1.Introductions and Overview
2.Theory and Knowledge of Fieldwork
Nettl, Bruno
1964 “Fieldwork.” Theory and Method in
Ethnomusicology. New York: The Free Press. 2005 “Come Back
and See Next Tuesday.” The
Study of Ethnomusicology: Thirty-one Issues And Concepts.
Champaign: University of Illinois Press.
Myer, Helen
1992 “Fieldwork.” Ethnomusicology: An
Introduction. NY: The Macmillam Press.
3.Theory, Fieldwork Method and Technique
Merriam, Alan P.
1964 “Toward a Theory for Ethnomusicology.” and
“Method and Technique.” The Anthropology of Music, 17-60.
Evanston, Ill.: Northwestern University Press.
Rice, Timothy
1987 “Toward the Remodeling of
Ethnomusicology.” Ethnomusicology 31(3): 469-488.
4.Transcription and analysis
Bruno Nettl
1971 Theory and Method in Ethnomusicology.
New York: The Free Press. (see from chapter
4 to 6). 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.
5.Discussions about Insiders vs. Outsiders and Emic vs. Etic
Nettl, Bruno
2005 “You Will Never Understand This Music:
Insiders and Outsiders.” In The Study of Ethnomusicology: Thirty-one Issues And Concepts. Pp. 149-160. Champaign: University of Illinois Press.
Chou, Chenier
2002 “Experience and Fieldwork: a Native
Researcher’s View.” Ethnomusicology 46(3):
456-486. Rice, Timothy
6.Participant observation
Spradley, James
1980 Particpant Observation. CA: Wadsworth
Publishing Co Inc. Fetterman, David
2010 Ethnography: Step by Step. London: Sage Publishication Ltd.
7.Mid Term
Design documentary film and ethnographic Research Project
Teaching Points:
1. Designing an Ethnographic Research Project
2. The Role of Literature
3. Preparing the Project
4. New models Validity and Reliability in Ethnography
5. Writing a research proposal
6. Data Management
7. Reading Ethnographic Data
8. Analysis of Ethnographic Data
9. Transformation of Ethnographic Data
10. Interpretation of Ethnographic Data
8.Work at Home
Pian, Rulan Chao
1992 “Return of the Native Ethnomusicologist.”
Yearbook for Traditional Music 24: 1-7. Stock, Jonathan P. J., and
Chou Chiener
2008 “Fieldwork at Home: European and Asian Perspectives.” In
Shadows in the Field : New Perspectives for Fieldwork in
Ethnomusicology. Barz and Cooley, ed. Pp.108-124. Oxford, New
York: Oxford University Press.
9.Musical Ethnography
Cooley, Timothy and Barz Gregory
2008 “Casting Shadows in the Field: Fieldwork is
Dead! Long Live Fieldwork!” In Shadows in the Field: New
Perspective for Fieldwork in Ethnomusicology, edited by Gregory
F. Barz and Timothy J. Cooley, 3-24. New York: Oxford
University Press.
Nettl, Bruno
2005 “The Meat and Potatoes Book: Musical
10.New Model
Rice, Timothy
2003 “Time, Place, and Metaphor in Musical
Experience and Ethnography.” Ethnomusicology 47(2): 151- 179.
Killick, Andrew
2003 “Road Test for a New Model: Korean Musical
Narrative and Theater in Comparative Context.” Ethnomusicology
47(2): 180-204.
2.Theory and Knowledge of Fieldwork
Nettl, Bruno
1964 “Fieldwork.” Theory and Method in
Ethnomusicology. New York: The Free Press. 2005 “Come Back
and See Next Tuesday.” The
Study of Ethnomusicology: Thirty-one Issues And Concepts.
Champaign: University of Illinois Press.
Myer, Helen
1992 “Fieldwork.” Ethnomusicology: An
Introduction. NY: The Macmillam Press.
3.Theory, Fieldwork Method and Technique
Merriam, Alan P.
1964 “Toward a Theory for Ethnomusicology.” and
“Method and Technique.” The Anthropology of Music, 17-60.
Evanston, Ill.: Northwestern University Press.
Rice, Timothy
1987 “Toward the Remodeling of
Ethnomusicology.” Ethnomusicology 31(3): 469-488.
