100 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。
另外也提供本所同學畢業論文作口頭報告與討論切磋的機會。

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

1. Reading, Writing & Presentation: sources, arguments, format and style.
2. Computational Skills: Word, Endnote, On-line Databases.
Every one should pursue an individual term project either in literature review or book review writing.

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 interpretation 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.

課程概述：
以鋼琴鍵盤彈奏方式呈現及簡化不同時期之各種編制之管弦合奏(唱)等樂曲，體認音樂作品的基本結構原理，熟悉各種譜號及移調樂器之運用，並增進心靈耳朵(內在聽覺)的能力。
課程目標：
此課程可視為綜合高階音樂能力(Advanced Musicianship)之訓練，及音樂修養的最高考驗。經由視覺記譜與對音樂創作理論之理解性，藉由鋼琴鍵盤之演練，透過聽覺呈現西方音樂之組織語彙與音樂表現，體認各時代風格之差異與演變，進而強化修習者（演奏者）之眼、手、耳、思等音樂統整能力。

本課程可視為「管弦樂法」、「編曲法」等相關課程之預備課程

本課程以聲音的根本概念出發， 介紹20世紀音不同形態之音樂風格及創作技巧和概念

本課程主要以數位訊號處理技術(DSP)之學習，以及這些技術在音樂創作上應用為主。學生將修習非線性(non-linear)剪接、聲音合成、形變技巧，以及後製處理等技術，如 Speed Change、Reversal、Looping、Cutting、Splicing、
filtering、FM Syntheses 、Granular Synthesis、mixing、reverberating、delaying 等。並嘗試使用多音軌(multitracker)軟件如Audition、Audiomulch、或Cubase，進行數位聲音作品或數位音樂之組織拼貼與創作。課程尚包括電腦/數位音樂展演之空間處理、作品欣賞與分析、數位音樂相關美學與文獻知識。
透過此一理論、美學與實務技巧兼重之課程設計，培養學生之電腦/數位音樂創作技巧，以及科技與音樂藝術結合作為思想感情表達的省思。

European fascination with East Asia grew enormously during the 18th century, leaving a notable imprint upon the culture and music of the period. This seminar explores musical Chinoiserie and other related phenomena in the Age of the Enlightenment. The first half of the semester will be devoted to becoming closely familiar with specific musical works of the era which provide evidence for how Europeans musically constructed their own conceptions of the “Far” East, including Jean-Philippe Rameau’s Les indes galantes (1735), Christoph Willibald Gluck’s Le cinesi (1754), and Antonio Salieri’s Cublai, Gran Kan de’ Tartari (1786). Then, in the second half of the semester, we will draw upon the foundation of knowledge gained during the first half in order to engage the challenge of theorizing the encounter of disparate cultures in a manner that goes beyond banal notions of mixture, fusion, and the like. Among the concepts which will inform this theoretical component of the course are hybridity, assimilation, exoticism, ambivalence, and masquerade/disguise, drawn from essential writings in the fields of cultural studies and postcolonial studies.

本課程為訓練與模仿西方調性音樂各重要時期與風格之樂曲習作，透過經典作品之深度解析，辨識創作素材、運用手法、語彙、型式結構
等技術，以其準則進行嚴謹但仍有發揮餘地之寫作練習。本課程為學院派專業作曲家的重要養成訓練，亦對於音樂理論研究與相關教學有重大助益。

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, abstracts, program notes etc.