WEEK 1
Course Introduction: syllabus and topic introduction on Creative Resources, practice-based
research methods and world views from Indonesia in research
WEEK 2:
Read, define and assess Smith and Dean. (2009). Practice-led Research, Research-led
Practice and in the Creative Arts. Edinburgh: Edinburgh University Press. p. 1-25.
Homework – define the following terms: research-led practice; practice-led research;
generalizable knowledge; transferable knowledge; non-verbal transmission; conceptual
research; qualitative and quantitative research; praxical knowledge; fictocriticism; mutual
reciprocity.
Using Figure 1.1 (p.20) of Smith and Dean (2009):
1. choose a performance practice from Youtube (art installation, video
production, musical performance, theatrical drama, dance choreography,
etc.);
2. Consider which elements of research and practice in the cycle in Figure 1.1
may be considered for the analysis of your chosen performance practice;
3. Analyze different entry points of analysis on the iterative cycle web in Figure
1.1 that are currently expressed in the performance;
4. speculate on research outcomes on a continuum from traditional paperbased
publication through to the creative work.
o Select a performance practice to assess as practice-based research through the method
of iterative cycles
9
WEEK 3: Performing and Practice for Theoretical Research
§ Reading
Witzleben, Larry. (2010). Performing in the Shadows: Learning and Making Music as
Ethnomusicological Practice and Theory. Yearbook for Traditional Music, 42: 135-166.
WEEK 4: Guide to Practice-based research
§ Reading
Candy, Linda. (2006). Practice-based Research: A Guide. Creativity and Cognition Studios.
Sydney: University of Technology, Sydney, p.1-19.
WEEK 5: Music and Technology through Practice
§ Reading
Herbst, Jan. (2017). Remixing Dub Reggae in the Music Classroom: A Practice-based Case
Study on the Value of Music Production. Journal of Music Technology and Education. 9(3):
255-272.
WEEK 6: Performing the Voice
§ Reading
Magnat, Virginie. (2020). The Performative Power of Vocality. New York: Routledge Press. p.
1-41.
Choose three instruments of the same type (areo, chordo, membrano, or idiophone) for a
comparative acoustic profile study. Ex. 3 types of bowed lutes recorded and compared wave
form. Download the software called Audacity and read the manual:
https://manual.audacityteam.org/# Chinese version is available
WEEK 7 Ethnomusicology, Heritage and Practice as Research
§ Reading
McKerrell, Simon. (2021). ‘Towards Practice Research in Ethnomusicology’. Ethnomusicology
Forum. DOI: 10.1080/17411912.2021.1964374
10
_______ and Pfeiffer, K. (2020). ‘On the Relationship Between Performance and Intangible
Cultural Heritage’. In Kockel U., Clopot, C., Tjarve, B. Craith, M. N., Eds. Heritage and
Festivals in Europe: Performing Identities. p. 18-28.
WEEK 8 Somaesthetics and Embodiment in the Arts
§ Reading
Shusterman, R. (2006). ‘Thinking Through the Body, Educating for the Humanities: A Plea for
Somaesthetics’. The Journal of Aesthetic Education. 40(1): 1-21.
_______. (2019). ‘Somaesthetic Practice and the Question of Norms’. In Buch, A. Schatzki, T.
Eds. Questions of Practice in Philosophy and Social Theory. p. 136-154.
WEEK 9 South India and Ethnomusicological Performance Practice
§ Reading
Slawek, S. (1994). ‘The Study of Performance Practice as a Research Method: A South Asian
Example. International Journal of Musicology. Vol. 3, 9-22.
Unit 2: Worldviews and Multiple Ontolgoies of ‘Art’
WEEK 10
§ Reading
Hood M. M. and Hutchinson, S. (2020). ‘Beyond the Binary of Choreomusicology: Moving
From Ethnotheory Towards Local Ontologies’. the world of music (new series). 9(2): 69-88.
WEEK 11
§ Reading
Savage, R. (2009). Being, Transcendence and the Ontology of Music. The World of Music.
15(2): 7-22.
WEEK 12
11
§ Reading
Bohlman, Philip. (1999). ‘Ontologies of Music’. In Rethinking Music, Nicholas Cook and Mark
Everst, Eds. Oxford: Oxford University Press, 17-34.
WEEK 13
§ Reading
Bailey, John. (2001). ‘Learning to Perform as a Research Technique in Ethnomusicology’.
British Journal of Ethnomusicology, 10(2); 85-98.
Adkins, Molly. (1998). Bi-musicality in Japanese Folksong and Italian art song: a study in
vocal timbre. Tokyo National University.
WEEK 14
§ Reading
Titon, Jeff. (). Bi-musicality as Metaphor. Journal of American Folklore, 108(429): 287-297
WEEK 15
Harris, Rachel. (2024). ‘The Aesthetics and Imaginaries of Uyghur Heritage, Chinese Tourism,
and the Xinjiang Dance Craze’. International Journal of Heritage Studies. DOI:
10.1080/13527258.2024.2342289
WEEK 16
§ Reading
Pegg, Carole. (2024). Drones, Tones and Timbres: Sounding Place Among Nomads of the
Inner-Asian Mountain Steppes. Urbana: University of Illinois Press.
WEEK 17
§ Draft final paper discussion and presentation rehearsal
12
WEEK 18
§ Final Paper Presentation

1.互動式音樂概論
2.文獻探討與作品賞析
3.MAX/MSP功能介紹
4.MAX之patch建構與感應器
5.互動樂器DIY
6.互動音樂作品解析（一）
7.互動式音樂設計法（一）
8.互動式音樂設計法（二）
9.期中考（作品發表）
10.AudioMulch-metasurface即時互動
11.AudioMulch-Automation預置互動
12.互動音樂作品解析（二）
13.感應器介紹
14.互動式音樂設計法（三）
15.互動式音樂設計法（四）
16.互動音樂創作（一）
17.互動音樂創作（二）
18.期末考

1.Introduce to contents of the course
2.What Is Aapplied Ethnomusicology
3.The Development of Applied Ethnomusicology
4.Musical Heritage and Sustainability
5.Musical Heritage in China
6.Musical Heritage in Indonesia
7.Medical Ethnomusicology
8.Medical Ethnomusicology in the Western World
9.Medical Ethnomusicology in Asia and Afirca
10.Music and Violence
11.Music and War
12.Music and Social Justice
13.Music and Minority
14.Educational Ethnomusicology
15.Ethnomusicology in Higher Education
16.World Music Education
17.Music Education and Multiculture
18.Presentation of Term Paper
*Hand in the term paper

本課程針對曾侯乙編鐘、賈湖骨笛、環保二胡、音高尺度、最小可辨音差和阿炳音律傾向的測定等六個專題為主要內容，分成十二個講述單元：
一、曾侯乙編鐘的測音方法
二、曾侯乙編鐘的音律研究成果
三、賈湖骨笛的測音方法
四、賈湖骨笛的研究成果
五、環保二胡的測音方法
六、環保二胡的研究成果
七、人耳最小可辨音差的測音方法
八、人耳最小可辨音差的研究成果
九、最小可辨音差的測音方法
十、最小可辨音差的研究成果
十一、阿炳音律傾向的測音方法
十二、阿炳音律傾向的研究成果
以上各單元，隨每一單元課程進行同時，分別列舉相關實例及文獻，進而討論所涉理論與實際發展。