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)
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
1 – Introduction and course overview
2 -
Reading:
Fosier-Lussier, Danielle. 2015. “Introduction: Instruments of Diplomacy”, Music in America’s Cold War Diplomacy. California: University of California Press.
Schmelz, Peter. 2009. “Introduction: Music in the Cold War”, The Journal of Musicology 26(1): 3-16.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Comrades. CNN.
3 -
Reading:
Fosier-Lussier, Danielle. 2015. “Classical Music and the Mediation of Prestige”, “Classical Music as Development Aid”, Music in America’s Cold War Diplomacy. California: University of California Press.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Iron Curtain. CNN.
4 -
Reading:
Clegg, Mindy L. 2015. “When Jazz was King: Selling Records with the Cold War”, The Journal of American Culture 38(3): 246-254.
Fosier-Lussier, Danielle. 2015. “Jazz in the Cultural Presentation Program”, Music in America’s Cold War Diplomacy. California: University of California Press.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Marshall Plan. CNN.
5 -
Reading:
Crist, Stephen A. 2009. “Jazz as Democracy? Dave Brubeck and Cold War Politics.” Journal of Musicology 26: 133–174.
Delvin, Paul. 2015. “Jazz Autobiography and the Cold War”, Popular Music and Society 38(2): 140-159.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Berlin. CNN.
6 -
7 -
Reading:
Fosier-Lussier, Danielle. 2015. “The Double-Edged Diplomacy of Popular Music”, Music in America’s Cold War Diplomacy. California: University of California Press.
Brown, Timothy S. 2009. “Music As a Weapon? Ton Steine Scherben and the Politics of Rock in Cold War Berlin.” German Studies Review 32(1): 1–22.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Korea. CNN.
8 -
Reading:
Cohen, Harvey G. 2011. “Vision of Freedom: Duke Ellington in the Soviet Union. “ Popular Music 30, 297-313.
Schmelz, Peter J. 2009. “Alfred Schnittke’s Nagasaki: Soviet Nuclear Culture, Radio Moscow, and the Global Cold War.” Journal of the American Musicological Society 62(2): 413-474.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – The Wall . CNN.
9 -
Reading:
Silverberg, Laura. 2009. “Between Dissonance and Dissidence: Socialist Modernism in the German Democratic Republic.” Journal of Musicology 26: 44–84.
Tompkins, David G. 2014. “Against ‘Pop-Song’ Poison from the West: Early Cold War Attempts to Develop a Socialist Popular Music in Poland and the GDR”, in Youth and Rock in the Soviet Bloc: Youth Cultures, Music, and the State in Russia and Eastern Europe, edited by W. J. Risch. Lanham, MD: Lexington Books.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Vietnam. CNN.
10 -
Reading:
Gibbs, Jason. 2008. “How Does Hanoi Rock? The Way to Rock and Roll in Vietnam.” Asian Music 39(1): 5-25.
Taylor, Philip. 2000. “Music as A ‘Neocolonial Poison’ in Postwar Southern Vietnam”. Crossroads: An Interdisciplinary Journal of Southeast Asian Studies, 99-131
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Make Love Not War. CNN.
11 -
Reading:
Fung, Anthony. 2007. “The Emerging (national) Popular Music Culture in China.” Inter‐Asia Cultural Studies, 8(3), 425-437.
Huang, Nicola. 2013. “Listening to Films: Politics of the Auditory in 1970s China.” Journal of Chinese Cinemas, 7(3), 187-206.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – China. CNN.
12 -
Reading:
Tōya, Mamoru. 2015. “The Culture of Popular Music in Occupied Japan.” in Made in Japan: Studies in Popular Music, edited by Toru Mitsui, 52-70. New York: Routledge.
Yoshimi, Shunya & David Buist. 2003. “America as Desire and Violence: Americanization in Postwar Japan and Asia during the Cold War.” Inter-Asia Cultural Studies 4(3), 433-450.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Détente. CNN.
13 -
Reading:
Chang, Hyun Kyong Hannah. 2014. “Exilic Suffering: Music, Nation, and Protestantism in Cold War South Korea.” Music and Politics, 8(1).
Shin, Hyunjoon. 2017. “The Stage Show and the Dance Floor: A History of “Live Music” in Korea.” in Made in Korea: Studies in Popular Music, edited by Hyunjoon Shin & Seung-Ah Lee, 15-22. New York: Routledge.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Spies. CNN.
14 -
Reading:
Shin, Hyunjoon & Tung‐Hung Ho. 2009. “Translation of ‘America’ during the Early Cold War Period: A Comparative Study on the History of Popular Music in South Korea and Taiwan.” Inter‐Asia Cultural Studies 10(1), 83-102.
