99 學年第 2 學期 開設課程

邀請國內外學者、專家蒞臨本所舉行專題演講，以豐富同學對於音樂創作、演奏、與研究等領域及其他相關學科之知識與視野，啟發對於音樂之技術性、思想性、評論性等多面向之探索。

A core-course in two semesters for all year-one students. Those who are interested in writing research paper in music are also welcome. In the first semester, we'll be exploring about the what, why and how of music research, in the second, the different sources and resources (literary, notational, audio-visual). We'll be doing a lot of thinking, reading, talking and writing, in and out of the classroom. An important companion throughout our journey will be the computer and the Internet. Our aim is to train ourself to be a modern-day musician-scholar, who can make music and make sense of music cleverly and critically. Concrete "product" at the end of the semester will be a mini-conference and an anthology of selected written work. Reading assignments for composers and musicologists will cover a broad range of topics such as composition, opera, popular music, music theory and technology.

本課程的目標有二 :
一、讓在和聲與曲式學上程度稍弱之新生，加強音樂知性方面統合的能力，以適應音樂所上其它的課程。
二、為體現一位完整經驗的音樂家而準備 --- 即創作、理論、作曲合一。
本課程分為兩個部份：
一 是調性理論，包含和聲與分析。引導學生著重voice-leading部份，以結構 (structure) 和擴充 (prolongation) 的觀點去分析調性音樂作品，希望學生不再視調性音樂為一連串孤立和絃的接合，而應探究其意義與功能，視整體為一個有機體 (an organic unity)。
二是風格寫作部份：在於突顯和經驗西方藝術音樂 ( art music )及其一些主要的概念，並藉用它們來創作。這些概念包括 :
1.主題的呈現方式 : sentence / period ，和其它…。
2.Idea作為整體質 (totality) 和其論述 (discourse) 之體現。
3.奏鳴曲中不可或缺的結構事件功能角色 (主題的敘述、發展、對照、結尾…)。
4.音型化 (figuration) 、單一和弦的擴充、結構和聲進行的擴充 (structural harmony prolongation)。
5.音形作為符號 (sign)、作為風格 ( style )、作為題旨(topic)。
6.發展變奏的概念與技巧。

The Seminar in Performance Practice (or, Performing Practice) is an introductory course on all aspects of the way in which music is and has been performed, with special emphasis on the importance of a historical awareness as a pre-requisite for modern performers. In this comprehensive study there is no limitation on the kinds of approach to solving interpretational problems, and the basis of the course is to help students reach for a true understanding of the work he or she performs. The study will require a wide range of reading from historical treatises, critical writings, to present-day discussion on interpretational issues. Actual music will be used for performance studies, and where possible, discography will aid our perspective on the original instrument sound and the various interpretive styles. Students are encouraged, last but not least, to gain first hand experience if at all possible, on some period instruments for important references.

本課程希望經由演奏者與器樂之間關係的探索，發展個人音樂語法、肢體視覺和舞臺空間的全新概念。可做為抽像表演藝術或具像音樂劇場之基礎。

A writing seminar where individual projects are presented and discussed, complemented by readings in theoretical and methodological literature on musicological research and writing. The aim is to help each other to be a more experienced and critical writer of academic paper. The end "product" for each participant will be a revised and improved paper (oral and written). A mini-conference and an anthology of selected paper are planned.

在音樂史上，音樂科技的進步總是影響音樂作品的內容與呈現方式。此課程主要藉由透過學習進階 Max/MSP/Jitter影音程式撰寫課程，使學生瞭解各種數位合成的理論，並得以有能力撰寫自己想要的數位效果器、合成器等，以期能進一步運用相關 技術於各種聲音作品與音樂的創作中，或運用於「即時互動音樂」中，結合傳統樂器，展現傳統與科技結合的新藝術。

◎本所學生無先修科目，所外學生欲修習或旁聽者請預先與授課教師商議。

◎◎◎所有欲修習者請利用寒假期間自行預(復)習樂器學之基本常識，及聆賞與閱讀下列重要管弦樂曲之總譜，開學第一週上課時將舉行「期初管弦樂曲聆賞與樂 譜辨識測驗」，依成績擇優邀請修習者。

◎期初測驗曲目範圍如下：

◎Haydn Symphonies No.94, 103, 104 ◎Mozart Symphonies No. 38, 39, 40, 41 ◎Beethoven All Nine Symphonies ◎Schubert Sym. No. 8, 9 ◎Mendelssohn Sym. No. 4, Hebrides Overture (Fingal’s Cave) ◎Schumann Sym. No. 3, 4 ◎Berlioz Symphonie fantastique ◎Brahms All Four Symphonies ◎Tchaikovsky Sym. 4, 5, 6, Romeo and Juliet Fantasy Overture ◎Dvozak Symphony No. 9, Carnival Overture ◎Liszt Symphonic Poem No. 3 “Les Preludes” ◎Rossini Overtures: the Barber of Seville, William Tell ◎Rimsky-Korsakov Scheherazade, Wagner Tannhauser Overture, Die Meistersinger von Nurnberg Act.1 Prelude, Tristan und Isolde: Prelude & Liebestod

◎樂譜可參閱IMSLP網站，有聲資料可使用交大圖書館網上Naxos Music Library。

◎於期中另舉行「期中管弦樂曲聆賞與樂譜辨識測驗」，作曲家之範圍如下：Mahler, R. Strauss, Debussy, Ravel, Respighi, Bartok, Prokofieff, Shostakovich, Scriabin, Stravinsky, Hindemith, Schonberg, Webern and more….

學生由主動選定室內樂作品及其實際演奏，至分組接受指導達成作品的完整演出與詮釋。