103 學年第 1 學期 開設課程

邀請不同領域之國內外學者、專家蒞臨本所舉行專題演講，提升同學對於音樂創作、演奏、與研究等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。

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。

本課程希望經由不同的即興技巧和觀念來探求適合自己的即興演奏語彙，發展個人音樂即興獨奏及合奏之技術，加深對聲音與音樂的理解與體會。

「二十世紀音樂分析」課程的目標乃是幫助學生了解二十世紀西洋音樂的多元化風格，並且熟知二十世紀音樂理論與分析技巧。
本課程會特別著重在二十世紀前期1945年以前之音樂。整個課程的設計在培養學生對二十世紀音樂感受的敏銳度、學會分析二十世紀音樂各種不同的風格與技巧、思考分析的目的、學習如何做出有意義的分析。因此，本樂曲分析課程可分為兩個目標：1)二十世紀音樂結構中各主要素材面向的觀察與切入；2)二十世紀音樂分析方法與技巧的實際練習。
在第一項的學習目標中，主要幫助學生能在看到一首二十世紀音樂作品時，能正確地切入其主要使用素材及結構，然後再依據第二項：在實際練習中學會不同的分析方法，予此二十世紀作品以正確的解析。
學會二十世紀音樂不同的分析方法，共可分成五個單元。並使用兩種分析方式：讀譜、手寫分析佔80%，聽音分析佔20%。五個單元分述如下：
(1) 印象樂派音樂與1915年以前的Stravinsky。
(2) 系列音樂 I (1920-1945) -- 著重在基本「音類集」理論 (Set Theory)。
(3) 系列音樂 II -- 著重在基礎「十二音音樂」(Twelve-tone Music)。
(4) Stravinsky與新古典主義。
(5) 巴爾托克(Bartok)的音樂。

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。

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 concert music, popular music and film music as examples to learn to study music's relationship with the society, the environment, and technology.

Our main tasks are professional and academic writings; the skills involved are critical, bibliographical and communicative. The aim is to train ourselves to be a up-to-date musician-scholar-intellectual, able to make music and make sense of music cleverly and critically. Our course is designed as a cycle of four stages:

1. MUSING: As music is an art of the Muses, it's fitting for us musicians in the academy to start our intellectual journey by musing on our identities and responsibilities. These will be expressed practically in our bios, CVs and programs.
2. RE/SEARCHING: Then we'll learn about thesis-writing with examples of reception studies (especially in composition and performance) on Mahler, Debussy, Schoenberg, Bartok, Stravinsky.
3. SHARING: And we'll meet our "audience" by written and oral presentations, considering the aspects of form and style.
4. RETHINKING: Finally, we'll come to full circle with reviewing and musing again, towards being what we want to be. The journey has just begun...

On the whole, we'll be doing a lot of thinking, reading, talking and writing, in and out of the classroom. Our TAs will arrange with you to hold a weekly group tutorial hour. In addition, please don't hesitate to make an appointment with me at my office hour. Concrete "products" at the end of the semester will be a mini-conference and an anthology of selected written work.

(After the more theoretical first semester we'll be getting more practical with the different sources and resources (notational, audio-visual) in the second semester, but that will be offered as an elective course due to curriculum reform.)

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.

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.

A public symposium at term-end is planned.

1.具備高階主修樂器演奏及合作能力。
2.非本所學生須具備大專音樂科系之程度。