100 學年第 1 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。
另外也提供本所同學畢業論文口頭報告與討論切磋的機會。
以下每週進度表為暫定，待開學後再作確認。

1. Source studies: written, notational, audio-visual
2. Writing: style and format
3. Computational Skills: Word, Endnote, On-line Databases, Tempo Map, Sonic Visualizer.
Every one should pursue an individual term project in tempo or edition studies.

本課程的目標有二 :
一、使在和聲與曲式學上程度稍弱之新生，加強其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 是調性基本理論，包含和聲與分析。引導學生著重聲部導進 (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。

本課程的目標有二 :
一、使在和聲與曲式學上程度稍弱之新生，加強其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 是調性基本理論，包含和聲與分析。引導學生著重聲部導進 (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。

This class is designed to guide performers in developing fundamental skills in research and writing. The course will introduce the principle issues usually covered in traditional bibliography classes, yet it will do so by taking an empirical approach to these issues by examining a series of case studies. Through these case studies, performers will develop familiarity with musicological resources and explore topics for potential thesis work in the future; they will also be guided in the process of writing a proposal for this potential thesis. Students will learn how to begin researching an area of their interest, how to develop appropriate and interesting research questions, and how to obtain the most useful sources, both primary and secondary. Accordingly, the course will introduce both the theoretical background of research methodology and selected articles and essays that illustrate different approaches to research. Topics covered will include reception history, historiography issues related to performance studies.

從當代多媒體藝術的多元新面貌認識（多）媒體的定義，進而審視媒體與人的關係以及創作者的基本理念。

本課程之目標在於探討音樂分析與詮釋之間的關係，並希望藉由這些探討使得修課者能更為靈活地去解讀音樂同時也得以深化他們的音樂經驗。 因此，在課堂中將朝下列幾個方向去探討:

一) 音樂詮釋的議題
1.詮釋學上的一些基本思考: 為何需要詮釋？ 什麼是詮釋的態度？ 詮釋的依據何在？
2.音樂詮釋的獨特性: 音樂成為詮釋的對象時，它與其它的客體(包括其它的藝術)有何差異？ 將會牽涉到哪些面向？

二) 音樂分析與詮釋在實務上的探討
若 以音樂分析與詮釋作為出發點，其所能開展的潛能極為豐富，其中最具暗示性者應屬實務上的表達方式，而作曲、演奏、論述(包含評論及聆賞)便是這些實務中最 具體的活動。 他們之間各自的表達方式在某個程度上要求處理上的差異，因此不同的修課者(作曲者、演奏者、音樂學者)在這個面向上的思考便需要去面對這樣的挑戰並各自尋 求因應之道。

整體而言，「音樂分析與詮釋」這一門課在音樂學習的整體考量中應該試圖去幫助音樂家們豐富自己和他人在音樂上的想像力。

練習Max/MSP軟體的圖形設計物件及程式介面設計,並結合聲音互動,進而延伸至Jitter軟體,做高階影像處理及影音合成即時互動的設計.

A writing seminar where individual research projects (e.g. thesis, course work) are presented and discussed. Focus will be on theoretical and methodological issues in musicological research and writing, from the mundane question of form and style to the deep question of value and meaning. 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.
At the same time, we'll be practicing the "art and craft" of "conferencing," and hope to foster a sense of academic community among us.

A core-course in two semesters for all year-one music major 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, further detailed practice of the craft of thesis writing. 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 if possible, 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.

This is a 1-credit practical course to understand (and sing) German Lieder. After an introductory unit on the German language generally, we'll practice concrete examples to understand and experience the so called "marriage of poetry and music." Recordings will be compared as illustrations.
The examples we'll study in this course will be Gustav Mahler's cyclic works that have been so central to his whole oeuvre, from the early Lieder eines fahrenden Gesellen to the late Das Lied von der Erde. N.b. 2011 is the 100th anniversary of Mahler's death.

The nineteenth century is a “strange” era in which strongly contrasting styles coexisted. The stylistic trends of monumentality, virtuosity, and intimacy are to a certain extent distinct from each other, yet they also interact with one another in some musical genres. In addition to these diverse styles, attitudes towards the past and aesthetic accounts of vocal and instrumental music show a paradoxical tendency in the nineteenth century. Both restrained and bold attitudes towards the tradition are for example embodied by nineteenth-century views of the legacy of Beethoven. The purpose of this class is to introduce the concepts of monumentality, virtuosity, and intimacy in different genres, alongside the historiographical and aesthetic debates that characterized musical thought in the nineteenth century.

The concept of “absolute music” has been a central preoccupation of both the historiography and aesthetics of Western music from the Classical and Romantic periods to the present. The idea of “pure instrumental music” emerged in the early nineteenth century as part of a shift in musical thought that revised the status of instrumental music from an art that offered pleasing diversion to one that expressed the sublime. This new paradigm inevitably raised debates in the mid-nineteenth century between proponents of the New German School and Eduard Hanslick. These debates have continued in the twentieth century: Theodor Adorno and the “New Musicology” of the 1990s (largely animated by Adorno’s influence) questioned the possibility of musical “purity” associated with the tradition of absolute music. This course will present an overview of the history of the concept through selected readings.

本課程將以世界主要宗教（包括佛教、道教、天主教、伊斯蘭教…）及少數民族宗教、民間信仰為對象，探討宗 教音樂文化之相關議題。上課方式以專文閱讀、課堂討論為主，並佐以相關影音資料介紹。本課程主要以宗教音樂文化相關重要議題進行分析、比較探討，而非針對 各宗教研究發展歷史或音樂體系進行音樂形態學介紹，但相關研究與參考資料將列於基本參考書目中，請同學自行閱讀。本課程擬探討下列議題：宗教音樂行為與人 類經驗，宗教/儀式音樂如何反映宗教理念（聖俗觀、宇宙觀、生死觀、倫理觀…），音樂在宗教中所扮演之角色，宗教音樂行為與宗教修行，宗教音樂的隱喻、象 徵，宗教音樂與社會變遷（宗教音樂的文化適應）。觀光與唱片工如何影響宗教與儀式音樂發展。本課程希望以多元思考的方式幫助同學針對宗教音樂文化研究尋找 適宜的研究議題與研究方法。

本課程為研習二十世紀音樂中擊樂器之發展、地位與影響等，將以各種不同類型擊樂器之經典曲目，檢視其中之演奏法、記譜法、創作技法與美學觀念等。此外，針對作曲主修者，亦要求學習基本之擊樂演奏技法，以務實體驗擊樂器之特殊性質。課程目標為寫作一首具現代性之擊樂作品，由擊樂主修者實際演練並於期末課程公開發表。

課程分為演算與互動兩部分，主要強調重點為互動音樂作品之創作。此課程以創作為主，學生透過實際寫作 ¬--包括為自動演奏鋼琴-Disklavier之演算互動器樂小品、結合人聲或器樂與電子音樂媒材之作品(非即時(non-real time)、即時(real time))，培養科技運用於音樂展現之技術與藝術性，引發學生對於當下音樂跨媒介(intermedia)發展趨勢之關注與省思。

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。