105 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。

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。

此課程可視為高階音樂能力(Advanced Musicianship)之整體綜合表現，經由鋼琴鍵盤和聲之演練，實際深入與理解西方調性音樂(Tonal Harmony)之組織語彙、脈絡與手法，體認各時代風格之差異與演變，進而啟發修習者（演奏者）之想像力與創意性，整合聽覺與思緒互動、增進音樂即席(instant)反應與即興展演之能力。

「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。

本課程主要以聲音的數位處理技術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、基礎聲音合成、聲音形變技巧，以及基礎聲音後製等技術。技術包含 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(1.5版本以上)進行數位音效或數位音樂之組織拼貼與創作，完成期中與期末作品。

課程尚包括電腦/數位音樂經典作品欣賞與分析、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。

Our main tasks are professional and academic writings; the skills involved are bibliographical, evaluative, 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 creatively and critically.

Our course is designed as a cycle of four stages:

1. REFLECTING: We'll start our intellectual journey by "musing" on who we are and what we do. These will be expressed practically in our CVs and performance portfolio (posters, bios, program lists and notes).
2. RESEARCHING: Then we'll learn the craft of thesis-writing thru evaluating and emulating selected examples.
3. REPORTING: And we'll meet our "audience" by written and oral presentations, considering the aspects of form and style.
4. REVIEWING: Finally, we'll come to full circle with reflecting and rethinking of who we are and how to become who 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, offered as an elective course.)

Taking a hands-on and interactive heuristic approach, we will learn, practise, and reflect on those works of our trade such as writing, editing, conferencing, and event management. Our aim is to become a compleat musicologist, ready for a wide range of careers.

探討及學習現代劇場之舞台使用媒材介面， 類比及數位互動設計實務操作

This course is a proseminar on the aesthetic ideas and compositional practice of Richard Wagner.

The first half of the course, led by Dr. Kam, will elucidate Wagner’s conception of Gesamtkunstwerk in juxtaposition with the ideas of absolute music. Adopting a contextual approach, we will map Wagner on to the intellectual landscape of Schopenhauer, Nietzsche and Hanslick; on the other hand, the reading of historical sources will be accompanied by recent literature. The aim is to facilitate a historical and theoretical understanding of the major music aesthetic issue of romanticism which is still very much a part of our present music culture.

The second half of the course, led by Dr. Lee, will explore issues in recent Wagner scholarship, including his intellectual development, his aesthetic construct, his creative process, and prevailing analytic methods of his music. We will concentrate on one theme each week, in which we will do a close reading of primary sources (e.g., Wagner’s prose writings and facsimile or transcription of his manuscripts), as well as a critical reading of secondary literature in Wagner studies.

A pre-seminar to the study of music from a cultural and comparative perspective. An international seminar on Sonic Modernity 1800 in December will complement our course.

依樂器種類分排組別，由一至二位師授課。