111 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 :
1. 使在和聲與曲式學上程度稍弱之音樂所新生，加強其音樂知性方面統合的能力，以適應所上其它的課程。
2. 為已具備基礎樂理程度之非音樂所學生，欲更深入學習專業音樂理論、音樂展演、音樂創作類課程者，提供統合性之初階課程。
3. 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) 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。

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。

1. 此課程主要是幫助學生建立音樂分析的基本概念，同時整合音樂理論的基本知識並學習音樂分析的技巧。
2. 整個課程設計以西洋調性音樂為基底。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。
3. 課程目標有下列三點：
1) 從宏觀(macro-)與微觀(micro-)的角度出發，學習樂曲曲式的結構(form structure)與調性和聲的擴張與延展(tonal harmony prolongation)。
2) Annotated Score的建立。
3) 瞭解表達調性音樂內容的層級觀念（hierarchical concept），學習製作Formal Diagram (Form Structure) 和 Sketch of Reduction Analysis (Harmonic
Progression)。

除上述三個學習目標外，本課程特別注重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。

Our main tasks are professional and academic writings; the skills involved are bibliographical, analytical, 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.

課程概述與目標：
To be announced.

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.

在音樂史上，音樂科技的進步總是影響音樂作品的內容與呈現方式。此課程主要藉由透過學習進階Max/MSP/Jitter影音程式撰寫課程，使學生瞭解各種數位合成的理論，並得以有能力撰寫自己想要的數位效果器、合成器等，以期能進一步運用相關技術於各種聲音作品與音樂的創作中，或運用於「即時互動音樂」中，結合傳統樂器，展現傳統與科技結合的新藝術。

>>做中學：強調做中學(learning from doing)，課程直接面對聲音素材，進行聲音處理、變化、編輯、以及創作成曲。
>>DAW音樂創作：以DAW軟體多音軌(multitracker)軟件：Adobe Audition 進行數位音樂(digital music)，電腦音樂(computer music)
或音景作品(Soundscape Music)之創作，完成期中小品與 期末作品。
>>分析、閱讀與報告：著重經典作品欣賞與分析、數位音樂相關美學與文獻知識(aesthetics and literature )閱讀。
>>目標一：透過理論、美學與實務技巧兼重之課程設計，培養學生數位音樂創作技巧，以及科技與音樂藝術跨域結合作為思想感情表達的省思。
>>目標二：Path to Goal:-->從 Open Ears 至 Happy New Ears!!

透過不同樂器的演奏角度與思考模式，從實際操作與討論之中，加強學生二重奏鳴曲演奏經驗並建立合理的詮釋風格，同時，借此種最精簡的室內樂演奏模式，訓練學生在室內樂上的認知與表現力，以更貼近本所演奏組所重視的室內樂教育精神。

依樂器種類分排組別，由一至三位老師授課。

一對一教學,學習大鍵琴有別於鋼琴的表達方式,藉著大鍵琴跳脫聲音強弱的表達方法,瞭解音樂想法傳遞時更多的可能性。

This 3-credit seminar, which would be instructed primarily in English, explores vision in 19th-century optical science, medical studies, technology, literature, and the arts, including music. In this era, an improved understanding of the eye in both ophthalmology and optical science spread into the interpretation of vision, including confused vision, in literature, public entertainment history, visual arts, and music. A reserved and even skeptical approach to visual perception became a source of inspiration for authors, composers, and artists to convey this sensory confusion with metaphors, techniques, and modes of expression. This also leads to their attention to other senses, especially the senses of hearing and touch. In theatre and drama, developments in space, light, and staging also coincide with and likely contributed to this new aesthetics of seeing. Understanding visual culture thus may offer and fresh and more comprehensive way to understand how inventions in the arts and literature related to science.

This course will be divided into 3 parts. In Part I, we start with new theories, discoveries, and optical devices in both optical science and ophthalmology, which we will study hand in hand with music works, in which vision likely inspired new techniques, acoustics, and instrumentation. In Part II, we delve into literature and visual arts, in which confused vision served as important metaphors and the basis of different techniques and modes of expression. We will consider how and why authors and artists found a manipulated vision appealing from an aesthetic standpoint, and how that also inspired them to shift their attention to other senses and psychology. Part III, we explore vision relative to the use of space, lighting, and staging in the opera and public entertainment. We will study renowned optical illusion in magic shows, including their mechanical aspects, their inventors, and their reception. We will also study inventions in theatrical lighting and acoustic space hand in hand with European theatres and opera houses, relating visual culture to architecture, staging, and dramaturgy.

Most readings for the course are in English and will require the ability to read a music score and to do music analysis. Music literacy is therefore required. Undergraduate students are not recommended to take this course for credits but are welcome to sit in as auditors.