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.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
Week 17–18: Self-directed Learning
Thematic self-directed learning and violin maintenance practice
Independent practice in violin setup, repair, and adjustment
Observation and analysis of instrument structure, materials, and tonal characteristics
Submission of maintenance records, adjustment reports, or final presentation
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
Week 17–18: Self-directed Learning
Thematic self-directed learning and violin maintenance practice
Independent practice in violin setup, repair, and adjustment
Observation and analysis of instrument structure, materials, and tonal characteristics
Submission of maintenance records, adjustment reports, or final presentation
- 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。
第17–18週：自主學習（2週）
主題式自主學習與聲學探究實作
學生依個人研究興趣進行音樂聲學相關議題之分析與應用
結合聲波、共鳴、頻譜、空間聲學或樂器聲響等主題進行自主研究
完成書面報告或聲學分析成果展示
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。
第17–18週：自主學習（2週）
主題式自主學習與聲學探究實作
學生依個人研究興趣進行音樂聲學相關議題之分析與應用
結合聲波、共鳴、頻譜、空間聲學或樂器聲響等主題進行自主研究
完成書面報告或聲學分析成果展示
- 教師: khchen 陳國華
1 - 課程介紹
（1）分派作業。
（2）討論每人研究題目。
2 - 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 - 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 - 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 - 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 - 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 - 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 - 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 - 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 -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 - 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 - 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 - 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 - 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 - 期末報告口頭呈現
16 - 期末報告口頭呈現
第17–18週：論文寫作自主實踐
學生依個人研究方向進行自主學習與論文規劃
練習研究問題形成、文獻回顧與研究方法設計
建立論文架構與學術寫作能力
完成研究計畫書或期末書面成果報告
（1）分派作業。
（2）討論每人研究題目。
2 - 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 - 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 - 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 - 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 - 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 - 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 - 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 - 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 -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 - 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 - 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 - 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 - 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 - 期末報告口頭呈現
16 - 期末報告口頭呈現
第17–18週：論文寫作自主實踐
學生依個人研究方向進行自主學習與論文規劃
練習研究問題形成、文獻回顧與研究方法設計
建立論文架構與學術寫作能力
完成研究計畫書或期末書面成果報告
- 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