Wang, Xiaojue. 2018. “Radio Culture in Cold War Hong Kong.” Interventions 20(8): 1153-1170.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Star Wars. CNN.
15 -
Reading:
Chu, Meng Tze. 2019. “Rock and Roll from Rest and Recreation (R&R): The Collective Memory of the Aging Pop-Rock Lovers in Taiwan.” In Made in Taiwan, 105-118, edited by Eva Tsai, Tung-Hung Ho & Miaoju Jian. Routledge.
Yang, Tsu-Chuen. 2017. “Revisiting the Social Milieu Preceding the Emergence of the Singer-Songwriters’ Cultural Movement Among 1970s’ Taiwanese College Students.” Communication, Culture & Politics 6: 1-85.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – The Wall Comes Down. CNN.
16 - Oral presentation of final report
17.18- submission of final research pape
2 -
Reading:
Fosier-Lussier, Danielle. 2015. “Introduction: Instruments of Diplomacy”, Music in America’s Cold War Diplomacy. California: University of California Press.
Schmelz, Peter. 2009. “Introduction: Music in the Cold War”, The Journal of Musicology 26(1): 3-16.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Comrades. CNN.
3 -
Reading:
Fosier-Lussier, Danielle. 2015. “Classical Music and the Mediation of Prestige”, “Classical Music as Development Aid”, Music in America’s Cold War Diplomacy. California: University of California Press.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Iron Curtain. CNN.
4 -
Reading:
Clegg, Mindy L. 2015. “When Jazz was King: Selling Records with the Cold War”, The Journal of American Culture 38(3): 246-254.
Fosier-Lussier, Danielle. 2015. “Jazz in the Cultural Presentation Program”, Music in America’s Cold War Diplomacy. California: University of California Press.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Marshall Plan. CNN.
5 -
Reading:
Crist, Stephen A. 2009. “Jazz as Democracy? Dave Brubeck and Cold War Politics.” Journal of Musicology 26: 133–174.
Delvin, Paul. 2015. “Jazz Autobiography and the Cold War”, Popular Music and Society 38(2): 140-159.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Berlin. CNN.
6 -
7 -
Reading:
Fosier-Lussier, Danielle. 2015. “The Double-Edged Diplomacy of Popular Music”, Music in America’s Cold War Diplomacy. California: University of California Press.
Brown, Timothy S. 2009. “Music As a Weapon? Ton Steine Scherben and the Politics of Rock in Cold War Berlin.” German Studies Review 32(1): 1–22.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Korea. CNN.
8 -
Reading:
Cohen, Harvey G. 2011. “Vision of Freedom: Duke Ellington in the Soviet Union. “ Popular Music 30, 297-313.
Schmelz, Peter J. 2009. “Alfred Schnittke’s Nagasaki: Soviet Nuclear Culture, Radio Moscow, and the Global Cold War.” Journal of the American Musicological Society 62(2): 413-474.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – The Wall . CNN.
9 -
Reading:
Silverberg, Laura. 2009. “Between Dissonance and Dissidence: Socialist Modernism in the German Democratic Republic.” Journal of Musicology 26: 44–84.
Tompkins, David G. 2014. “Against ‘Pop-Song’ Poison from the West: Early Cold War Attempts to Develop a Socialist Popular Music in Poland and the GDR”, in Youth and Rock in the Soviet Bloc: Youth Cultures, Music, and the State in Russia and Eastern Europe, edited by W. J. Risch. Lanham, MD: Lexington Books.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Vietnam. CNN.
10 -
Reading:
Gibbs, Jason. 2008. “How Does Hanoi Rock? The Way to Rock and Roll in Vietnam.” Asian Music 39(1): 5-25.
Taylor, Philip. 2000. “Music as A ‘Neocolonial Poison’ in Postwar Southern Vietnam”. Crossroads: An Interdisciplinary Journal of Southeast Asian Studies, 99-131
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Make Love Not War. CNN.
11 -
Reading:
Fung, Anthony. 2007. “The Emerging (national) Popular Music Culture in China.” Inter‐Asia Cultural Studies, 8(3), 425-437.
Huang, Nicola. 2013. “Listening to Films: Politics of the Auditory in 1970s China.” Journal of Chinese Cinemas, 7(3), 187-206.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – China. CNN.
12 -
Reading:
Tōya, Mamoru. 2015. “The Culture of Popular Music in Occupied Japan.” in Made in Japan: Studies in Popular Music, edited by Toru Mitsui, 52-70. New York: Routledge.
Yoshimi, Shunya & David Buist. 2003. “America as Desire and Violence: Americanization in Postwar Japan and Asia during the Cold War.” Inter-Asia Cultural Studies 4(3), 433-450.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Détente. CNN.