4.Transcription and analysis
Bruno Nettl
1971 Theory and Method in Ethnomusicology.
New York: The Free Press. (see from chapter
4 to 6). 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.
5.Discussions about Insiders vs. Outsiders and Emic vs. Etic
Nettl, Bruno
2005 “You Will Never Understand This Music:
Insiders and Outsiders.” In The Study of Ethnomusicology: Thirty-one Issues And Concepts. Pp. 149-160. Champaign: University of Illinois Press.
Chou, Chenier
2002 “Experience and Fieldwork: a Native
Researcher’s View.” Ethnomusicology 46(3):
456-486. Rice, Timothy
6.Participant observation
Spradley, James
1980 Particpant Observation. CA: Wadsworth
Publishing Co Inc. Fetterman, David
2010 Ethnography: Step by Step. London: Sage Publishication Ltd.
7.Mid Term
Design documentary film and ethnographic Research Project
Teaching Points:
1. Designing an Ethnographic Research Project
2. The Role of Literature
3. Preparing the Project
4. New models Validity and Reliability in Ethnography
5. Writing a research proposal
6. Data Management
7. Reading Ethnographic Data
8. Analysis of Ethnographic Data
9. Transformation of Ethnographic Data
10. Interpretation of Ethnographic Data
8.Work at Home
Pian, Rulan Chao
1992 “Return of the Native Ethnomusicologist.”
Yearbook for Traditional Music 24: 1-7. Stock, Jonathan P. J., and
Chou Chiener
2008 “Fieldwork at Home: European and Asian Perspectives.” In
Shadows in the Field : New Perspectives for Fieldwork in
Ethnomusicology. Barz and Cooley, ed. Pp.108-124. Oxford, New
York: Oxford University Press.
9.Musical Ethnography
Cooley, Timothy and Barz Gregory
2008 “Casting Shadows in the Field: Fieldwork is
Dead! Long Live Fieldwork!” In Shadows in the Field: New
Perspective for Fieldwork in Ethnomusicology, edited by Gregory
F. Barz and Timothy J. Cooley, 3-24. New York: Oxford
University Press.
Nettl, Bruno
2005 “The Meat and Potatoes Book: Musical
10.New Model
Rice, Timothy
2003 “Time, Place, and Metaphor in Musical
Experience and Ethnography.” Ethnomusicology 47(2): 151- 179.
Killick, Andrew
2003 “Road Test for a New Model: Korean Musical
Narrative and Theater in Comparative Context.” Ethnomusicology
47(2): 180-204.
- 教師: made.hood 胡敏德
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
1 - 09/11 課程介紹
（1）分派作業。
（2）討論每人研究題目。
2 - 09/18 認識圖書館
（1）參觀圖書館。
（2）學習Endnote書目管理系統。
（3）每人需自備行動電腦。
（4）開始建立每人50筆核心書目。
3 - 09/25 當代人文社會科學研究關懷瀏覽
人文社會科普部落格觀察與討論：
《芭樂人類學》、《巷口社會學》、《歷史學柑仔店》
4 - 10/02 一本學位論文的架構
（1）閱讀與討論：何春蕤，〈何春蕤談論文寫作〉
http://sex.ncu.edu.tw/papers/1-1.php
（2）閱讀與討論：甯應斌，〈甯應斌談人文碩士學位論文寫作〉http://sex.ncu.edu.tw/papers/1-2.php
5 - 10/09 問題意識的設定
（1）閱讀與討論：畢恆達，2010，《教授為什麼沒告訴我》，台北：小畢空間出版社。（第1－第3章）
（2）核心書目搜尋，準備行動電腦。
6 - 10/16 資料蒐集方法
（1）閱讀與討論：畢恆達，2010，《教授為什麼沒告訴我》，台北：小畢空間出版社。（第5章）。
（2）認識音樂百科全書、期刊資料庫。
7 - 10/23 批判性閱讀與書寫書評
（1）閱讀與討論：何春蕤，〈如何練習批判閱讀〉http://sex.ncu.edu.tw/papers/4-3-2.php
