week 1–review of last semaster's final product
week 2 - remove rib structure from the mode
week 3 - glue top and back to the rib structure
week 4 - finalize the edge
week 5 - making purflings I
week 6 - making purflings II
week 7 - edge work I
week 8 - edge work II
week 9 - scroll I
week 10 - scroll II
week 11 - neck and scroll III
week 12 - fingerboard
week 13 - setting neck I
week 14 - setting neck II
week 15 - chamfer the edge I
week 16 - chamfer the edge II
week 17 - final inspection
week 18 - submission of final product

WEEK 1
- Lecture (L): Introduction to the course, designation of class times, etc.
- Performance class: An aural approach to gamelan performance.
Assigned Reading (found in the reserve section of the Matheson Library):
p. 3-18 in Tenzer, M. (2000) Gamelan Gong Kebyar: the Art of
20th century Balinese Music. Chicago University Press.
WEEK 2
An introduction to kebyar style music as performed on the seven-tone gamelan
Genta Semara with special emphasis on the most popular gamelan genre of the 20th
century to appreciate the compositional stylistic influences of this type of virtuosic music.
The piece entitled Jagul is introduced.
Assigned Reading (found in the reserve section of the Matheson Library):
p. 40-60 in Tenzer, M. (2000) Gamelan Gong Kebyar: the Art of
20th century Balinese Music. Chicago University Press.
WEEK 3
Examination of the historical relationship between Balinese and Javanese gamelan
performance practice and orchestras as a segue into neighboring island of Bali.
Introduction of ‘Gamelan Genta Semara’ including its history, instrumentation, and
tonal system. Begin Wira Yuda ‘military march’
Assigned Reading (in reserve section of the Matheson Library): pages 73-85 in
Tenzer, Michael. Gamelan Gong Kebyar: The Art of Twentieth-Century Balinese
Music. Chicago: University of Chicago Press, 2000.
WEEK 4
A study of principal melody (pokok) and interlocking melodies (kotekan or
payasan) to reveal the essential polyrhythmic attributes of gong kebyar music as they
relate to modern and classical orchestral traditions. The piece Nori Mas is introduced.
Assigned Reading (found in the reserve section of the Matheson Library):
p. 328-337 McPhee, C. McPhee, Colin. (1966) Music in Bali: A Study in Form and
Instrumental Organization in Balinese Orchestral Music. New Haven: Yale
University Press.
WEEK 5
We will briefly discuss Bali’s connection to tourism, its history and affects upon
culture with specific emphasis on music by stepping away from gamelan to see
Vickers depiction of Balinese culture, including music, as a product of a ‘Paradise
Created’.
Assigned Reading (found in the reserve section of the Matheson Library):
Read the Introduction of Vickers, A. (1989) Bali: a Paradise Created, Penguin books.
WEEK 6
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.
WEEK 7
Drumming class for all students. In this session we will learn the basics of the kendang
or ‘double-headed conncial drum’ and students will pair-off between ‘male’ and ‘female’
drum parts to gain an understanding of being a percussive leader of Balinese orchestral
music.
Assigned Reading (in the reserve section of Matheson Library): pages 25-37 and
249-57 Eiseman, Fred B. Jr. Bali Sekala & Niskala: Vol. I Essays on Religion,
Ritual, and Art. Hong Kong: Periplus Editions, 1990.
WEEK 8
Group outline of individual essays and Final projects including analysis of
orchestral piece Jagul in terms of musical form, elaboration, and colotomic
instruments. Sample methods of notating are presented.
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,
Beleganjur. Procession piece is presented in class.
WEEK 10
Ritual context continued and includes the 4-tone orchestra called gamelan angklung.
The piece entitled ‘Nori Mas’ is introduced.
Assigned Reading (in the reserve section of Matheson Library):
pages 39-64 in Bakan, Michael B. Music of Death and New Creation: Experiences in
the World of Balinese Gamelan Beleganjur. University of Chicago Press, 1999.
MID SEMESTER BREAK
WEEK 11
All music from the Balinese repertoire studied in semester two is reviewed in a
‘classroom concert’ as part of assessment for this portion of the grade.
WEEK 12 Advise students on Final Projects including essays, compositions, analyses in
preparation for submission
- Review material for 1 hour exam (MUS2490/3490)
WEEK 13
- Conclusions
- Performance Tests
WEEK 14 Sectional rehearsal of melodic instruments for dynamics, tempo and expression.
WEEK 15 Sectional rehearsals for rhythmic accompaniment (drums, ceng2 and reyong) for
all dance pieces for the concert
WEEK 16 Sectional rehearsals for melodic elaboration (kotekan)
WEEK 17 Dress rehearsal, staging and marking of repertoire rehearsal with full gamelan
WEEK 18 Final Concert