13 -
Reading:
Chang, Hyun Kyong Hannah. 2014. “Exilic Suffering: Music, Nation, and Protestantism in Cold War South Korea.” Music and Politics, 8(1).
Shin, Hyunjoon. 2017. “The Stage Show and the Dance Floor: A History of “Live Music” in Korea.” in Made in Korea: Studies in Popular Music, edited by Hyunjoon Shin & Seung-Ah Lee, 15-22. New York: Routledge.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Spies. CNN.
14 -
Reading:
Shin, Hyunjoon & Tung‐Hung Ho. 2009. “Translation of ‘America’ during the Early Cold War Period: A Comparative Study on the History of Popular Music in South Korea and Taiwan.” Inter‐Asia Cultural Studies 10(1), 83-102.
Wang, Xiaojue. 2018. “Radio Culture in Cold War Hong Kong.” Interventions 20(8): 1153-1170.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – Star Wars. CNN.
15 -
Reading:
Chu, Meng Tze. 2019. “Rock and Roll from Rest and Recreation (R&R): The Collective Memory of the Aging Pop-Rock Lovers in Taiwan.” In Made in Taiwan, 105-118, edited by Eva Tsai, Tung-Hung Ho & Miaoju Jian. Routledge.
Yang, Tsu-Chuen. 2017. “Revisiting the Social Milieu Preceding the Emergence of the Singer-Songwriters’ Cultural Movement Among 1970s’ Taiwanese College Students.” Communication, Culture & Politics 6: 1-85.
Documentary:
Mitchell, Pat & Jeremy Isaacs. 1998. Cold Wars – The Wall Comes Down. CNN.
16 - Oral presentation of final report
17.18- submission of final research pape
- 教師: chumengtze 朱夢慈
1. 課程介紹
2. 音樂印刷與出版史
Printing and Publishing of Music. In Oxford Music Online.
3. 錄音演進史（1）
Recorded sound –I. History of recording. In Oxford Music Online.
4. 錄音演進史（2）
Recorded sound – II. Technology of recording, reproduction and transmission. In Oxford Music Online.
5. 錄音室實作
6. 唱片工業的廠牌結構
Wikström, Patrik, 2013, “Inside the Industry”, “Music and the Media”, The Music Industry. Polity Press.
7. 地下經濟網絡
Gosling, Tim, 2004, "‘Not for sale’: The Underground Network of Anarcho–Punk." Music Scenes: Local, Translocal, and Virtual, pp. 168-186.
Lobert, Anja, 2015, “Penfriendship,Exchange Economies,and ‘FBs’:Take That Fans Networking before the Digital Revolution”, Popular Music and Society, 38/1:73-94.
8. 數位音樂
Leyshon, Andrew, Peter Webb, Shaun French, Nigel Thrift & Louise Crewe. 2005. “On the Reproduction of the Musical Economy after the Internet”, Media, Culture and Society 27(2): 177-209.
Wikström, Patrik, 2013, “ The Social and Creative Music Fan”, “ Future Sound”, The Music Industry. Polity Press.
9. 期中報告口頭呈現
10. STS與音樂研究
Avanti,Peter, 2013, “Black Musics,Technology,and Modernity: Exhibit A, the Drum Kit”, Popular Music and Society, 36/4:476-504.
Bijsterveld, Karin & Marten Schulp, 2004, “Breaking into a World of Perfection – Innovation in Today’s Classical Musical Instruments”, Social Studies of Science, Vol. 34/5:649-674.
Hagen,Nylund Anja, 2015, “The Playlist Experience : Personal Playlists in Music Streaming Services”, Popular Music and Society, 38/5:625-645.
11. 應用民族音樂學（1）
Van Buren, Kathleen, 2010, “Applied Ethnomusicology and HIV and AIDS: Responsibility, Ability, and Action”. Ethnomusicology. 54(2): 202-223.
Pettan, Svanibor, 2008, “Applied Ethnomusicology and Empowerment Strategies: Views from across the Atlantic”. Musicological Annual. 44(1).
12. 應用民族音樂學（2）
Dirksen, Rebecca, 2012, “Reconsidering Theory and Practice in Ethnomusicology: Applying, Advocating, and Engaging Beyond Academia”. Ethnomusicology Review. 17.
Tan, Sooi Beng, 2008, “Activism in Southeast Asian Ethnomusicology: Empowering Youths to Revitalize Traditions and Bridge Cultural Barriers”. Musicological Annual. 44(1).
13. 社會設計（1）
Whitley, Nigel,。2014。《為社會而設計》。游萬來、楊敏英、李盈盈譯。台北：聯經出版公司。
14. 社會設計（2）
宋世祥，2016，《百工裡的人類學家》。果力文化。
15. 社會設計（3）
社會企業從業者專題演講（名單待定）
16. 社會設計（4）
企業法規與組織規範專題演講
演講者:公道法律事務所法律顧問 蔡政忠
17. 期末報告口頭呈現
18. 期末報告口頭呈現
2. 音樂印刷與出版史
Printing and Publishing of Music. In Oxford Music Online.
