Class 1: What is Oceania? Introduction to Course Content and Class Regulations
Class 2: Our Sea of Islands: A Transposed View from Oceania
Hau‘ofa, Epeli. “Our Sea of Islands.” The Contemporary Pacific 6, no. 1 (Spring 1994): 147–161.
Morris-Suzuki, Tessa. On the Frontiers of History: Rethinking East Asian Borders. ANU Press, 2020.
Class 3: Oceanian Cosmology and Creation of the World.
Dening, Greg. 1989. “History ‘in’ the Pacific.” Contemporary Pacific 1: 134-39.
Nicholas Thomas. 1997. In Oceania: Visions, Artifacts, Histories. Duke University Press.
Class 4: Songline, Dreaming, and Linkages to Ancestral Spirits
Barwick, Linda. 2019. Central Australian Women's Ritual Music: Knowing through Analysis Versus Knowing through Performance. Cambridge University Press.
Mackinlay, E. 1999. “Music for dreaming: Aboriginal lullabies in the Yanyuwa community at Borroloola, Northern Territory.” British Journal of Ethnomusicology, 8(1), 97–111.
Class 5: Singing History, Dancing Geneaology
Dening, Greg. 1996. Performances. Melbourne: Melbourne University Press.
D’Arcy, Paul. 2008. The People of the Sea: Environment, Identity, and History in Oceania. University of Hawaii Press.
Class 6: Festival of Pacific Arts
d’Hauteserre, A. M. 2011. “Festival of Pacific Arts: education in multi-cultural encounters.” International Research in Geographical and Environmental Education, 20(4), 273–280.
Bendrups, D. 2014. “Popular music, cultural policy, and the Festival of Pacific Arts.” Perfect Beat, 14(2), 158-174.
Class 7: Decolonization of the Pacific
Diettrich, Brian. 2018. “A Sea of Voices: Performance, Relations, and Belonging in Saltwater Places.” Yearbook for Traditional Music.
Katerina Teaiwa, Katerina. 2020. “On decoloniality: a view from Oceania.” Postcolonial Studies culture politics economy 23(4):1-3
Class 8: Student Presentation
Class 9: Māhū, Embodiment of Both Male and Female Spirits
Teves, Stephanie Nohelani. 2025. The Mahele of Our Bodies: Nā Moʻolelo Kūpuna Māhū/LGBTQ. University of Hawaii Press.
Class 10: Women in Oceania
Curran, G., & Gallagher, E. N. 2023. “Yawulyu Mardukuja-patu-kurlangu: Relational Dynamics of Warlpiri Women’s Song Performance.” Journal of Intercultural Studies, 44(5), 716–733.
Boulard, F., & Daniel, R. 2024. “Women in New Caledonia: music and identity.” Creative Industries Journal, 17(3), 434–448.
Class 11: Wayfinding of the Pacific
Diettrich, Brian. 2018. “Summoning Breadfruit” and “Opening Seas”: Toward a Performative Ecology in Oceania.” Ethnomusicology.
Class 12: Music, Sports and the Politics of Identity
Jackson, Steven J. and Hokowhitu, Brendan. 2002. “Sport, Tribes, and Technology: The New Zealand all Blacks Haka and the Politics of Identity.” Journal of Sport & Social Issues 26 (2) 125-139.
McLean, Mervyn. 1990. “Dance and Music Learning in Oceania.” The World of Music Vol. 32, No. 1.
Class 13: Travel, Migration, and Contemporary Musical Experiences of Oceania
Bartleet, Brydie-Leigh, Melissa Cain, Diana Tolmie, Anne Power, and Mari Shiobara, eds. Community Music in Oceania: Many Voices, One Horizon. University of Hawai’i Press, 2018.
Aurélie Condevaux, Géraldine Le Roux and Laura Schuft. 2016. “The body and its image: reinventing cultural performances in Oceania in an era of globalization.” Journal de la Société des Océanistes.