（2）閱讀與討論：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
8 - 10/30 論文格式與書目格式
（1）認識課室不同書寫格式。
（2）史料資料庫，準備行動電腦。
9 - 11/06 書寫文獻回顧
（1）閱讀與討論：畢恆達，2010，《教授為什麼沒告訴我》，台北：小畢空間出版社。（第6章）。
（2）閱讀與討論：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
（3）注意：上課前交50筆書目作業，逾期不收件。
10 - 11/13 文獻回顧實例閱讀
王櫻芬，2012，〈導言：錄音科技與臺灣音樂——近年研究回顧〉，《民俗曲藝》，178:1-24。
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。
11 - 11/20 書寫樂評
Corozine, Vince, “How to Write a Music Review - Five Tips for a Successful Music Review”, http://www.vincecorozine.com/articles.php
12 - 11/27 書寫研究計劃書
（1）〈如何撰寫論文計劃〉，http://waytohome.blogspot.tw/2014/11/blog-post.html
（2）注意：上課前交一筆書評作業
13 - 12/04 書寫論文續論
（1）閱讀與討論：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
（2）緒論範例閱讀：藍佩嘉，2019，《跨國灰姑娘：當東南亞幫傭遇上台灣新富家庭》。國立臺灣大學出版中心。（緒論）
14 - 12/11 研究倫理
（1）閱讀與討論：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〉。
（2）閱讀與討論：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。
15 - 12/18 期末報告口頭呈現
16 - 12/25 期末報告口頭呈現
17 - 01/01 放假
18 - 01/08 交期末書面報告
繳交截止時間當天23:59:59。
（1）分派作業。
（2）討論每人研究題目。
2 - 09/18 認識圖書館
（1）參觀圖書館。
（2）學習Endnote書目管理系統。
（3）每人需自備行動電腦。
（4）開始建立每人50筆核心書目。
3 - 09/25 當代人文社會科學研究關懷瀏覽
人文社會科普部落格觀察與討論：
《芭樂人類學》、《巷口社會學》、《歷史學柑仔店》
4 - 10/02 一本學位論文的架構
（1）閱讀與討論：何春蕤，〈何春蕤談論文寫作〉
http://sex.ncu.edu.tw/papers/1-1.php
（2）閱讀與討論：甯應斌，〈甯應斌談人文碩士學位論文寫作〉http://sex.ncu.edu.tw/papers/1-2.php
5 - 10/09 問題意識的設定
（1）閱讀與討論：畢恆達，2010，《教授為什麼沒告訴我》，台北：小畢空間出版社。（第1－第3章）
（2）核心書目搜尋，準備行動電腦。
6 - 10/16 資料蒐集方法
（1）閱讀與討論：畢恆達，2010，《教授為什麼沒告訴我》，台北：小畢空間出版社。（第5章）。
（2）認識音樂百科全書、期刊資料庫。
7 - 10/23 批判性閱讀與書寫書評
（1）閱讀與討論：何春蕤，〈如何練習批判閱讀〉http://sex.ncu.edu.tw/papers/4-3-2.php
（2）閱讀與討論：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
8 - 10/30 論文格式與書目格式
（1）認識課室不同書寫格式。
（2）史料資料庫，準備行動電腦。
9 - 11/06 書寫文獻回顧
（1）閱讀與討論：畢恆達，2010，《教授為什麼沒告訴我》，台北：小畢空間出版社。（第6章）。
（2）閱讀與討論：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
（3）注意：上課前交50筆書目作業，逾期不收件。
10 - 11/13 文獻回顧實例閱讀
王櫻芬，2012，〈導言：錄音科技與臺灣音樂——近年研究回顧〉，《民俗曲藝》，178:1-24。
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。
11 - 11/20 書寫樂評
Corozine, Vince, “How to Write a Music Review - Five Tips for a Successful Music Review”, http://www.vincecorozine.com/articles.php
12 - 11/27 書寫研究計劃書
（1）〈如何撰寫論文計劃〉，http://waytohome.blogspot.tw/2014/11/blog-post.html
（2）注意：上課前交一筆書評作業
13 - 12/04 書寫論文續論
（1）閱讀與討論：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
（2）緒論範例閱讀：藍佩嘉，2019，《跨國灰姑娘：當東南亞幫傭遇上台灣新富家庭》。國立臺灣大學出版中心。（緒論）
14 - 12/11 研究倫理
（1）閱讀與討論：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〉。
（2）閱讀與討論：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。
15 - 12/18 期末報告口頭呈現
16 - 12/25 期末報告口頭呈現
17 - 01/01 放假
18 - 01/08 交期末書面報告
繳交截止時間當天23:59:59。
- 教師: chumengtze 朱夢慈
9/14 Introduction to course content and class regulations
Thomas Turino (2003) Are we global yet? Globalist discourse, cultural formations and the study of Zimbabwean popular music, British Journal of Ethnomusicology, 12:2, 51-79.
