: an opportunity to apply the concepts and techniques learned in the course to a final project.(1)
18.Project development: an opportunity to apply the concepts and techniques learned in the course to a final project.(2)
2.Introduction to computer programming: fundamental concepts, syntax, and structure of programming languages(2)
3.Basic data types and control structures: variables, operators, loops, and decision-making(1)
4.Basic data types and control structures: variables, operators, loops, and decision-making(2)
5.Object-oriented programming: classes, objects, inheritance, and polymorphism(1)
6.Object-oriented programming: classes, objects, inheritance, and polymorphism(2)
7.Algorithm design and problem-solving: principles of good design and techniques for solving common programming challenges(1)
8.Algorithm design and problem-solving: principles of good design and techniques for solving common programming challenges(2)
9.Composition in computer programming: techniques for combining and reusing code, such as functions, modules, and libraries(1)
10.Composition in computer programming: techniques for combining and reusing code, such as functions, modules, and libraries(2)
11.Web development: introduction to HTML, CSS, and JavaScript for creating dynamic web pages(1)
12.Web development: introduction to HTML, CSS, and JavaScript for creating dynamic web pages(2)
13.Database programming: design and implementation of databases and SQL(1)
14.Database programming: design and implementation of databases and SQL(2)
15.Testing and debugging: methods for identifying and resolving errors in code(1)
16.Testing and debugging: methods for identifying and resolving errors in code(2)
17.Project development: an opportunity to apply the concepts and techniques learned in the course to a final project.(1)
18.Project development: an opportunity to apply the concepts and techniques learned in the course to a final project.(2)
- Teacher: 林經堯 jinyao.lin
1. Algorithm and Machine Learning
2. Greedy Algorithm
3. Divide and Conquer
4. Dynamic Programming
5. Branch and Bound
6. Simulated Annealing
7. Genetic Algorithm
8. Model and Learning
9. Regression and Classification
10. Supervised Learning
11. Unsupervised Learning
12. Decision Trees and Search
13. Clustering: KNN and K-Means
14. Support Vector Machine (SVM)
15. Regression Analysis
16. Reinforcement Learning
2. Greedy Algorithm
3. Divide and Conquer
4. Dynamic Programming
5. Branch and Bound
6. Simulated Annealing
7. Genetic Algorithm
8. Model and Learning
9. Regression and Classification
10. Supervised Learning
11. Unsupervised Learning
12. Decision Trees and Search
13. Clustering: KNN and K-Means
14. Support Vector Machine (SVM)
15. Regression Analysis
16. Reinforcement Learning
- Teacher: 顏金泰 jtyan
1 – 09/16 Introduction
2 - 09/23 Faulkner, Robert. 1985. Hollywood Studio Musicians – Their Work and Careers in the Recording Industry. Rowman & Littlefield Pub Inc. (ch 1, 2)
3 - 09/30 Faulkner, Robert. 1985. Hollywood Studio Musicians – Their Work and Careers in the Recording Industry. Rowman & Littlefield Pub Inc. (ch 3)
4 - 10/07 Faulkner, Robert. 1985. Hollywood Studio Musicians – Their Work and Careers in the Recording Industry. Rowman & Littlefield Pub Inc. (ch 4,5)
5 - 10/14 Faulkner, Robert. 1985. Hollywood Studio Musicians – Their Work and Careers in the Recording Industry. Rowman & Littlefield Pub Inc. (ch 6,7)
6 - 10/21 Faulkner, Robert. 1985. Hollywood Studio Musicians – Their Work and Careers in the Recording Industry. Rowman & Littlefield Pub Inc. (ch 8, Methodological Appendix A and B)
7 - 10/28 Workshop
8 - 11/04 Piekut, Benjamin. 2019. Henry Cow: The World Is a Problem. Duke University Press. (Introduction)
9 - 11/11 Piekut, Benjamin. 2019. Henry Cow: The World Is a Problem. Duke University Press. (ch 1)
