音樂研究導論 (B組)
3 小時, 3 學分
- 授課教師
先修科目或先備能力：
依據新的「修業規章」：//本所研究生於學年開學時須參加音樂史檢定測驗，未通過者須於畢業前依指定補修一至二門之音樂史課程。而通過檢定者或已通過一門補修課程者，方可修習「音樂研究導論」。//
A core course for first year students of our institute. As musicians, passion, participation, and punctuality are expected.
Class will be conducted in Chinese, but teaching materials will be mostly in English.
課程概述與目標：
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).
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.
課程綱要 依據新的「修業規章」：//本所研究生於學年開學時須參加音樂史檢定測驗，未通過者須於畢業前依指定補修一至二門之音樂史課程。而通過檢定者或已通過一門補修課程者，方可修習「音樂研究導論」。//
A core course for first year students of our institute. As musicians, passion, participation, and punctuality are expected.
Class will be conducted in Chinese, but teaching materials will be mostly in English.
課程概述與目標：
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).
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.
音樂理論二
2 小時, 2 學分
先修科目或先備能力：
1. 音樂所學生須先修習音樂理論一，或已通過上學期初之音樂理論分組測驗者。
2. 非音樂所學生須先修習上學期之音樂理論一，才能接續修習音樂理論二。
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 --- 即理論、實務、創作合一。
本課程分為兩個部份：
一是18、19世紀調性基本理論，包含和聲與分析。引導學生著重聲部導進 (voice-leading) ，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，並藉用它們來創作體現。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. 奏鳴曲式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。
課程綱要 1. 音樂所學生須先修習音樂理論一，或已通過上學期初之音樂理論分組測驗者。
2. 非音樂所學生須先修習上學期之音樂理論一，才能接續修習音樂理論二。
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 --- 即理論、實務、創作合一。
本課程分為兩個部份：
一是18、19世紀調性基本理論，包含和聲與分析。引導學生著重聲部導進 (voice-leading) ，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，並藉用它們來創作體現。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. 奏鳴曲式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。
風格管絃樂法
2 小時, 2 學分
- 授課教師
學習西方巴洛克時期至廿世紀管絃樂曲不同風格與編制之配器手法，熟識絃樂、管樂、擊樂等各種樂器於合奏音樂中的角色、功能與運用之技術，增進編寫管絃樂曲之經驗，並具備創作管絃樂曲之能力。
樂曲分析導論
2 小時, 2 學分
- 授課教師
課程概述與目標：
此課程主要是幫助學生建立音樂分析的基本概念，同時學習音樂分析的基本技巧。整個課程設計以西洋調性音樂為範圍。其中特別著重在分析西元1700年到1900年這200年間的西洋調性音樂。課程目標有下列三點：
1)瞭解調性的層級觀念（tonal hierarchy）以及功能和聲的擴張（functional harmony prolongation）。
2)學習各種分析樂曲曲式、旋律與和聲的方法與技巧，特別是曲式和和聲。
3)將所學得的分析方法與技巧，實際地應用在音樂作品分析上。
另外，這學期將會特別著重在調性音樂的「簡化分析」(reductional analysis)上。對於作品，會特別注意它的 voice-leading。
此課程主要是幫助學生建立音樂分析的基本概念，同時學習音樂分析的基本技巧。整個課程設計以西洋調性音樂為範圍。其中特別著重在分析西元1700年到1900年這200年間的西洋調性音樂。課程目標有下列三點：
1)瞭解調性的層級觀念（tonal hierarchy）以及功能和聲的擴張（functional harmony prolongation）。
2)學習各種分析樂曲曲式、旋律與和聲的方法與技巧，特別是曲式和和聲。
3)將所學得的分析方法與技巧，實際地應用在音樂作品分析上。
另外，這學期將會特別著重在調性音樂的「簡化分析」(reductional analysis)上。對於作品，會特別注意它的 voice-leading。
音樂分析與詮釋
0 小時, 0 學分
- 授課教師
-
- 楊聰賢
理念: 音樂理論家 Edward T. Cone 在一篇已成經典的文章〈今日的分析〉裡認為〝真正的分析〞必須能夠作為〝演奏的指引〞。〔註〕 〝演奏的指引〞在此的意義幾乎等同於「詮釋」。 換句話說，在他的認知裡，「沒有詮釋的分析」不成其為分析。 Cone的立場雖然引發了對音樂分析的定義之爭執，卻也間接地點出了音樂分析與詮釋間密切不可被忽略的關係，而他的用詞〝演奏的指引〞更直接地凸顯出音樂分析、音樂詮釋、以及音樂實務間的特殊互動。 只有確認到這三者間互相的關聯，「音樂分析與詮釋」作為一門課程才有可能被彰顯出來。〔註〕 Cone, Edward T. “Analysis Today”, from Problems of Modern Music, ed. by Paul Henry Lang, W. W. Norton, N.Y., 1962. 課程大綱: 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。
演奏探討
2 小時, 2 學分
The topics of this seminar include literature reading, music analysis, and performance practice. Through multiple methods the students will be able to research the performance of music styles from the 16th to 18th centuries and explore the art of Authentic Performance. 此課程內容包含文獻閱讀、樂譜解析以及演奏實踐，透過多元方式來研究16至18世紀音樂風格表現以及探討原樣演奏詮釋的意義。
十九世紀上半葉歐洲音樂研討
3 小時, 3 學分
- 授課教師
-
- 李奉書
This course focuses on a number of the most significant and controversial issues in the recent scholarship of early-mid 19th-century music. We will complement our discussion of scholarly debates with issues in music scholarship. This focus is intended to help students develop independent and critical judgment on these issues, to strengthen their research and academic writing skills, and to sustain these skills with the aid of their performance background.
