108 學年第 1 學期 開設課程

This graduate course introduces research methods, as well as the strategies and the “language” of writing about music to performance majors. We start with a brief review of the basics of research venues, tools, and crucial issues in and ethics of academic writing. We continue with a series of sample writings hand in hand with these principles. We will see how the authors focus on different aspects of perspectives in their discussion of music and how they develop and sharpen their arguments.

The aim of this course is to offer graduate performance majors necessary tools and directions to engage in an intelligent discussion of their repertory, skills that they may apply to their term projects, thesis writing, and lecture recitals. We will have two invited music scholars coming to discuss the ways that they phrase they theories arguments. The selected sample writings will enable us to see the variety of ways that an author may use to approach a music work.

In addition to our weekly discussion, short assignments, and quiz(zes), each student will function as a discussion leader in a class session; sign-up sheet will be distributed by week 3. At the end of the term, the class will be divided into several groups. Each group will present a chosen article or book chapter, discussing how the author’s approach to music and the pros and cons of this writing relate to the principles and basics that we have discussed earlier in the semester.

Our main tasks are professional and academic writings; the skills involved are bibliographical, evaluative, and communicative. The aim is to train ourselves to be an 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. RESEARCH MATTERS: We'll start our intellectual journey by "musing" on who we are, what we do, and why we need to do scholarly research. Then we'll learn the craft of thesis-writing thru criticism and methodological reflections.

2. SUBJECT MATTERS: The first subject of research for musician is our CVs and performance portfolio (posters, bios, program lists and notes). Since this course is designed especially for composition majors, we'll then concentrate on the issue of writing about one's own work thru evaluating and emulating selected examples.

3. STYLE MATTERS: We'll learn to meet our "audience" by written and oral presentations, considering the aspects of form and style.

4. REVIEW MATTERS: Finally, we'll come to present our term project and review what we've accomplished or could be improved. Then we'll preview the perspective of a musician-scholar-intellectual. 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 TA 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.

課程概述與目標：

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。

「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。

課程概述與目標：

課程強調做中學(learning from doing): 從理論至實作(創作)、跨域整合(interdisciplinary studies):電腦技術 V.S.音樂藝術。

Path to Goal: 從 Open Ears至 Happy New Ears!!

本課程主要以聲音的DSP(Digital Signal Processing)數位處理技術以及DSP技術在數位音樂剪接、編輯、拼貼、以及(最終)在實驗創作上的應用為主。學生將修習非線性(non-linear)剪接、所謂之傳統磁帶技術(Tape Techniques,現已轉移為數位化技巧)、電腦聲音合成(computer sound synthesis)、聲音空間技巧(Spatialization of Sound)，以及基礎聲音後製(post production)等技術。技術包含 Speed Change、Reversal、Looping、Cutting、Splicing、filtering、FM Syntheses 、Granular Synthesis、mixing、reverberating、panning、doppler effects、Shepard Tone 等。最終，嘗試使用多音軌(multitracker)軟件進行數位音樂(digital music)，電腦音樂(computer music)或音景作品(環境田野錄音為素材進行創作)之組織、拼貼與創作，完成期中小品與期末作品。

課程尚包括電腦/數位音樂經典作品欣賞與分析(listening and analysis)、數位音樂相關美學與文獻知識(aesthetics and literature )。

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跨域結合作為思想感情表達的省思。

「聽見電影音效」：這裡的「音效」是相關語，不是單指電影三類音聲中，語音、樂音之外的噪音/環境音/音效 “sound-effect”，更是指它的效力；但這裡也不是要延續1880年Edmund Gurney的 _The Power of Music_，一本號稱科學性探討音樂美學的名著的路徑，而是要呼應作曲電影雙棲的 Michel Chion 於1990年所主張的，視電影為一種 “audio-vision”：「聽-看」、或說「聽-見」。的確，把電影只看為視覺藝術或視覺文化是不足的，因為就是默片時代也有現場配樂。再者，無形的音聲既避過眼睛理性的檢視而直通深層意識，但比起音樂會式的抽象聆聽，電影中的音聲卻又吊詭地結合所謂「眼見為實」“seeing is believing” 的作用，正是如虎添翼，效力無邊，也因此被政治或商業等各種意識形態所爭相操控。本課程就是希望透過更敏銳的探討「音效」，讓我們能夠更批判地「聽-見」電影。

本課程分三大單元：（1）基本概念、（2）電影理論與電影音聲研究（後殖民研究、女性主義、精神分析）、（3）台港電影範例分析、（4）理論與實務的反思。

N.B. 請注意本課標題為「電影音聲研究的理論與實務」，所謂「實務」是「研究的實務」，並不是創作或製作電影音聲的實務。然而批判思考亦必為創意提供美學與靈感 (criticism goes hand in hand with creativity)。

Our current understanding of what music is and its significance is still very much affected by the rise of aesthetics and the musical art since the 18th-century Europe. Issues such as subjectivity, language, judgment, imagination, romanticism are all connected with music, with contributions from the English empiricist, the French Encyclopédistes, Rousseau, Kant, and Herder et al. This course opts for a historical rather than normative approach and engages contemporary documents to make sense of the legacy of European music in today's global context.

Designed for musicology majors and other students who are interested in independent study; participants will learn to read historical sources and current literature sensitively and critically, and gain experience in academic writing.