9/21 Definition and Research Scope of Ethnomusicology Merriam, Alan: "Ethnomusicology, Discussion and Definition of the Field,"Ethnomusicology 4/3(1960):107-114.
Hood, Mantle: "The Challenge of ""Bi-Musicality," Ethnomusicology 4/2(1960):55-59.
Hood, Mantle: "Introduction," The Ethnomusicologist.
Merriam, Alan："The Study of Ethnomusicology; Toward a Theory for Ethnomusicology," The Anthropology of Music.
9/28 Historical Development of Ethnomusicology Merriam, Alan: "Definitions of 'Comparative Musicology' and 'Ethnomusicology': An Historical-Theoretical Perspective," Ethnomusicology 21/2(1977): 189-204.
Nettl, Bruno: "Prelude: The Harmless Drudge " The Study of Ethnomusicology： Twenty-nine Issues and Concepts. PP.4-8.
Nettl, Bruno: "Recent Directions in Ethnomusicology" Ethnomusicology: An Introduction. Helen Myers ed.
10/5 Ethnomusicology Theory (make up class)
Rice, Timothy (2017): “Ethnomusicological Theory,” Modeling
Ethnomusicology. Oxford: Oxford University Press.
10/12 Research Methodology of Ethnomusicology
Rice, Timothy (2017)："Toward the Remodeling of Ethnomusicology,"
Modeling Ethnomusicology. Oxford: Oxford University Press.
Witzleben, J. Lawrence. “Whose Ethnomusicology? Western
Ethnomusicology and the Study of Asian Music”. Ethnomusicology,41(2), 220-242.
10/19 Transcription
Nettl, Bruno:<譯譜學>,《民族音樂的理論與方法》，沈信一譯。
Jairazbhoy, Nazir A.: "The Objective and Subjective view in Music Transcription" Ethnomusicology, 21/2 (1977): 263-274.
Agawu, Kofi. (2004). “How We Got Out of Analysis, and How to Get Back in Again”. Musical Analysis. 23(2), 267-286.
10/26 Analysis of Musical Style
Tenzer, Michael. (2006). “Introduction: Analysis, Categorization and Theory of Musics of the World” in Analytical Studies in World Music. Oxford
University Press.
Blum, Stephen: "Analysis of Musical Style" Ethnomusicology: An
Introduction.
Herndon, Marcia. (1974). "Analysis: The Herding of Sacred Cows?" Ethnomusicology 18(2), 219-262.
11/2 Mid-Term Oral Reports
11/9 Ethnography of Music
Seeger, Anthony: "Ethnography of Music" Ethnomusicology: An
Introduction.
Nettl, Bruno: "Music and "That Complex Whole, " The Study of Ethnomusicology：Twenty-nine Issues and Concepts.
Blacking, John: "Music in Society and Culture," How Musical Is Man?
Seattle: Univ. of Washington Press.
11/16 Music and Sustainability
Titon, Jeff Todd (2009). “Music and Sustainability: an Ecological
Viewpoint”. The World of Music. 51(1), 119-137.
Guy, Nancy(2009). “Flowing Down Taiwan’s Tamsui River: Towards an Ecomusicology of the Environmental Imagination ” Ethnomusicology 53/2: 218-248.
11/23 Applied Ethnomusicology (make up class)
Harrison, Klisala and Svanibor Pettan (2010) “Introduction.” Applied
Ethnomusicology: Historical and Contemporary Approaches.
Cambridge: Cambridge Scholars.
Harrison, Klisala (2014) “The Second Wave of Applied Ethnomusicology.”
MUSIC cultures 41(1):57-72.