Class 14: Musicking Across Oceania
Kuan, Yuan-Yu. 2026. “Resisting, Traveling, and Musicking Across Oceania: Indigenous Taiwanese Making Waves with Native Hawaiians.” In China Sounds Across Borders: Migration, Mobility, and Modernity.
Class 15: Intersections of Musical Ocean, Music from the Ogasawara Islands
Shishikura, M. 2023. “Doing Music: Community Making through Music and Dance of the Ogasawara Islands.” In Unsilent Strangers, ed. De Ferranti, Hugh, Masaya Shishikura and Michiyo Yoneno-Reyes, 118-146. Singapore: NUS Press.
Shishikura, M. 2017. “Songs for Distance, Dancing to Be Connected: Bonding Memories of the Ogasawara Islands.” In Distinctive Voice in the Antipodes: Essays in Honour of Stephen A. Wild, ed. Kirsty Gillespie, Don Niles, and Sally Treloyn, pp. 219-250. Canberra: ANU Press.
Week 16. Stdnet Presentation 2:
Weeks17 and 18: Individual advisory sessions for a final project
Class 2: Our Sea of Islands: A Transposed View from Oceania
Hau‘ofa, Epeli. “Our Sea of Islands.” The Contemporary Pacific 6, no. 1 (Spring 1994): 147–161.
Morris-Suzuki, Tessa. On the Frontiers of History: Rethinking East Asian Borders. ANU Press, 2020.
Class 3: Oceanian Cosmology and Creation of the World.
Dening, Greg. 1989. “History ‘in’ the Pacific.” Contemporary Pacific 1: 134-39.
Nicholas Thomas. 1997. In Oceania: Visions, Artifacts, Histories. Duke University Press.
Class 4: Songline, Dreaming, and Linkages to Ancestral Spirits
Barwick, Linda. 2019. Central Australian Women's Ritual Music: Knowing through Analysis Versus Knowing through Performance. Cambridge University Press.
Mackinlay, E. 1999. “Music for dreaming: Aboriginal lullabies in the Yanyuwa community at Borroloola, Northern Territory.” British Journal of Ethnomusicology, 8(1), 97–111.
Class 5: Singing History, Dancing Geneaology
Dening, Greg. 1996. Performances. Melbourne: Melbourne University Press.
D’Arcy, Paul. 2008. The People of the Sea: Environment, Identity, and History in Oceania. University of Hawaii Press.
Class 6: Festival of Pacific Arts
d’Hauteserre, A. M. 2011. “Festival of Pacific Arts: education in multi-cultural encounters.” International Research in Geographical and Environmental Education, 20(4), 273–280.
Bendrups, D. 2014. “Popular music, cultural policy, and the Festival of Pacific Arts.” Perfect Beat, 14(2), 158-174.
Class 7: Decolonization of the Pacific
Diettrich, Brian. 2018. “A Sea of Voices: Performance, Relations, and Belonging in Saltwater Places.” Yearbook for Traditional Music.
Katerina Teaiwa, Katerina. 2020. “On decoloniality: a view from Oceania.” Postcolonial Studies culture politics economy 23(4):1-3
Class 8: Student Presentation
Class 9: Māhū, Embodiment of Both Male and Female Spirits
Teves, Stephanie Nohelani. 2025. The Mahele of Our Bodies: Nā Moʻolelo Kūpuna Māhū/LGBTQ. University of Hawaii Press.
Class 10: Women in Oceania
Curran, G., & Gallagher, E. N. 2023. “Yawulyu Mardukuja-patu-kurlangu: Relational Dynamics of Warlpiri Women’s Song Performance.” Journal of Intercultural Studies, 44(5), 716–733.
Boulard, F., & Daniel, R. 2024. “Women in New Caledonia: music and identity.” Creative Industries Journal, 17(3), 434–448.
Class 11: Wayfinding of the Pacific
Diettrich, Brian. 2018. “Summoning Breadfruit” and “Opening Seas”: Toward a Performative Ecology in Oceania.” Ethnomusicology.
