Prominent artists, scholars, and specialists from different fields will be invited to lecture on a wide range of issues that aim to broaden our horizons and sharpen our critical and artistic faculties. Class meets usually fortnightly throughout the semester, and master classes as well as workshops will be organized afterwards occasionally to deepen the discussion.
Course Content: Advanced programming for the Max/MSP graphical programming environment and the fundamental mathematics of the Audio Signal, and then help the students to perform the Digital Synthesis using Max/MSP.
Improvisation is live composing. Through the interaction of the performers we explore and experiment the musical languages of our own and the others. Material for improvisation is provided by Vinko Globokar's INDIVIDUUM, COLLECTIVUM, and some graphic scores are also used to improve our improvising skill. Furthermore, the well-known theatre director Yi-Sheng Chang will be invited to the class to instruct several workshops on body-music- improvisation.
A pro-seminar course concentrating on the music in the first half of 19th-century Europe. This repertoire is much performed, but not so much studied critically. Adopting a thematic approach, we'll discuss some past issues which are still our present concerns, for example the search for identity and meaning in music. By understanding the there and then we'll rethink and have more choices for our music-making here and now.
A pro-seminar course designed primarily for "insider": graduate students majoring in music and seeking a vocation in it. While our learning experience is usually individualistic (solitary practice for long hours over ten years!), the social dimension is no less real (relationships with teachers, audience, and fellow musicians in chamber and orchestral playing), though we're just less conscious about it. By reading and reflecting on some major literature on music sociology, especially on Adornorian theory and empirical methods, we attempt to equip ourselves with the conceptual tools to practice a more social conscious and critical career, and to pursue related research.
以劇場形式拓展音樂空間，採用多媒體劇場形態將聲音，語言，肢體，視覺，舞臺空間等元素相融並用﹐開拓學生對藝術認知的新領域，發揮個人藝術創造的潛能與表演空間。
小團體課,採取一人指揮,二至四人彈奏鋼琴的方式互動,親身體驗經由指揮語言的清楚與否,以達成對指揮的原則的掌握與理解
使同學瞭解聲訊與視訊多媒體應用之基礎，進而整合使用Premiere來執行數位影像編修與合成之技術，並運用 AudioMulch執行即時互動音訊處理。學生將可習得如何載入靜態影像與視訊攝錄像機之影連續影像於視訊編輯軟體中，以執行動態繪製、轉換、以及蒙太奇影像法，以製作完整之視訊創作作品。同時對於即時互動之聲音粒子化合成與Metasurface均可深入瞭解並運用於創作中。
Explore software synthesis techniques for the design of original timbres, including hybrid software with programming tools and digital signal processor (DSP) algorithms. Csound and Matlab will be used as the development tools.
熟悉各種譜號及移調樂器之運用，以鍵盤彈奏方式呈現或簡化各種編制之合奏(唱)樂曲。增進讀譜能力，提升整體音樂理解認知與反應能力。
歐洲藝術音樂在基督教會的庇蔭之下，於文藝復興時期達到空前的成就，同時也產生了音樂寫作的教學法。本課程以瞭解對位法作為西方藝術音樂聲音組織建構之最根本觀念與技法，以Palestrina的作品為範例，經由十六世紀調式對位法之系統教學法的探討與寫作演練，增進分析複音音樂與多聲部寫作的基本能力，進而強化個人音樂解析能力與音樂創作技術及涵養。
檢視西方藝術音樂自文藝復興以降至二十世紀初期之各主要樂派代表作品，理解作曲家對於聲音組織之形構及材料運用手法與技術，體認音樂發展脈絡的時、空性與風格演變之特性，並增進樂曲分析能力，以作為音樂演奏詮釋與風格辨識研究之客觀依據。
本課程乃針對互動音樂、互動影音、互動裝置藝術的創作者所規劃之技術課程指導，學習透過麥克風、攝影機等互動的媒介，達成音樂演奏者與電腦的互動、或裝置藝術參觀者與作品之互動。