蔡宗德(2015)< 醫療民族音樂學:音聲、醫療與文化的互動 >，《音聲、
儀式與醫療：印尼爪哇民俗療癒文化與活動》。台北：魚籃。
11/30 Music, Space, and Place
Krims, Adam (2012) “Music, Space, and Place: The Geography of Music.”
The Cultural Study of Music: A Critical Introduction. New York:
Routledge.
楊建章、呂心純：〈音樂學研究的空間新視野〉，《人文與社會科學簡 訊》11/1:15-23.
＊hand in Mid-Term Paper
12/7 Workshop on final paper
12/14 Music and Diaspora
Slobin, Mark (2012) “The Destiny of “Diaspora” in Ethnomusicology.” The Cultural Study of Music: A Critical Introduction. New York: Routledge.
Braziel, Jana Evans: “ Introduction Diaspora: Key Terms.” Diaspora: An Introduction. Victoria, Australia: Blackwell Publishing. (2008)
12/21 Popular Music and Ethnomusicology
Grupe, Gerd (2013) “Introduction. Popular Musics: A Challenge for Ethnomusicology?” Ethnomusicology and Popular Music Studies. Gerd Grupe ed. Shaker Verlag
12/28 Allgayer-Kaufmann, Regine (2013) “‘Popular Music’ versus ‘Art’ and ‘Ethno’. Consequences for Musical Analysis ” Ethnomusicology and Popular Music Studies. Gerd Grupe ed. Shaker Verlag.
1/4 Workshop on Final Paper
1/11 Hand in Final Exam paper
Thomas Turino (2003) Are we global yet? Globalist discourse, cultural formations and the study of Zimbabwean popular music, British Journal of Ethnomusicology, 12:2, 51-79.
9/21 Definition and Research Scope of Ethnomusicology Merriam, Alan: "Ethnomusicology, Discussion and Definition of the Field,"Ethnomusicology 4/3(1960):107-114.
Hood, Mantle: "The Challenge of ""Bi-Musicality," Ethnomusicology 4/2(1960):55-59.
Hood, Mantle: "Introduction," The Ethnomusicologist.
Merriam, Alan："The Study of Ethnomusicology; Toward a Theory for Ethnomusicology," The Anthropology of Music.
9/28 Historical Development of Ethnomusicology Merriam, Alan: "Definitions of 'Comparative Musicology' and 'Ethnomusicology': An Historical-Theoretical Perspective," Ethnomusicology 21/2(1977): 189-204.
Nettl, Bruno: "Prelude: The Harmless Drudge " The Study of Ethnomusicology： Twenty-nine Issues and Concepts. PP.4-8.
Nettl, Bruno: "Recent Directions in Ethnomusicology" Ethnomusicology: An Introduction. Helen Myers ed.
10/5 Ethnomusicology Theory (make up class)
Rice, Timothy (2017): “Ethnomusicological Theory,” Modeling
Ethnomusicology. Oxford: Oxford University Press.
10/12 Research Methodology of Ethnomusicology
Rice, Timothy (2017)："Toward the Remodeling of Ethnomusicology,"
Modeling Ethnomusicology. Oxford: Oxford University Press.
Witzleben, J. Lawrence. “Whose Ethnomusicology? Western
Ethnomusicology and the Study of Asian Music”. Ethnomusicology,41(2), 220-242.
10/19 Transcription
Nettl, Bruno:<譯譜學>,《民族音樂的理論與方法》，沈信一譯。
Jairazbhoy, Nazir A.: "The Objective and Subjective view in Music Transcription" Ethnomusicology, 21/2 (1977): 263-274.
Agawu, Kofi. (2004). “How We Got Out of Analysis, and How to Get Back in Again”. Musical Analysis. 23(2), 267-286.
10/26 Analysis of Musical Style
Tenzer, Michael. (2006). “Introduction: Analysis, Categorization and Theory of Musics of the World” in Analytical Studies in World Music. Oxford
University Press.
Blum, Stephen: "Analysis of Musical Style" Ethnomusicology: An
Introduction.
Herndon, Marcia. (1974). "Analysis: The Herding of Sacred Cows?" Ethnomusicology 18(2), 219-262.
11/2 Mid-Term Oral Reports
11/9 Ethnography of Music
Seeger, Anthony: "Ethnography of Music" Ethnomusicology: An
Introduction.