Class 12: Music, Sports and the Politics of Identity
Jackson, Steven J. and Hokowhitu, Brendan. 2002. “Sport, Tribes, and Technology: The New Zealand all Blacks Haka and the Politics of Identity.” Journal of Sport & Social Issues 26 (2) 125-139.
McLean, Mervyn. 1990. “Dance and Music Learning in Oceania.” The World of Music Vol. 32, No. 1.
Class 13: Travel, Migration, and Contemporary Musical Experiences of Oceania
Bartleet, Brydie-Leigh, Melissa Cain, Diana Tolmie, Anne Power, and Mari Shiobara, eds. Community Music in Oceania: Many Voices, One Horizon. University of Hawai’i Press, 2018.
Aurélie Condevaux, Géraldine Le Roux and Laura Schuft. 2016. “The body and its image: reinventing cultural performances in Oceania in an era of globalization.” Journal de la Société des Océanistes.
Class 14: Musicking Across Oceania
Kuan, Yuan-Yu. 2026. “Resisting, Traveling, and Musicking Across Oceania: Indigenous Taiwanese Making Waves with Native Hawaiians.” In China Sounds Across Borders: Migration, Mobility, and Modernity.
Class 15: Intersections of Musical Ocean, Music from the Ogasawara Islands
Shishikura, M. 2023. “Doing Music: Community Making through Music and Dance of the Ogasawara Islands.” In Unsilent Strangers, ed. De Ferranti, Hugh, Masaya Shishikura and Michiyo Yoneno-Reyes, 118-146. Singapore: NUS Press.
Shishikura, M. 2017. “Songs for Distance, Dancing to Be Connected: Bonding Memories of the Ogasawara Islands.” In Distinctive Voice in the Antipodes: Essays in Honour of Stephen A. Wild, ed. Kirsty Gillespie, Don Niles, and Sally Treloyn, pp. 219-250. Canberra: ANU Press.
Week 16. Stdnet Presentation 2:
Weeks17 and 18: Individual advisory sessions for a final project
- 教師: made.hood 胡敏德
Week 1
Introduction to Indonesian Performing Arts and Cultural Heritage
Week 2
Overview of Ethnomusicology and Indonesian Performance Traditions
Week 3
Introduction to Gamelan: Instruments, Tuning Systems, and Ensemble Structure
Week 4
Music and Ritual in Javanese and Balinese Culture
Week 5
Fundamentals of Javanese Court Dance
Week 6
Balinese Dance Traditions and Expressive Movement
Week 7
The Relationship Between Music and Dance in Performance
Week 8
Costume, Body, and Movement in Indonesian Dance
Week 9
Midterm Discussion and Presentation
Week 10
Batik Traditions and Symbolic Motifs in Java
Week 11
Prada Textiles and Decorative Elements in Balinese Performance
Week 12
Headdresses, Ornamentation, and Sacred Symbolism
Week 13
Visual Language and Aesthetic Concepts in Indonesian Arts
Week 14
Performance, Identity, and Cultural Representation
Week 15
Contemporary Adaptations of Traditional Indonesian Arts
Week 16
Interdisciplinary Perspectives: Music, Dance, and Visual Culture
Week 17
Self-directed Learning: Thematic Inquiry and Cultural Analysis
Week 18
Final Presentation and Reflective Discussion
Introduction to Indonesian Performing Arts and Cultural Heritage
Week 2
