109 學年第 1 學期 開設課程

課程概述與目標：

本課程介紹學術寫作在音樂論文上的應用。前半學期著重於研究工具與寫作技巧（例如引述原則、譜例的運用、資料的蒐集、如何尋找議題）；後半學期以同學們報告所選擇的閱讀作為討論的範例、延伸。

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。

課程概述與目標：

「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(本課程非軟體教學課程！)。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。

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。

This course introduces a series of writings touching on various trends of thoughts in recent music scholarship, works that draw a connection between music and cultural studies. The aim of this course is to introduce how the study of music has been gone beyond “music in itself,” the ways how music is related to disciplines such as literature, gender studies, social studies. The writings involving examples from Western art music lean toward 19th- and 20th-century music. We will complement our discussion of these writings with issues in academic writing, and some strategies for the writing about music. The readings for each week are either available on NCTU library’s subscribed website (e.g., JSTOR) or posted on the course website. Recommended textbook on scholarship writing: Kate Turabian, A Manual for Writers of Research Papers, Theses, and Dissertations (Chicago: University of Chicago Press, 2018).

We focus on 1-2 articles per week; Each student will take turns presenting an article every month, offering a close reading and critique of its major points. At the of the semester, each student will present an article not assigned in the course syllabus.

課程概述與目標：

A pre-seminar to the study of music from a cultural and comparative perspective.

COURSE DESCRIPTION

Whether in the building of instruments and concert halls or theoretical and aesthetic systems, music has always been interdisciplinary between technology and the humanities. Even though it asserted the status of an independent and autonomous art—“absolute music”—at the end of the 18th century, this development was neither isolated from Enlightenment ideas nor political and industrial revolutions of that time. Music historiography has long taken the absolute music paradigm for granted, focusing mostly on masterworks and their masters. But detached from its social and technological contexts, music could be no more than “sound and fury, signifying nothing.” This course aims to reconnect the art of music with technology and society, and takes its departure after the 1876 premiere of Richard Wagner’s monumental _Ring_ tetralogy in the custom-built and court-funded Bayreuth theater, which could be taken as the summation of European music culture. With the invention of phonography by Thomas Edison in 1877, music has entered what Walter Benjamin calls the “age of technological reproducibility,” when the production, transmission and reception of music was profoundly transformed. A chronological narrative of that transformation will be attempted here; the first half is a broader survey, the second spotlights on selective topics with more global perspective. Though compact and selective, this course should enable the students to understand the ebb and flow of music history within this time frame, and cultivate a critical sense to think about the meaning and value of musical creativity in the contexts of technological innovations and social restructuring.

This course offers an overview to Western art music from late Baroque to 1876, the year Wagner’s Ring was premiered. We will incorporate the music history of this period in the larger context of social and cultural developments, including the developments of aesthetics and technology. The goal of this course is twofold. Functioning as a remedial course, it offers graduate music students without sufficient knowledge in the history of Western art music a factual and conceptual grounding. Equally importantly, it approaches music as a cultural phenomenon, partaking and “bouncing back,” as an active force, to what was happening in social reforms, political upheavals, and innovations in technology and industry, including the inventions of music instruments, music devices, as well as well stagecraft, lighting, sound, and space.

There is no textbook per se for this course. However, students are encouraged to check out a copy of Burkholder, Grout, and Palisca’s A History of Western Music from the library. This source will provide basic information regarding charts, chronology, and terminology, factual information for a undergraduate music history survey course. Essential course readings are accessible either on the course website or NCTU’s library system, under electronic resources. Two quizzes focusing on repertoire building and score-reading will take place in mid- and end of the term. In addition to weekly course reading and listening assignments, each student will choose one reading and give a presentation; guidelines for the presentation will be distribute in W3.

Sight and sound in all formal and stylistic configurations are the core subject of an aesthetic approach in film studies. But to make sense of all these sights and sounds, we reconnect films with their historical, social, and political contexts, and relate various theories to understand and evaluate their significations. Hong Kong Cinema 1997 is a topic par excellence to engage these two approaches in cinema studies, since this was the period when many films and filmmakers had won top accolades internationally for its artistic achievements, while the handover of British Hong Kong to Communist China in 1997 was and still is an unprecedented maneuver—ironically not decolonization but domestic recolonization, not communist socialism but state capitalism—with global repercussions. The course’s heading “Hong Kong Cinema 1997” refers to films not only made in that year or that city, or about that event directly, but also include all that due with the topic allusively, anticipatorily, or retrospectively, in order to make a fuller sense of how cinema reflected and responded to this unique historical event.

This course is divided in two parts, each with a theoretical introduction at the beginning, followed by a close reading of films made around 1997. Part I introduces different theoretical frameworks for understanding 1997 cinema. Part II covers mostly the same directors discussed in Part I, now with keener ears opening to the diverse soundscapes and music, but also to those unvoiced and suppressed in the films. Parallels will be drawn between Hong Kong finding its destiny in the real world and the film finding its visual and musical closure in the cinema. Just as the function of an “imperfect” or a “deceptive” cadence in music, any filmic ending that deviates from the formal expectations could signify fantasy, resistance, and/or inspiration.