Nettl, Bruno: "Music and "That Complex Whole, " The Study of Ethnomusicology：Twenty-nine Issues and Concepts.
Blacking, John: "Music in Society and Culture," How Musical Is Man?
Seattle: Univ. of Washington Press.
11/16 Music and Sustainability
Titon, Jeff Todd (2009). “Music and Sustainability: an Ecological
Viewpoint”. The World of Music. 51(1), 119-137.
Guy, Nancy(2009). “Flowing Down Taiwan’s Tamsui River: Towards an Ecomusicology of the Environmental Imagination ” Ethnomusicology 53/2: 218-248.
11/23 Applied Ethnomusicology (make up class)
Harrison, Klisala and Svanibor Pettan (2010) “Introduction.” Applied
Ethnomusicology: Historical and Contemporary Approaches.
Cambridge: Cambridge Scholars.
Harrison, Klisala (2014) “The Second Wave of Applied Ethnomusicology.”
MUSIC cultures 41(1):57-72.
蔡宗德(2015)< 醫療民族音樂學:音聲、醫療與文化的互動 >，《音聲、
儀式與醫療：印尼爪哇民俗療癒文化與活動》。台北：魚籃。
11/30 Music, Space, and Place
Krims, Adam (2012) “Music, Space, and Place: The Geography of Music.”
The Cultural Study of Music: A Critical Introduction. New York:
Routledge.
楊建章、呂心純：〈音樂學研究的空間新視野〉，《人文與社會科學簡 訊》11/1:15-23.
＊hand in Mid-Term Paper
12/7 Workshop on final paper
12/14 Music and Diaspora
Slobin, Mark (2012) “The Destiny of “Diaspora” in Ethnomusicology.” The Cultural Study of Music: A Critical Introduction. New York: Routledge.
Braziel, Jana Evans: “ Introduction Diaspora: Key Terms.” Diaspora: An Introduction. Victoria, Australia: Blackwell Publishing. (2008)
12/21 Popular Music and Ethnomusicology
Grupe, Gerd (2013) “Introduction. Popular Musics: A Challenge for Ethnomusicology?” Ethnomusicology and Popular Music Studies. Gerd Grupe ed. Shaker Verlag
12/28 Allgayer-Kaufmann, Regine (2013) “‘Popular Music’ versus ‘Art’ and ‘Ethno’. Consequences for Musical Analysis ” Ethnomusicology and Popular Music Studies. Gerd Grupe ed. Shaker Verlag.
1/4 Workshop on Final Paper
1/11 Hand in Final Exam paper
- 教師: made.hood 胡敏德
ㄧ.模板製作
二.側板製作
三.面板製作
四.背板製作
五.琴頸製作
六.上漆
七.裝配
八.調音
二.側板製作
三.面板製作
四.背板製作
五.琴頸製作
六.上漆
七.裝配
八.調音
- 教師: khchen 陳國華
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。
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。
- 教師: khchen 陳國華
1. 課程介紹
2. 為什麼要批判⾳樂類型？
Fabbri, Franco. (1982). A Theory of Musical Genres: Two Applications. In D. Horn & P. Tagg (Eds.),
Popular Music Perspectives, pp. 52–81.
Holt, Fabian. (2007). Genre in Popular Music. University of Chicago Press.（導論)
3. 分類的社會基礎
Brackett, David. (2016). Categorizing Sound: Genre and Twentieth-Century Popular Music. University
of California Press.（Ch. 1）
Lena, Jennifer C. & Peterson, Richard A. (2008). "Classification as Culture: Types and Trajectories of
Music Genres." American Sociological Review, 73(5), 697–718.
4. ⾼低⽂化的建構
Bohlman, Philip V. (1988). The Study of Folk Music in the Modern World. Indiana University Press.
（Ch. 1–2）
2025/5/4 晚上11:53 Syllabus for Critical Reading of Genre Classification in Music
https://canvas.instructure.com/courses/11937181/assignments/syllabus 1/3Taruskin, Richard. (2005). The Oxford History of Western Music, Vol. 1.（選讀關於19世紀⾳樂分類）
5. 爵⼠樂的分類困境：種族、藝術與歷史
DeVeaux, Scott. (1991). "Constructing the Jazz Tradition: Jazz Historiography." Black American
Literature Forum, 25(3), 525–560.
