1.AI音樂人工智慧的現況
2.AI音樂人工智慧的研究成果
3.自動伴奏的研究成果
4.自動伴奏的方法
5.自動作曲的方法
6.自動作曲的研究成果
7.人工智慧應用上的技術與模型
8.深度學習與音樂創作
9.人工智慧音樂創作
2.AI音樂人工智慧的研究成果
3.自動伴奏的研究成果
4.自動伴奏的方法
5.自動作曲的方法
6.自動作曲的研究成果
7.人工智慧應用上的技術與模型
8.深度學習與音樂創作
9.人工智慧音樂創作
- Teacher: 翁志文 ivan
每週課程進度
1.課程簡述
2.浪漫派與音樂評論發展史
3.音樂評論的個性化與類型化
4. 音樂評論的物件與內容
5. 音樂評論的本質與屬性
6. 音樂評論的學風與文風
7.接受美學視角下的音樂評論(一)
8.接受美學視角下的音樂評論(二)
9.實驗美學視角下的音樂評論(一)
10.實驗美學視角下的音樂評論(二)
11.藝術學視角下的音樂評論(一)
12. 藝術學視角下的音樂評論(二)
13. 布赫迪厄Art field視角下的音樂評論(一)
14. 布赫迪厄Art field視角下的音樂評論(二)
15.唱片與現場演出評論
16.中西媒體與音樂評論
17.自主學習(綜合評論)
18.自主學習(總結)
1.課程簡述
2.浪漫派與音樂評論發展史
3.音樂評論的個性化與類型化
4. 音樂評論的物件與內容
5. 音樂評論的本質與屬性
6. 音樂評論的學風與文風
7.接受美學視角下的音樂評論(一)
8.接受美學視角下的音樂評論(二)
9.實驗美學視角下的音樂評論(一)
10.實驗美學視角下的音樂評論(二)
11.藝術學視角下的音樂評論(一)
12. 藝術學視角下的音樂評論(二)
13. 布赫迪厄Art field視角下的音樂評論(一)
14. 布赫迪厄Art field視角下的音樂評論(二)
15.唱片與現場演出評論
16.中西媒體與音樂評論
17.自主學習(綜合評論)
18.自主學習(總結)
- Teacher: 潘罡 pankang
UNIT 1: Threatened Musical Traditions
WEEK 1
Course Introduction: ‘Cultural Preservation’
§ Reading
• Titon, J. T. (2009a). “Economy, ecology, and music: An introduction”
• Titon, J. T. (2009b). Music and sustainability: An ecological viewpoint.”
WEEK 2
Protection versus Revival
§ Reading
Grant, "Rethinking Safeguarding: Objections and Responses to Protecting and Promoting Endangered Musical Heritage” Turino, "Four Fields of Music Making and Sustainable Living"
§ Assignment Due:
WEEK 3
Cultural Policy
§ Reading
Grant, Catherine. (2016). “Music sustainability strategies and interventions”
WEEK 4:
§ Reading
Tan, Sooi Beng. (2008). “Activism in Southeast Asian Ethnomusicology: Empowering Youths to Revitalize Traditions and Bridge Cultural Barriers.”
§ Assignment Due:
UNIT 2: Applied Ethnomusicology
WEEK 5:
§ Reading
Titon, J. T. and Pettan, S. (2016). “An Introduction to Applied Ethnomusicology”.
§ Assignment Due:
WEEK 6:
§ Reading
o Mackinlay, Elizabeth. (2010). “Big Women from Burulula: An Approach to Advocacy and Applied Ethnomusicology”
§ Assignment Due:
o Reading Response 1
WEEK 7
§ Reading
Dirksen, Rebecca. (2012). “Reconsidering Theory and Practice in Ethnomusicology: Applying, Advocating and Engaging Beyond Academia.” Ethnomusicology Review 17.
WEEK 8
Demonstrations
§ In-class Activity:
o Case Study Presentations
UNIT 3: Tourism and Cultural Heritage
WEEK 9
§ Reading
o Diettrich, Brian. 2018. “Ephemerality and Permanence: Situating Performance as Intangible Cultural Heritage.” In Salvatore, Cecilia Lizama (ed.). Cultural Heritage Care and Management: Theory and Practice. London: Rowman and Littlefield. p. 17-28.
