Contents of the Course:
1.Introduce to contents of the course The History and Socio-cultural Environment of Chinese Migrant
2. The History of Overseas Chinese in North American
陳依范：〈先驅者的足跡〉、〈移民前後〉、〈排華—發端〉，《美國華人史》，北京：世界知識出版社。（1987）宋李瑞芳：〈華人地位的提高〉、〈匯入主流〉，《美國華人的歷史與現狀》，北京：商務印書館。（1984）
3. The History of Overseas Chinese in Southeast Asia
李恩涵：〈明初對東南亞各國的政策及鄭和下西洋的壯舉〉、〈清代中葉前對海外移民的政策及其後之改變〉、〈華人社會在荷屬東印度的發展〉，《東南亞華人史》，台北：五南圖書出版公司。（2003）
4. Cultural Memory of Overseas Chinese Clammer, John: “Asian Studies/Cultural Studies: Reapproaching Southeast Asian Societies/Studies.” Diaspora and Identity: The Sociology of
Culture in Southeast Asia. Selangor Darul Ehsan, Malaysia: Pelanduk Publications. (2002)
Davidson, Andrew P. and Kuah-Pearce Khun Eng: “Introduction: Diasporic Memories and Identities.” At Home in the Chinese Diaspora: Memories,Identities and Belongings. Kuah-Pearce Khun Eng and Andrew P.Davidson ed., New York: Palgrave Macmillan.(2008)
5. National and Cultural Identity of Overseas Chinese
雲耀昌: 〈華人文化與自我認同〉、〈「種族」、階級與刻板印象：原住民對「華人性」的認知〉、〈保存族群性：協商界限的維繫與跨越〉，《當代印尼華人的認同》，台北：國家教育研究院與群學出版有限公司。（2012）
Music Development of Overseas Chinese in North America
6. Music of Cultural Politics in the society of Chinese American Zheng, Su: “The Ambiguities of Cultural Politics in Asian/Chinese American Music Discourse.” Claiming Diaspora. New York: Oxford University Press. (2010)
Zheng, Su: “The Formation of a Diasporic Musical Culture as a Site of Contradiction.” Claiming Diaspora. New York: Oxford University Press.(2010)
7. Soundscape of Overseas Chinese Music in North America
Zheng, Su: “Music Here and Now: A Diasporic Soundscape in a Global City.” Claiming Diaspora. New York: Oxford University Press. (2010)
8. Chinese Pop Music in North America
Zheng, Su: “Our Goal is to be in Sync with Other Areas of the World:Transnational Media Culture and Popular Music.” Claiming Diaspora.
New York: Oxford University Press. (2010)
Lum, Casey Man Kong：“The Karaoke Dilemma: On the Interaction
between Collectivism and Individualism in the Karaoke Space,”
Karaoke Around the World: Global Technology, Local Singing. Toru Mitsui and Shuhei Hosokawa ed. New York: Routledge. (1998)
Music Development of Overseas Chinese in Southeast Asia
9. Socio-cultural Environment of Overseas Chinese Music in Southeast Asia Kartomi, Margaret J.: “Indonesian-Chinese Oppression and the Musical Outcomes in the Netherlands East Indies.” Music and the Racial Imagination. Ronald Radano and Philip V. Bohlman ed. Chicago: The Univ. of Chicago Press. (2000)
Tsai, Tsung-Te: Music as Identity: The influence of politics and economy on Indonesian Chinese musical culture. 41st World Conference of the ICTM, hosted by Memorial University of Newfoundland in St. John's,Newfoundland, Canada. 13th July-19th July 2011.