Overview of Ethnomusicology and Indonesian Performance Traditions
Week 3
Introduction to Gamelan: Instruments, Tuning Systems, and Ensemble Structure
Week 4
Music and Ritual in Javanese and Balinese Culture
Week 5
Fundamentals of Javanese Court Dance
Week 6
Balinese Dance Traditions and Expressive Movement
Week 7
The Relationship Between Music and Dance in Performance
Week 8
Costume, Body, and Movement in Indonesian Dance
Week 9
Midterm Discussion and Presentation
Week 10
Batik Traditions and Symbolic Motifs in Java
Week 11
Prada Textiles and Decorative Elements in Balinese Performance
Week 12
Headdresses, Ornamentation, and Sacred Symbolism
Week 13
Visual Language and Aesthetic Concepts in Indonesian Arts
Week 14
Performance, Identity, and Cultural Representation
Week 15
Contemporary Adaptations of Traditional Indonesian Arts
Week 16
Interdisciplinary Perspectives: Music, Dance, and Visual Culture
Week 17
Self-directed Learning: Thematic Inquiry and Cultural Analysis
Week 18
Final Presentation and Reflective Discussion
1 - 09/9 課程介紹
（1）分派作業。閱讀《芭樂人類學》、《巷口社會學》、《歷史學柑仔店》
（2）討論每人研究題目。
2 - 09/16 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 - 09/23 當代人文社會科學研究關懷瀏覽
人文社會科普部落格報告與討論：
《芭樂人類學》辰芳、薆竹、品璇、瑞心《巷口社會學》廷科、粟崴、維翮、育禪、佩勳、雅心《歷史學柑仔店》珧訊、浩宸
4 - 09/30 一本學位論文的架構
（1）閱讀：何春蕤，〈何春蕤談論文寫作〉
http://sex.ncu.edu.tw/papers/1-1.php
（2）實作：認識論文的架構。
5 - 10/07 問題意識的設定
（1）閱讀：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）實作：認識每人的題目與問題意識。
6 - 10/14 資料蒐集方法(1)
（1）閱讀：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）實作：認識學術文獻的種類。
7 - 10/21 批判性閱讀與書寫書評
（1）閱讀：Wallace, M., & Wray, A. (2021). Critical Reading and Writing for Postgraduates (4th ed.). SAGE Publications.
（2）實作：練習使用AI閱讀工具。
8 - 10/28 資料蒐集方法(2)
(1) 實作：認識音樂百科全書、google scholar、論文網、結合AI工具搜尋。
9 - 11/04 句子書寫與修改問題意識
（1）認識問題意識。
（2）修改每人問題意識。
10 -11/11 文獻回顧實例閱讀
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》，第 31 期，頁 83–108。（國立臺灣師範大學音樂學院出版）
11 - 11/18 繳交每人核心書目並討論
12 - 11/25 書寫研究計劃書
（1）閱讀：〈如何撰寫論文計劃〉，http://waytohome.blogspot.tw/2014/11/blog-post.html
（2）實作：學術資料庫介紹。
13 - 12/02 書寫論文續論
（1）閱讀：劉紹華，2013，《我的涼山兄弟：毒品、愛滋與流動青年》。臺北：群學出版社。
14 - 12/09 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，〈什麼是「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 - 12/16 期末報告口頭呈現
16 - 12/23 期末報告口頭呈現
17 - 12/30 論文寫作自主實踐
18 - 01/06 交期末報告
（1）分派作業。閱讀《芭樂人類學》、《巷口社會學》、《歷史學柑仔店》
（2）討論每人研究題目。
2 - 09/16 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 - 09/23 當代人文社會科學研究關懷瀏覽
人文社會科普部落格報告與討論：
《芭樂人類學》辰芳、薆竹、品璇、瑞心《巷口社會學》廷科、粟崴、維翮、育禪、佩勳、雅心《歷史學柑仔店》珧訊、浩宸
4 - 09/30 一本學位論文的架構
（1）閱讀：何春蕤，〈何春蕤談論文寫作〉
http://sex.ncu.edu.tw/papers/1-1.php
（2）實作：認識論文的架構。
5 - 10/07 問題意識的設定
（1）閱讀：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）實作：認識每人的題目與問題意識。
6 - 10/14 資料蒐集方法(1)
（1）閱讀：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）實作：認識學術文獻的種類。
7 - 10/21 批判性閱讀與書寫書評
（1）閱讀：Wallace, M., & Wray, A. (2021). Critical Reading and Writing for Postgraduates (4th ed.). SAGE Publications.