3. 錄音演進史（1）
Recorded sound –I. History of recording. In Oxford Music Online.
4. 錄音演進史（2）
Recorded sound – II. Technology of recording, reproduction and transmission. In Oxford Music Online.
5. 錄音室實作
6. 唱片工業的廠牌結構
Wikström, Patrik, 2013, “Inside the Industry”, “Music and the Media”, The Music Industry. Polity Press.
7. 地下經濟網絡
Gosling, Tim, 2004, "‘Not for sale’: The Underground Network of Anarcho–Punk." Music Scenes: Local, Translocal, and Virtual, pp. 168-186.
Lobert, Anja, 2015, “Penfriendship,Exchange Economies,and ‘FBs’:Take That Fans Networking before the Digital Revolution”, Popular Music and Society, 38/1:73-94.
8. 數位音樂
Leyshon, Andrew, Peter Webb, Shaun French, Nigel Thrift & Louise Crewe. 2005. “On the Reproduction of the Musical Economy after the Internet”, Media, Culture and Society 27(2): 177-209.
Wikström, Patrik, 2013, “ The Social and Creative Music Fan”, “ Future Sound”, The Music Industry. Polity Press.
9. 期中報告口頭呈現
10. STS與音樂研究
Avanti,Peter, 2013, “Black Musics,Technology,and Modernity: Exhibit A, the Drum Kit”, Popular Music and Society, 36/4:476-504.
Bijsterveld, Karin & Marten Schulp, 2004, “Breaking into a World of Perfection – Innovation in Today’s Classical Musical Instruments”, Social Studies of Science, Vol. 34/5:649-674.
Hagen,Nylund Anja, 2015, “The Playlist Experience : Personal Playlists in Music Streaming Services”, Popular Music and Society, 38/5:625-645.
11. 應用民族音樂學（1）
Van Buren, Kathleen, 2010, “Applied Ethnomusicology and HIV and AIDS: Responsibility, Ability, and Action”. Ethnomusicology. 54(2): 202-223.
Pettan, Svanibor, 2008, “Applied Ethnomusicology and Empowerment Strategies: Views from across the Atlantic”. Musicological Annual. 44(1).
12. 應用民族音樂學（2）
Dirksen, Rebecca, 2012, “Reconsidering Theory and Practice in Ethnomusicology: Applying, Advocating, and Engaging Beyond Academia”. Ethnomusicology Review. 17.
Tan, Sooi Beng, 2008, “Activism in Southeast Asian Ethnomusicology: Empowering Youths to Revitalize Traditions and Bridge Cultural Barriers”. Musicological Annual. 44(1).
13. 社會設計（1）
Whitley, Nigel,。2014。《為社會而設計》。游萬來、楊敏英、李盈盈譯。台北：聯經出版公司。
14. 社會設計（2）
宋世祥，2016，《百工裡的人類學家》。果力文化。
15. 社會設計（3）
社會企業從業者專題演講（名單待定）
16. 社會設計（4）
企業法規與組織規範專題演講
演講者:公道法律事務所法律顧問 蔡政忠
17. 期末報告口頭呈現
18. 期末報告口頭呈現
- 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
1.課程內容與上課方式解說
2.樂器學基本概念
3.樂器象徵意含
4.樂器圖像學 韓國璜：〈圖像學〉，《韓國璜音樂文集二》，台北：樂韻。
5.早期樂器發展
6.中國古代樂器發展
7.近代中國樂器改革
8.中國傳統樂器分類法
9.亞洲傳統樂器分類法
10.歐洲傳統樂器分類法
11.西方近現代樂器分類體系：分類方法學
12.西方近現代樂器分類體系：H-S樂器分類法
13.西方近現代樂器分類體系
14.中國近現代樂器分類
15.期末報告
16.期末報告
17.期末報告 繳交
18.學期討論
2.樂器學基本概念
3.樂器象徵意含
4.樂器圖像學 韓國璜：〈圖像學〉，《韓國璜音樂文集二》，台北：樂韻。
5.早期樂器發展
6.中國古代樂器發展
7.近代中國樂器改革
8.中國傳統樂器分類法
9.亞洲傳統樂器分類法
10.歐洲傳統樂器分類法
11.西方近現代樂器分類體系：分類方法學
12.西方近現代樂器分類體系：H-S樂器分類法
13.西方近現代樂器分類體系
14.中國近現代樂器分類
15.期末報告
16.期末報告
17.期末報告 繳交
18.學期討論
- 教師: ted1107 蔡宗德