10. Musical Activities of Chinese Filipinos
Lee, Schu-Chi: Investigating the Musical Activities of Chinese Filipinos’Nanyin. Artistica, 3:31-73. (2011)
11. Wayang Potehi in Southeast Asia
蔡宗德：〈印度尼西亞華人布袋戲的歷史、演出型態與音樂〉，《中央音樂學院學報》，139:69-88。（2015）
Tan, Sooi Beng: “Potehi of Penang, Malaysia: Adapting to the Times,”Potehi: Glove Puppet Theatre in Southeast Asia and Taiwan. Kaori Fushiki and Robin Ruizendaal ed. Taipei: Taiyuan Asia Puppet Theatre Museum.
12. Wayang Cina-Jawa in Indonesia
蔡宗德：〈沒落與再生：印度尼西亞爪哇華人皮影戲的發展狀況〉，《中央音樂學院學報》，146:47-64。（2017）
Museum Sonobudoyo：Wacinwa: Silang Budaya Cina-Jawa. Yogyakarta:Museum Negeri Sonobudoyo.（2014）
13. Chinese Music Ensemble in Singapore
陳靜儀：〈跨界新興華樂團的混雜性與視覺性-以新加坡霯樂團為例〉，未出版論文請勿引用。
李明晏：〈民樂之南：新加坡華樂團南洋風音樂之開創與延續〉，未出版論文請勿引用。
Wong, Yoon Foong: “Diaspora in a Cultural Deluge: Musical identities of Singaporean Chinese-Music Practitioners,” Unpublished Paper.
14. Chinese Popular Music in Southeast Asia
蔡宗德:〈印尼爪哇華語流行歌曲卡拉OK 的演出場域、曲目來源與社會功能〉，《南藝學報》15: 31-49。（2017）
Kong, Lily: “Popular Music in a Transnational World: the Construction of Local Identities in Singapore,” Asia Pacific Viewpoint, 38/1:19-36.
15. Presentation of term paper
16. Presentation of term paper
17. Hand in the term paper
1.Introduce to contents of the course The History and Socio-cultural Environment of Chinese Migrant
2. The History of Overseas Chinese in North American
陳依范：〈先驅者的足跡〉、〈移民前後〉、〈排華—發端〉，《美國華人史》，北京：世界知識出版社。（1987）宋李瑞芳：〈華人地位的提高〉、〈匯入主流〉，《美國華人的歷史與現狀》，北京：商務印書館。（1984）
3. The History of Overseas Chinese in Southeast Asia
李恩涵：〈明初對東南亞各國的政策及鄭和下西洋的壯舉〉、〈清代中葉前對海外移民的政策及其後之改變〉、〈華人社會在荷屬東印度的發展〉，《東南亞華人史》，台北：五南圖書出版公司。（2003）
4. Cultural Memory of Overseas Chinese Clammer, John: “Asian Studies/Cultural Studies: Reapproaching Southeast Asian Societies/Studies.” Diaspora and Identity: The Sociology of
Culture in Southeast Asia. Selangor Darul Ehsan, Malaysia: Pelanduk Publications. (2002)
Davidson, Andrew P. and Kuah-Pearce Khun Eng: “Introduction: Diasporic Memories and Identities.” At Home in the Chinese Diaspora: Memories,Identities and Belongings. Kuah-Pearce Khun Eng and Andrew P.Davidson ed., New York: Palgrave Macmillan.(2008)
5. National and Cultural Identity of Overseas Chinese
雲耀昌: 〈華人文化與自我認同〉、〈「種族」、階級與刻板印象：原住民對「華人性」的認知〉、〈保存族群性：協商界限的維繫與跨越〉，《當代印尼華人的認同》，台北：國家教育研究院與群學出版有限公司。（2012）
Music Development of Overseas Chinese in North America
6. Music of Cultural Politics in the society of Chinese American Zheng, Su: “The Ambiguities of Cultural Politics in Asian/Chinese American Music Discourse.” Claiming Diaspora. New York: Oxford University Press. (2010)
Zheng, Su: “The Formation of a Diasporic Musical Culture as a Site of Contradiction.” Claiming Diaspora. New York: Oxford University Press.(2010)
7. Soundscape of Overseas Chinese Music in North America
Zheng, Su: “Music Here and Now: A Diasporic Soundscape in a Global City.” Claiming Diaspora. New York: Oxford University Press. (2010)
8. Chinese Pop Music in North America
Zheng, Su: “Our Goal is to be in Sync with Other Areas of the World:Transnational Media Culture and Popular Music.” Claiming Diaspora.