（2）實作：練習使用AI閱讀工具。
8 - 10/28 資料蒐集方法(2)
(1) 實作：認識音樂百科全書、google scholar、論文網、結合AI工具搜尋。
9 - 11/04 句子書寫與修改問題意識
（1）認識問題意識。
（2）修改每人問題意識。
10 -11/11 文獻回顧實例閱讀
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》，第 31 期，頁 83–108。（國立臺灣師範大學音樂學院出版）
11 - 11/18 繳交每人核心書目並討論
12 - 11/25 書寫研究計劃書
（1）閱讀：〈如何撰寫論文計劃〉，http://waytohome.blogspot.tw/2014/11/blog-post.html
（2）實作：學術資料庫介紹。
13 - 12/02 書寫論文續論
（1）閱讀：劉紹華，2013，《我的涼山兄弟：毒品、愛滋與流動青年》。臺北：群學出版社。
14 - 12/09 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，〈什麼是「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 - 12/16 期末報告口頭呈現
16 - 12/23 期末報告口頭呈現
17 - 12/30 論文寫作自主實踐
18 - 01/06 交期末報告
- 教師: chumengtze 朱夢慈
第一單元：方法論與範式轉移
第 1 週：導論：從爵士史學到民族誌方法
第 2 週：爵士傳統的建構：批判性史學視角
選讀： DeVeaux (1991).
重點： 批判將爵士樂視為「英雄式線性進化」的傳統觀點。
第 3 週：即興的社會化過程
選讀： Berliner (1994).
重點： 爵士樂手如何透過長期的文化參與習得即興邏輯。
第二單元：互動、身體與溝通
第 4 週：音樂作為社會行動：對話模型
選讀： Monson (1996).
第 5 週：複雜系統下的即興體現
選讀： Borgo (2005).
第三單元：專題批判：John Coltrane 的神格化與解構
第 6 週：神話的誕生：Coltrane 與靈性追求
選讀： Berkman (2010).
重點： 探討 Coltrane 音樂中靈性論述的歷史背景與族群意義。
第 7 週：解構經典：超越《A Love Supreme》
選讀： Whyton (2010).
重點： 批判性地分析 Coltrane 如何被形塑為文化符號，以及這種「神話」對爵士樂實踐的限制。
第 8 週：爵士英雄主義與性別政治
選讀： Tucker (2001).
重點： 批判「聖徒傳記」敘事中的男性中心主義。
第四單元：種族、權力與階級
第 9 週：種族政治與音樂本真性論述
選讀： Radano (2003).
第 10 週：黑人美學與社群體制
選讀： Lewis (2008).
第五單元：空間、制度與經典化
第 11 週：爵士現場的社會地理學
選讀： Hersch (2007).
第 12 週：爵士樂的學院化與教學法批判
選讀： Prouty (2012).
第六單元：全球化與跨文化實踐
第 13 週：全球爵士樂的本真性協商：以日本為例
選讀： Atkins (2001).
第七單元：總結
第 14 -15週：期末專題發表與討論
16. 交期末報告
第17–18週：自主學習（Self-directed Learning）
主題式自主學習與民族誌探究實作
學生依個人研究興趣進行爵士樂相關田野觀察、文本分析或聲音研究
規劃跨文化音樂研究或民族誌書寫練習
完成期末書面報告與成果分享
第 1 週：導論：從爵士史學到民族誌方法
第 2 週：爵士傳統的建構：批判性史學視角
選讀： DeVeaux (1991).
重點： 批判將爵士樂視為「英雄式線性進化」的傳統觀點。
第 3 週：即興的社會化過程
選讀： Berliner (1994).
重點： 爵士樂手如何透過長期的文化參與習得即興邏輯。
第二單元：互動、身體與溝通
第 4 週：音樂作為社會行動：對話模型
選讀： Monson (1996).
第 5 週：複雜系統下的即興體現
選讀： Borgo (2005).
