音樂論壇 MUSIC COLLOQUIUM 2.0
A. 來賓演/講 Guest Presentation: 近距離接觸音樂各領域工作者以求理論與實務上的啟發。
B. 工作坊 Workshop: 按主修組別將安排部分來賓於演講後舉行工作坊。
C. 畢業簡報 Graduation Project: 為本所同學之畢業論文提供口頭報告與討論切磋的機會。
音樂論壇2.0如網絡2.0般鼓勵所有參與者之間能有更多互動和合作。
As with Web 2.0, Music Colloquium 2.0 aims to encourage more interaction and collaboration between all participants.
1. MUSING: Who we are, what we have, what we do and why: as music is an art of the Muses, it's fitting for us musicians to start our intellectual journey by musing on these questions.
2. DOING: Then we start our search and research by ways of several concrete musical examples.
3. SHARING: And we'll meet our "audience" by written and oral presentations.
4. REVIEWING: Finally, there's time for reviewing and musing again.
After the more theoretical first semester we'll be getting more practical with the different sources and resources (literary, notational, audio-visual) in the second semester.
On the whole, 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 ourselves to be a modern-day musician-scholar-intellectual, who can make music and make sense of music cleverly and critically. Concrete "products" at the end of each semester will be a mini-conference and an anthology of selected written work at the end of the second semester.
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。
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。
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。
本課程為全學年必修課程，旨在協助研究生養成學術研究的能力，教師依照個別研究性向與狀況給予適當指導。具體教學內容包括訓練學生蒐集資料、整理分析能力，協助研究計畫設計，形成明確清晰的問題意識、架構論文綱要，並解決論文寫作問題。
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。
For musicology majors and other students who are interested in independent study, this course will engage historical documents to research into the aesthetics of opera and the historiography of music in the late 18th century.
Participants will learn to read historical sources and current literature sensitively and critically, and gain experience in academic writing.
FROM THE BIRTH OF MODERN CONCERT LIFE TO THE EMERGENCE OF ROMANTICISM
Connecting music analysis with source reading, sound with society, composition with culture, this course focuses on the music of the late 18th century: mainly Mozart's operas, Haydn's symphonies, and their later works. Issues discussed include Enlightenment ideas, music as entertainment, edification as well as self-expression, and instrumental music and the construction of meaning.
Participants have to report on their readings, and take two written exams.
Taking a “hands-on” and interactive heuristic approach, this course provides an open forum for all students to present and discuss their individual projects and conference papers. Theoretical perspectives will be explored as relevant to the practical work at hand. The aim is to help each other to be a more experienced and critical writer of academic paper.
Together the group is also responsible for writing program notes and editing the program booklet for institute recitals.
Two public symposia at mid-term and term-end are planned.
COURSE GOALS: This course examines music of the late twentieth century. We begin with the recognition that “History ≠ Truth.” For Richard Taruskin (the author of our text), listening to music is not JUST about listening. Music is inseparable from the culture that surrounds it. Studying the past is often more about the present than the past (for it is impossible to view the past except through the lenses of the present). When we go beyond “the music itself” and analyze music as culture, we can gain insights that add to the richness of our musical experiences. As Taruskin writes, “…if it is true that production and reception history are of equal and interdependent importance to an understanding of cultural products, then it must follow that types of analysis usually conceived in mutually exclusive ‘internal’ and ‘external’ categories can and must function symbiotically.” This course is, then, an investigation of both music and culture—a course that tries to explain the choices composers have made in the late twentieth century.
COURSE GOALS: This course is designed to give you a deep understanding of the history of Jazz (or in the words of the great D-J Oscar Treadwell, “American Creative Music”). In this course, you will become familiar with the basic elements of jazz and learn to listen actively and analytically. By the time you have finished this course, you should be on your way to becoming a highly discriminating listener, able to talk intelligently about ALL kinds of jazz, from New Orleans to Salsa and contemporary fusion and “free” jazz. The course will also deal with cultural, racial, and political issues that lie behind the America’s great contribution to the art of music.