§ In-class Activity:
o Case Study Presentations
WEEK 10
§ Reading
o Akagawa, Natsuko. (2015). “Intangible Heritage and Embodiment.” In W. Logan, M. N. Craith, & U. Kockel, A Companion to Heritage Studies (pp. 69-86). Chichester: Wiley Blackwell.
§ In-class Activity:
o Case Study Presentations
WEEK 11
§ Reading
Livingston, Tamara. 2014. “An Expanded Theory for Revivals as Cosmopolitan Participatory
Music Making.” In Bithell, C., & Hill, J. (eds.), The Oxford handbook of music Revival. (pp. 60-
72). New York: Oxford University Press.
§ In-class Activity:
o Case Study Presentations
WEEK 12
§ Reading
o Tan, Sooi Beng. (2014). “Modernizing Songs of the Forest: Indigenous Communities
Negotiate Tensions of Change in Malaysia.”
§ In-class Activity:
o Case Study Presentations
WEEK 13
§ Reading
o UNESCO. (2016a, November 12). United Nations Educational, Scientific and Cultural
Organisation: Intangible Cultural Heritage. Darangen Epic. Retrieved from United Nations Educational, Scientific and Cultural Organisation web site:
https://ich.unesco.org/en/RL/darangen-epic-of-the-maranao-people-of-lake-lanao-00159
Unit 4: Sound, Place and Space
WEEK 14
§ Reading
o Timothy, Dallen J. 2011. Cultural Heritage and Tourism: An Introduction. Bristol: Channel
New Publishers.
WEEK 15
§ Reading:
o Salvatore, Cecilia Lizama, ed. 2018. Cultural Heritage Care and Management: Theory and
Practice. London: Rowman and Littlefield.
§ Assignment Due:
o Reading Response 3
WEEK 16
§ Reading
o Ruggles, Fairchild. D., & Silverman, Helaine. 2008. Cultural Heritage and Human Rights.
United States of America: Springer.
§ Assignment Due:
o Social Justice Playlis
WEEK 17-18
Thematic self-directed learning (exploration and practice)
WEEK 1
Course Introduction: ‘Cultural Preservation’
§ Reading
• Titon, J. T. (2009a). “Economy, ecology, and music: An introduction”
• Titon, J. T. (2009b). Music and sustainability: An ecological viewpoint.”
WEEK 2
Protection versus Revival
§ Reading
Grant, "Rethinking Safeguarding: Objections and Responses to Protecting and Promoting Endangered Musical Heritage” Turino, "Four Fields of Music Making and Sustainable Living"
§ Assignment Due:
WEEK 3
Cultural Policy
§ Reading
Grant, Catherine. (2016). “Music sustainability strategies and interventions”
WEEK 4:
§ Reading
Tan, Sooi Beng. (2008). “Activism in Southeast Asian Ethnomusicology: Empowering Youths to Revitalize Traditions and Bridge Cultural Barriers.”
§ Assignment Due:
UNIT 2: Applied Ethnomusicology
WEEK 5:
§ Reading
Titon, J. T. and Pettan, S. (2016). “An Introduction to Applied Ethnomusicology”.
§ Assignment Due:
WEEK 6:
§ Reading
o Mackinlay, Elizabeth. (2010). “Big Women from Burulula: An Approach to Advocacy and Applied Ethnomusicology”
§ Assignment Due:
o Reading Response 1
WEEK 7
§ Reading
Dirksen, Rebecca. (2012). “Reconsidering Theory and Practice in Ethnomusicology: Applying, Advocating and Engaging Beyond Academia.” Ethnomusicology Review 17.
WEEK 8
Demonstrations
§ In-class Activity:
o Case Study Presentations
UNIT 3: Tourism and Cultural Heritage
WEEK 9
§ Reading
o Diettrich, Brian. 2018. “Ephemerality and Permanence: Situating Performance as Intangible Cultural Heritage.” In Salvatore, Cecilia Lizama (ed.). Cultural Heritage Care and Management: Theory and Practice. London: Rowman and Littlefield. p. 17-28.
§ In-class Activity:
o Case Study Presentations
WEEK 10
§ Reading
o Akagawa, Natsuko. (2015). “Intangible Heritage and Embodiment.” In W. Logan, M. N. Craith, & U. Kockel, A Companion to Heritage Studies (pp. 69-86). Chichester: Wiley Blackwell.
§ In-class Activity:
o Case Study Presentations
WEEK 11
§ Reading
Livingston, Tamara. 2014. “An Expanded Theory for Revivals as Cosmopolitan Participatory
Music Making.” In Bithell, C., & Hill, J. (eds.), The Oxford handbook of music Revival. (pp. 60-
72). New York: Oxford University Press.