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)

1、課程介紹
主題一：比較音樂學的研究視角
2、
Adler, Guido. 1981 [1885]. “The Scope, Method and Aim of Musicology.” (1885) in English Translation by Erica Mugglestone. Yearbook for Traditional Music.
Ellis, A.J. 1885. “On the Musical Scales of Various Nations.” Journal of the Royal Society of Arts 33:485-527. OR 1884 “Tonometrical Observations on Some Existing Non-Harmonic Scales,” Proceedings of the Royal Society 37:368-387.
3、
Lomax, Alan. 1978. Folk Song Style and Culture. New Jersey: Transaction Books.
Merriam, Alan. 1977. “Definitions of ‘Comparative Musicology’ and Ethnomusicology: An Historical-Theoretical Perspective.” Ethnomusicology 21(2):189-204.

主題二：戰後美國民族音樂學
4、
Merriam, Alan. 1960. “Ethnomusicology: Discussion and Definition of the Field.” Ethnomusicology 4 (3):107-114.
Solis, Ted, ed. 2006. Performing Ethnomusicology. University of California Press.
chapters 1, 4.

主題三：田野工作與「多種音樂文化」的概念
5、
Merrian, Alan. 1964. “Toward a Theory for Ethnomusicology.” In The Anthropology of Music, 17-35. Evanston: Northwestern University Press.
Rice, Timothy. 1987. “Towards the Remodeling of Ethnomusicology.” Ethnomusicology 31(3):469-88

主題三：採譜與分析
6、
Seeger, Charles. 1958. “Prescriptive and Descriptive Music-Writing.” Musical Quarterly 44:184-95.
Herndon, Marcia. 1974. “Analysis: The Herding of Sacred Cows?” Ethnomusicology 18(2):219-262.
7、
Nettl, Bruno. 1983. “I Can’t Say a Thing Until I’ve Seen the Score.” In The Study of Ethnomusicology: Twenty-Nine Issues and Concepts, 65-81. Illinois: University of Illinois Press.
Qureshi, Regula Burckhardt. 1986. “Musical Sound and Contextual Input: A Performance Model for Musical Analysis.” Ethnomusicology 31:56-86.

主題四：聲音結構作為社會結構
8、
Becker, Judith. 1979. “Time and Tune in Java." In The Imagination of Reality, ed. A.L. Becker and Aram Yengoyan, 197-210. N.J.: Ablex.
Feld, Steven. 1984. “Sound Structure as Social Structure.” Ethnomusicology 28(3):383-409.
9、
Robertson, Carol E. 1979. “Pulling the Ancestors’: Performance Practice and Praxis in Mapuche Ordering.” Ethnomusicology 23:395-416.
Turino, Thomas. 1990. “Structure, Context, and Strategy in Musical Ethnography.”
Ethnomusicology 34(3):399-412.

主題五：再現的政治
10、
Clifford, James. 1986. “Introduction: Partial Truths.” In Writing Culture, ed. James Clifford and George Marcus, 1-26. Berkeley: University of California Press.
Gourlay, K.A. 1978. “Towards a Reassessment of the Ethnomusicologist’s Role in Research.” Ethnomusicology 22(1):1-35.

主題六：後現代主義
11、
Manuel, Peter. 1995. “Music as Symbol, Music as Simulacrum: Postmodern, Pre-Modern, and Modern Aesthetics in Subcultural Popular Musics.” Popular Music 14(2):227-240.
Stokes, Martin. 2001. “Ethnomusicology (IV): Contemporary Theoretical Issues.” In The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie.

主題七：誰的民族音樂學？
12、
Agawu, Kofi. 1992. “Representing African Music.” Critical Inquiry 18(2):245- 66. Witzleben, J. Lawrence. 1997. “Whose Ethnomusicology? Western Ethnomusicology and the Study of Asian Music.” Ethnomusicology 41: 220-42.