New York: Oxford University Press. (2010)
Lum, Casey Man Kong：“The Karaoke Dilemma: On the Interaction
between Collectivism and Individualism in the Karaoke Space,”
Karaoke Around the World: Global Technology, Local Singing. Toru Mitsui and Shuhei Hosokawa ed. New York: Routledge. (1998)
Music Development of Overseas Chinese in Southeast Asia
9. Socio-cultural Environment of Overseas Chinese Music in Southeast Asia Kartomi, Margaret J.: “Indonesian-Chinese Oppression and the Musical Outcomes in the Netherlands East Indies.” Music and the Racial Imagination. Ronald Radano and Philip V. Bohlman ed. Chicago: The Univ. of Chicago Press. (2000)
Tsai, Tsung-Te: Music as Identity: The influence of politics and economy on Indonesian Chinese musical culture. 41st World Conference of the ICTM, hosted by Memorial University of Newfoundland in St. John's,Newfoundland, Canada. 13th July-19th July 2011.
10. Musical Activities of Chinese Filipinos
Lee, Schu-Chi: Investigating the Musical Activities of Chinese Filipinos’Nanyin. Artistica, 3:31-73. (2011)
11. Wayang Potehi in Southeast Asia
蔡宗德：〈印度尼西亞華人布袋戲的歷史、演出型態與音樂〉，《中央音樂學院學報》，139:69-88。（2015）
Tan, Sooi Beng: “Potehi of Penang, Malaysia: Adapting to the Times,”Potehi: Glove Puppet Theatre in Southeast Asia and Taiwan. Kaori Fushiki and Robin Ruizendaal ed. Taipei: Taiyuan Asia Puppet Theatre Museum.
12. Wayang Cina-Jawa in Indonesia
蔡宗德：〈沒落與再生：印度尼西亞爪哇華人皮影戲的發展狀況〉，《中央音樂學院學報》，146:47-64。（2017）
Museum Sonobudoyo：Wacinwa: Silang Budaya Cina-Jawa. Yogyakarta:Museum Negeri Sonobudoyo.（2014）
13. Chinese Music Ensemble in Singapore
陳靜儀：〈跨界新興華樂團的混雜性與視覺性-以新加坡霯樂團為例〉，未出版論文請勿引用。
李明晏：〈民樂之南：新加坡華樂團南洋風音樂之開創與延續〉，未出版論文請勿引用。
Wong, Yoon Foong: “Diaspora in a Cultural Deluge: Musical identities of Singaporean Chinese-Music Practitioners,” Unpublished Paper.
14. Chinese Popular Music in Southeast Asia
蔡宗德:〈印尼爪哇華語流行歌曲卡拉OK 的演出場域、曲目來源與社會功能〉，《南藝學報》15: 31-49。（2017）
Kong, Lily: “Popular Music in a Transnational World: the Construction of Local Identities in Singapore,” Asia Pacific Viewpoint, 38/1:19-36.
15. Presentation of term paper
16. Presentation of term paper
17. Hand in the term paper
- 教師: ted1107 蔡宗德
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
民族音樂學與文化人類學；音樂進化論；音樂傳播論；傳統與變遷；音樂功能；比較方法學；Emics and Etics；聽資料分析；音樂的社會因素；音樂藝術與文化意函；文化認知與價值判斷；音樂與語言的關係；結構主義；音樂符號學；政治與音樂發展；婦女與音樂文化；宗教與音樂
- 教師: chumengtze 朱夢慈