§ In-class Activity:
o Case Study Presentations
WEEK 12
§ Reading
o Tan, Sooi Beng. (2014). “Modernizing Songs of the Forest: Indigenous Communities
Negotiate Tensions of Change in Malaysia.”
§ In-class Activity:
o Case Study Presentations
WEEK 13
§ Reading
o UNESCO. (2016a, November 12). United Nations Educational, Scientific and Cultural
Organisation: Intangible Cultural Heritage. Darangen Epic. Retrieved from United Nations Educational, Scientific and Cultural Organisation web site:
https://ich.unesco.org/en/RL/darangen-epic-of-the-maranao-people-of-lake-lanao-00159
Unit 4: Sound, Place and Space
WEEK 14
§ Reading
o Timothy, Dallen J. 2011. Cultural Heritage and Tourism: An Introduction. Bristol: Channel
New Publishers.
WEEK 15
§ Reading:
o Salvatore, Cecilia Lizama, ed. 2018. Cultural Heritage Care and Management: Theory and
Practice. London: Rowman and Littlefield.
§ Assignment Due:
o Reading Response 3
WEEK 16
§ Reading
o Ruggles, Fairchild. D., & Silverman, Helaine. 2008. Cultural Heritage and Human Rights.
United States of America: Springer.
§ Assignment Due:
o Social Justice Playlis
WEEK 17-18
Thematic self-directed learning (exploration and practice)
- Teacher: 胡敏德 made.hood
1. 課程介紹
2. 聲音的紀錄與再現：從留聲機到磁帶
3. 電子樂器的出現與音色革命
4. 數位化轉向與MIDI革命
5. 音訊處理技術與民族音樂研究
6. 音樂資料庫與典藏
7. 科技介入的音樂創作與再現
8. AI 音樂與生成式科技
9. 期中報告：技術史或案例研究
10.虛擬實境（VR/AR）與沉浸式文化體驗
11.移動科技與音樂流動性（Mobility）
12.科技與文化政治
13.聲音民族誌與新媒體
14.樂器科技的文化再詮釋
15.科技在音樂教育與傳習中的角色
16.學生專題討論與工作坊
17-18.主題自主學習（探究與實作）。
音樂與科技多樣的設想、批判與實踐(書面報告)（2週）。
2. 聲音的紀錄與再現：從留聲機到磁帶
3. 電子樂器的出現與音色革命
4. 數位化轉向與MIDI革命
5. 音訊處理技術與民族音樂研究
6. 音樂資料庫與典藏
7. 科技介入的音樂創作與再現
8. AI 音樂與生成式科技
9. 期中報告：技術史或案例研究
10.虛擬實境（VR/AR）與沉浸式文化體驗
11.移動科技與音樂流動性（Mobility）
12.科技與文化政治
13.聲音民族誌與新媒體
14.樂器科技的文化再詮釋
15.科技在音樂教育與傳習中的角色
16.學生專題討論與工作坊
17-18.主題自主學習（探究與實作）。
音樂與科技多樣的設想、批判與實踐(書面報告)（2週）。
- Teacher: 朱夢慈 chumengtze
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 17-18
Thematic self-directed learning (exploration and practice)
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 17-18
Thematic self-directed learning (exploration and practice)
- Teacher: 胡敏德 made.hood
第1週：課程介紹與AI數字人概述
第2週：3D圖學基礎
第3週：數字人建模
第4、5週：人工智能概論
第6週：期末作業劇本討論
第7週：動作捕捉設備介紹
第8週：數字人設計
第9週：表演音樂
第10、11週：數字人動作捕捉
第12週：數字人系統整合
第13、14週：數字人系統效能調校
第15週：前沿技術與未來趨勢
第16週：學生項目開發
第17週：項目展示與反饋
第18週：課程總結與未來展望
第2週：3D圖學基礎
第3週：數字人建模
第4、5週：人工智能概論
第6週：期末作業劇本討論
第7週：動作捕捉設備介紹
第8週：數字人設計
第9週：表演音樂
第10、11週：數字人動作捕捉
第12週：數字人系統整合
第13、14週：數字人系統效能調校
第15週：前沿技術與未來趨勢
第16週：學生項目開發
第17週：項目展示與反饋
第18週：課程總結與未來展望
- Teacher: 劉聖賢 johnliu