10 - 11/18 Piekut, Benjamin. 2019. Henry Cow: The World Is a Problem. Duke University Press. (ch 2)
11 - 11/25 Piekut, Benjamin. 2019. Henry Cow: The World Is a Problem. Duke University Press. (ch 3)
12 - 12/02 Piekut, Benjamin. 2019. Henry Cow: The World Is a Problem. Duke University Press. (ch 4)
13 - 12/09 Piekut, Benjamin. 2019. Henry Cow: The World Is a Problem. Duke University Press. (ch 5)
14 - 12/16 Piekut, Benjamin. 2019. Henry Cow: The World Is a Problem. Duke University Press. (ch 6)
15 - 12/23 Piekut, Benjamin. 2019. Henry Cow: The World Is a Problem. Duke University Press. (ch 7)
16 - 12/30 Piekut, Benjamin. 2019. Henry Cow: The World Is a Problem. Duke University Press. (ch 8)
17 - 01/06 Oral presentation of final report
18 - 01/13 Submission of final report
2 - 09/23 Faulkner, Robert. 1985. Hollywood Studio Musicians – Their Work and Careers in the Recording Industry. Rowman & Littlefield Pub Inc. (ch 1, 2)
3 - 09/30 Faulkner, Robert. 1985. Hollywood Studio Musicians – Their Work and Careers in the Recording Industry. Rowman & Littlefield Pub Inc. (ch 3)
4 - 10/07 Faulkner, Robert. 1985. Hollywood Studio Musicians – Their Work and Careers in the Recording Industry. Rowman & Littlefield Pub Inc. (ch 4,5)
5 - 10/14 Faulkner, Robert. 1985. Hollywood Studio Musicians – Their Work and Careers in the Recording Industry. Rowman & Littlefield Pub Inc. (ch 6,7)
6 - 10/21 Faulkner, Robert. 1985. Hollywood Studio Musicians – Their Work and Careers in the Recording Industry. Rowman & Littlefield Pub Inc. (ch 8, Methodological Appendix A and B)
7 - 10/28 Workshop
8 - 11/04 Piekut, Benjamin. 2019. Henry Cow: The World Is a Problem. Duke University Press. (Introduction)
9 - 11/11 Piekut, Benjamin. 2019. Henry Cow: The World Is a Problem. Duke University Press. (ch 1)
10 - 11/18 Piekut, Benjamin. 2019. Henry Cow: The World Is a Problem. Duke University Press. (ch 2)
11 - 11/25 Piekut, Benjamin. 2019. Henry Cow: The World Is a Problem. Duke University Press. (ch 3)
12 - 12/02 Piekut, Benjamin. 2019. Henry Cow: The World Is a Problem. Duke University Press. (ch 4)
13 - 12/09 Piekut, Benjamin. 2019. Henry Cow: The World Is a Problem. Duke University Press. (ch 5)
14 - 12/16 Piekut, Benjamin. 2019. Henry Cow: The World Is a Problem. Duke University Press. (ch 6)
15 - 12/23 Piekut, Benjamin. 2019. Henry Cow: The World Is a Problem. Duke University Press. (ch 7)
16 - 12/30 Piekut, Benjamin. 2019. Henry Cow: The World Is a Problem. Duke University Press. (ch 8)
17 - 01/06 Oral presentation of final report
18 - 01/13 Submission of final report
- Teacher: 朱夢慈 chumengtze
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
- Teacher: 胡敏德 made.hood
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
- Teacher: 胡敏德 made.hood
This course focuses on six topics including records, MP3, music industry, streaming platforms, downloading and piracy, and is divided into six narrative units:
1. The business model of the traditional music industry
2. The impact of piracy of records and CDs
3. The emergence of MP3 and iPod
4. Downloading and piracy
5. The rise of streaming music platforms
6. Application and development of AI future technology
In each of the above units, as each unit course progresses, relevant examples and literature will be listed, and the theoretical and practical developments involved will be discussed.
1. The business model of the traditional music industry
2. The impact of piracy of records and CDs
3. The emergence of MP3 and iPod
4. Downloading and piracy
5. The rise of streaming music platforms
6. Application and development of AI future technology
In each of the above units, as each unit course progresses, relevant examples and literature will be listed, and the theoretical and practical developments involved will be discussed.
- Teacher: 翁志文 ivan
- Teacher: 辛玫芬 mei24029