主題七：全球化與流動
13、
Biddle, I. D., & Knights, V. (2007b). Music, national identity and the politics of location : between the global and the local. Aldershot, Hants: Ashgate.
Mendieta, E. (2003). Afterward: Identities: Postcolonial and Global. In L. Alcoff & E. Mendieta (Eds.), Identities: Race, Class, Gender, and Nationality (pp. 407-416): Blackwell Publishing.
主題八：文化的政治與文化政策
14、
Koskoff, Ellen. 2005. “(Left "Out in") "Left" (the "Field"): The Effects of Post-Postmodern Scholarship on Feminist and Gender Studies in Musicology and Ethnomusicology, 1990-2000.” Women & Music - A Journal of Gender and Culture 9: 90-98.
Guilbault, Jocelyne. 2007. Governing Sound: The Cultural Politics of Trinidad’s Carnival Musics. Chicago: University of Chicago Press.

15、 期末報告口頭呈現
16、 期末報告口頭呈現
17、 紀錄片觀賞與討論
18、 交期末報告

1 – Introduction
2 - Introduction to our university’s library and “Endnote”
3 - 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 - 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 - 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 - 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 - Forms and styles of master thesis
8 - 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 - 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 -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 - 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 - Research proposal writing
〈如何撰寫論文計劃〉，http://waytohome.blogspot.tw/2014/11/blog-post.html
13 - 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 - 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 - 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 - Oral presentation of final report (1)
17 - Oral presentation of final report (2)
18 - Submission of final report

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。

1. Introduction

2. PREFACE and PART ONE: THE IMPERATIVE TO JUSTIFY
Boltanski, Luc, and Laurent Thévenot. On Justification: Economies of Worth. Princeton University Press, 2006.

3. PART TWO: THE POLITIES
Boltanski, Luc, and Laurent Thévenot. On Justification: Economies of Worth. Princeton University Press, 2006.

4. PART THREE: THE COMMON WORLDS
Boltanski, Luc, and Laurent Thévenot. On Justification: Economies of Worth. Princeton University Press, 2006.

5. PART FOUR: CRITIQUES
Boltanski, Luc, and Laurent Thévenot. On Justification: Economies of Worth. Princeton University Press, 2006.

6. PART FIVE: ASSUAGING CRITICAL TENSIONS
Boltanski, Luc, and Laurent Thévenot. On Justification: Economies of Worth. Princeton University Press, 2006.

7. Discussion on On Justification: Economies of Worth

8. Introduction and Part I Destruction and Creation of Wealth
Boltanski, Luc, and Arnaud Esquerre. Enrichment: A Critique of Commodities. Translated by Catherine Porter, 1st ed., Polity Press, 2020.

9. Part II Prices and Forms of Valuation
Boltanski, Luc, and Arnaud Esquerre. Enrichment: A Critique of Commodities. Translated by Catherine Porter, 1st ed., Polity Press, 2020.

10. Part III Commodity Structures (I)
Boltanski, Luc, and Arnaud Esquerre. Enrichment: A Critique of Commodities. Translated by Catherine Porter, 1st ed., Polity Press, 2020.

11. Part III Commodity Structures (II)
Boltanski, Luc, and Arnaud Esquerre. Enrichment: A Critique of Commodities. Translated by Catherine Porter, 1st ed., Polity Press, 2020.

12. Part III Commodity Structures (II)
Boltanski, Luc, and Arnaud Esquerre. Enrichment: A Critique of Commodities. Translated by Catherine Porter, 1st ed., Polity Press, 2020.

13. Part IV Who Profits from the Past (I)
Boltanski, Luc, and Arnaud Esquerre. Enrichment: A Critique of Commodities. Translated by Catherine Porter, 1st ed., Polity Press, 2020.

14. Part IV Who Profits from the Past (II)
Boltanski, Luc, and Arnaud Esquerre. Enrichment: A Critique of Commodities. Translated by Catherine Porter, 1st ed., Polity Press, 2020.

15. Discussion on Enrichment: A Critique of Commodities.
1. Oral presentation of final term paper (I)
2. Oral presentation of final term paper (II)