Monson, Ingrid. (2007). Freedom Sounds: Civil Rights Call Out to Jazz and Africa. Oxford University
Press.（Ch. 3）
6. 搖滾、流⾏與性別正統性
Frith, Simon. (1996). Performing Rites: On the Value of Popular Music. Harvard University Press.
（Ch. 4: Genre Rules）
Regev, Motti. (1994). "Producing Artistic Value: The Case of Rock Music." The Sociological Quarterly,
35(1), 85–102.
7.「世界⾳樂」的邊界與標籤政治
Feld, Steven. (2000). "A Sweet Lullaby for World Music." Public Culture, 12(1), 145–171.
Taylor, Timothy D. (1997). Global Pop: World Music, World Markets. Routledge.（Ch. 2）
8. 電⼦⾳樂與風格混種
Born, Georgina. (2011). "Music and the Materialization of Identities." Journal of Material Culture,
16(4), 376–388.
Nowak, Raphaël. (2016). "The Co-construction of Musical Genre: The Case of Electronic Music."
Cultural Sociology, 10(2), 185–199.
9. 類型與媒體：串流、評論與分類演算法
Morris, Jeremy Wade. (2015). Selling Digital Music, Formatting Culture. University of California Press.
（Ch. 4: Metadata and Genre）
Eriksson, Maria et al. (2019). Spotify Teardown: Inside the Black Box of Streaming Music. MIT Press.
（Ch. 3）
10. 類型與國族：國家、政策與⽂化框架
Wong, Deborah. (2001). Speak It Louder: Asian Americans Making Music. Routledge.（Ch. 5）
Regev, Motti. (2013). Pop-Rock Music: Aesthetic Cosmopolitanism in Late
Modernity. Polity.（Ch. 6）
11. 性別與⾳樂類型的邊界重組
Whiteley, Sheila. (2000). Women and Popular Music: Sexuality, Identity and Subjectivity. Routledge.
（Ch. 2–3）
2025/5/4 晚上11:53 Syllabus for Critical Reading of Genre Classification in Music
https://canvas.instructure.com/courses/11937181/assignments/syllabus 2/3Course Summary:
Date Details Due
Cusick, Suzanne G. (1999). "On a Lesbian Relationship with Music." In Queering the Pitch, ed. Brett,
Wood, and Thomas. Routledge.
12. 種族、認同與⿊⼈⾳樂的分類實踐
Neal, Mark Anthony. (2002). Songs in the Key of Black Life: A Rhythm and Blues Nation. Routledge.
（Ch. 1）
Gilroy, Paul. (1993). The Black Atlantic: Modernity and Double Consciousness. Harvard University
Press.（Ch. 3）
13. ⾳樂類型與⾃我：創作者如何與分類互動？
Stokes, Martin. (1994). Ethnicity, Identity and Music: The Musical Construction of
Place. Berg.（導論）
Appadurai, Arjun. (1996). Modernity at Large. University of Minnesota Press.（Ch. 2）
14. ⾳樂研究與分類：⺠族⾳樂學的反思
Nettl, Bruno. (2005). The Study of Ethnomusicology: Thirty-one Issues and Concepts. University of
Illinois Press.（Ch. 10）
Born, Georgina & Hesmondhalgh, David (Eds.). (2000). Western Music and Its Others. University of
California Press.（Ch. 1）
15. 期末報告⼝頭呈現
16. 交期末報告
附註：學期中有兩⾨為邀請外籍教授演講
2. 為什麼要批判⾳樂類型？
Fabbri, Franco. (1982). A Theory of Musical Genres: Two Applications. In D. Horn & P. Tagg (Eds.),
Popular Music Perspectives, pp. 52–81.
Holt, Fabian. (2007). Genre in Popular Music. University of Chicago Press.（導論)
3. 分類的社會基礎
Brackett, David. (2016). Categorizing Sound: Genre and Twentieth-Century Popular Music. University
of California Press.（Ch. 1）
Lena, Jennifer C. & Peterson, Richard A. (2008). "Classification as Culture: Types and Trajectories of
Music Genres." American Sociological Review, 73(5), 697–718.