We will begin by examining critical concepts and issues related to weekly topics and prepare for more in-depth discussion of these issues. Between week 4 and week 15, students will then take turns leading the discussion. Each student will be assigned one of the required readings, introducing, demonstrating, and evaluating the arguments included in the article in question. Each presenter will decide which repertory to focus on. He/she will also be in charge of selecting a recording of the relevant musical works and providing musical examples for the rest of the class. Presenters are strongly encouraged to demonstrate their points on their major instrument as an alternative to playing a recording. The required reading assignments are due at the beginning of each class meeting. Those not presenting in a given week will be expected to raise questions about, and to provide criticism of, the presenter’s viewpoints.
We will begin by examining critical concepts and issues related to weekly topics and prepare for more in-depth discussion of these issues. Between week 4 and week 15, students will then take turns leading the discussion. Each student will be assigned one of the required readings, introducing, demonstrating, and evaluating the arguments included in the article in question. Each presenter will decide which repertory to focus on. He/she will also be in charge of selecting a recording of the relevant musical works and providing musical examples for the rest of the class. Presenters are strongly encouraged to demonstrate their points on their major instrument as an alternative to playing a recording. The required reading assignments are due at the beginning of each class meeting. Those not presenting in a given week will be expected to raise questions about, and to provide criticism of, the presenter’s viewpoints.
十八世紀歐洲音樂美學選讀
2 小時, 2 學分
- 授課教師
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.
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.
音樂、視覺與空間
3 小時, 3 學分
- 授課教師
-
- 董昭民
- 李奉書
This course is primarily for music graduates. Non-music majors and undergraduates are highly recommended to talk to the course instructors first.
Co-taught by two faculty members of the institute of music, this seminar explores music’s relationship to vision (visual perception, visual representation) and its interaction with space (for example, acoustical space). In addition, the inclusion of physical movement (such as dance and choreography) into music in operas, musicals, and instrumental music, and composers’ special ways to deal with timbre will also play a significant role in this course.
The repertories that we will delve into (cf. repertory list below) range from European music from the mid 19th century to the present. The theories that we will cover include discussions of music’s association with vision and space, including works by by Goethe (color theories), Young (visual perception), Helmholtz (sound studies), Wagner (the spatial and acoustic design of his Festival Theatre), Scriabin (synesthesia), and theories in theatre and drama by Brecht. Using these primary sources as a point of departure, we will discuss how European composers from mid-late 19th century on treated music’s incorporation with multimedia in various ways, and how that enriches our discussion of music beyond “music in and of itself.”
課程綱要 Co-taught by two faculty members of the institute of music, this seminar explores music’s relationship to vision (visual perception, visual representation) and its interaction with space (for example, acoustical space). In addition, the inclusion of physical movement (such as dance and choreography) into music in operas, musicals, and instrumental music, and composers’ special ways to deal with timbre will also play a significant role in this course.
The repertories that we will delve into (cf. repertory list below) range from European music from the mid 19th century to the present. The theories that we will cover include discussions of music’s association with vision and space, including works by by Goethe (color theories), Young (visual perception), Helmholtz (sound studies), Wagner (the spatial and acoustic design of his Festival Theatre), Scriabin (synesthesia), and theories in theatre and drama by Brecht. Using these primary sources as a point of departure, we will discuss how European composers from mid-late 19th century on treated music’s incorporation with multimedia in various ways, and how that enriches our discussion of music beyond “music in and of itself.”
音樂學實務二
2 小時, 1 學分
- 授課教師
To practice the basic scholarly skills of reading, writing and editing, and to discuss individual research projects of senior students. Two highlights are the preparation of abstracts for TWMF 2020 and the editing/writing of program notes for the institute's chamber recital.
課程綱要