第三單元：專題批判：John Coltrane 的神格化與解構
第 6 週：神話的誕生：Coltrane 與靈性追求
選讀： Berkman (2010).
重點： 探討 Coltrane 音樂中靈性論述的歷史背景與族群意義。
第 7 週：解構經典：超越《A Love Supreme》
選讀： Whyton (2010).
重點： 批判性地分析 Coltrane 如何被形塑為文化符號，以及這種「神話」對爵士樂實踐的限制。
第 8 週：爵士英雄主義與性別政治
選讀： Tucker (2001).
重點： 批判「聖徒傳記」敘事中的男性中心主義。
第四單元：種族、權力與階級
第 9 週：種族政治與音樂本真性論述
選讀： Radano (2003).
第 10 週：黑人美學與社群體制
選讀： Lewis (2008).
第五單元：空間、制度與經典化
第 11 週：爵士現場的社會地理學
選讀： Hersch (2007).
第 12 週：爵士樂的學院化與教學法批判
選讀： Prouty (2012).
第六單元：全球化與跨文化實踐
第 13 週：全球爵士樂的本真性協商：以日本為例
選讀： Atkins (2001).
第七單元：總結
第 14 -15週：期末專題發表與討論
16. 交期末報告
第17–18週：自主學習（Self-directed Learning）
主題式自主學習與民族誌探究實作
學生依個人研究興趣進行爵士樂相關田野觀察、文本分析或聲音研究
規劃跨文化音樂研究或民族誌書寫練習
完成期末書面報告與成果分享
- 教師: chumengtze 朱夢慈
1.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.
2.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.
3. 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.
4. Ethnomusicology Theory (make up class)
Rice, Timothy (2017): “Ethnomusicological Theory,” Modeling
Ethnomusicology. Oxford: Oxford University Press.
5. 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.
6. Transcription
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.
7. 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.
8. Mid-Term Oral Reports
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.
10. 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. 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.
12. 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.
＊hand in Mid-Term Paper
13. Workshop on final paper
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)
15. Popular Music and Ethnomusicology
Grupe, Gerd (2013) “Introduction. Popular Musics: A Challenge for Ethnomusicology?” Ethnomusicology and Popular Music Studies. Gerd Grupe ed. Shaker Verlag
16. Allgayer-Kaufmann, Regine (2013) “‘Popular Music’ versus ‘Art’ and ‘Ethno’. Consequences for Musical Analysis ” Ethnomusicology and Popular Music Studies. Gerd Grupe ed. Shaker Verlag.
Week 17–18: Self-directed Learning and Interdisciplinary Practice
Thematic self-directed inquiry and ethnomusicological practice
Imagination, planning, and implementation of interdisciplinary music learning
Integration of theory, field observation, and cultural analysis
Final written report and reflective presentation
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.
2.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.
3. 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.
4. Ethnomusicology Theory (make up class)
Rice, Timothy (2017): “Ethnomusicological Theory,” Modeling
Ethnomusicology. Oxford: Oxford University Press.
5. 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.
6. Transcription
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.
7. 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.
8. Mid-Term Oral Reports
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.
10. 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. 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.
12. 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.
＊hand in Mid-Term Paper
13. Workshop on final paper
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)
15. Popular Music and Ethnomusicology
Grupe, Gerd (2013) “Introduction. Popular Musics: A Challenge for Ethnomusicology?” Ethnomusicology and Popular Music Studies. Gerd Grupe ed. Shaker Verlag
16. Allgayer-Kaufmann, Regine (2013) “‘Popular Music’ versus ‘Art’ and ‘Ethno’. Consequences for Musical Analysis ” Ethnomusicology and Popular Music Studies. Gerd Grupe ed. Shaker Verlag.
Week 17–18: Self-directed Learning and Interdisciplinary Practice
Thematic self-directed inquiry and ethnomusicological practice
Imagination, planning, and implementation of interdisciplinary music learning
Integration of theory, field observation, and cultural analysis
Final written report and reflective presentation
- 教師: made.hood 胡敏德