4. ⾼低⽂化的建構
Bohlman, Philip V. (1988). The Study of Folk Music in the Modern World. Indiana University Press.
（Ch. 1–2）
2025/5/4 晚上11:53 Syllabus for Critical Reading of Genre Classification in Music
https://canvas.instructure.com/courses/11937181/assignments/syllabus 1/3Taruskin, Richard. (2005). The Oxford History of Western Music, Vol. 1.（選讀關於19世紀⾳樂分類）
5. 爵⼠樂的分類困境：種族、藝術與歷史
DeVeaux, Scott. (1991). "Constructing the Jazz Tradition: Jazz Historiography." Black American
Literature Forum, 25(3), 525–560.
Monson, Ingrid. (2007). Freedom Sounds: Civil Rights Call Out to Jazz and Africa. Oxford University
Press.（Ch. 3）
6. 搖滾、流⾏與性別正統性
Frith, Simon. (1996). Performing Rites: On the Value of Popular Music. Harvard University Press.
（Ch. 4: Genre Rules）
Regev, Motti. (1994). "Producing Artistic Value: The Case of Rock Music." The Sociological Quarterly,
35(1), 85–102.
7.「世界⾳樂」的邊界與標籤政治
Feld, Steven. (2000). "A Sweet Lullaby for World Music." Public Culture, 12(1), 145–171.
Taylor, Timothy D. (1997). Global Pop: World Music, World Markets. Routledge.（Ch. 2）
8. 電⼦⾳樂與風格混種
Born, Georgina. (2011). "Music and the Materialization of Identities." Journal of Material Culture,
16(4), 376–388.
Nowak, Raphaël. (2016). "The Co-construction of Musical Genre: The Case of Electronic Music."
Cultural Sociology, 10(2), 185–199.
9. 類型與媒體：串流、評論與分類演算法
Morris, Jeremy Wade. (2015). Selling Digital Music, Formatting Culture. University of California Press.
（Ch. 4: Metadata and Genre）
Eriksson, Maria et al. (2019). Spotify Teardown: Inside the Black Box of Streaming Music. MIT Press.
（Ch. 3）
10. 類型與國族：國家、政策與⽂化框架
Wong, Deborah. (2001). Speak It Louder: Asian Americans Making Music. Routledge.（Ch. 5）
Regev, Motti. (2013). Pop-Rock Music: Aesthetic Cosmopolitanism in Late
Modernity. Polity.（Ch. 6）
11. 性別與⾳樂類型的邊界重組
Whiteley, Sheila. (2000). Women and Popular Music: Sexuality, Identity and Subjectivity. Routledge.
（Ch. 2–3）
2025/5/4 晚上11:53 Syllabus for Critical Reading of Genre Classification in Music
https://canvas.instructure.com/courses/11937181/assignments/syllabus 2/3Course Summary:
Date Details Due
Cusick, Suzanne G. (1999). "On a Lesbian Relationship with Music." In Queering the Pitch, ed. Brett,
Wood, and Thomas. Routledge.
12. 種族、認同與⿊⼈⾳樂的分類實踐
Neal, Mark Anthony. (2002). Songs in the Key of Black Life: A Rhythm and Blues Nation. Routledge.
（Ch. 1）
Gilroy, Paul. (1993). The Black Atlantic: Modernity and Double Consciousness. Harvard University
Press.（Ch. 3）
13. ⾳樂類型與⾃我：創作者如何與分類互動？
Stokes, Martin. (1994). Ethnicity, Identity and Music: The Musical Construction of
Place. Berg.（導論）
Appadurai, Arjun. (1996). Modernity at Large. University of Minnesota Press.（Ch. 2）
14. ⾳樂研究與分類：⺠族⾳樂學的反思
Nettl, Bruno. (2005). The Study of Ethnomusicology: Thirty-one Issues and Concepts. University of
Illinois Press.（Ch. 10）
Born, Georgina & Hesmondhalgh, David (Eds.). (2000). Western Music and Its Others. University of
California Press.（Ch. 1）
15. 期末報告⼝頭呈現
16. 交期末報告
附註：學期中有兩⾨為邀請外籍教授演講
- 教師: chumengtze 朱夢慈