Courses Offered in Fall 2009 (98AY 1S)

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。

本課程希望經由演奏者與器樂之間關係的探索，發展個人音樂語法、肢體視覺和舞臺空間的全新概念。可做為抽像表演藝術或具像音樂劇場之基礎。

A core-course in two semesters for all year one students. Those who are interested in writing research paper in music are also welcome. In the first semester, we'll be exploring about the what, why and how of music research, in the second the different sources and resources (literary, notational, audio-visual). We'll be doing a lot of thinking, reading, talking and writing, in and out of the classroom. An important companion throughout our journey will be the computer with the internet. Our aim is to train ourself to be a modern-day musician-scholar, who can make music and make sense of music cleverly and critically. Concrete "product" at the end of the semester will be a mini-conference and an anthology of selected written work. Reading assignments for performers will focus on recent research in musical performance.

本課程將帶領學生回歸至作曲家對作品的原創意念,並瞭解其初始之演奏聲響及
探討當代歷史性的演奏實踐之相關問題。
The objective of this course is to guide students to return, inasmuch as this is feasible, to the composer’s original conception of a musical work, and to re-enact how music sounded at the time of its initial presentation.

從當代多媒體藝術的多元新面貌認識（多）媒體的定義，進而審視媒體與人的關係以及創作者的基本理念。

A core-course in two semesters for all year-one students. Those who are interested in writing research paper in music are also welcome. In the first semester, we'll be exploring about the what, why and how of music research, in the second, the different sources and resources (literary, notational, audio-visual). We'll be doing a lot of thinking, reading, talking and writing, in and out of the classroom. An important companion throughout our journey will be the computer and the Internet (among others: WORD, ENDNOTE, IRFANVIEW, SONIC-VISUALISER, LILY-POND, RILM, IMSPL...). Our aim is to train ourself to be a modern-day musician-scholar, who can make music and make sense of music cleverly and critically. Concrete "product" at the end of the semester will be a mini-conference and an anthology of selected written work. Reading assignments for non-performers will focus on issues in new music and a braod range of music-related issues.

課程目標：
此課程可視為綜合高階音樂能力(Advanced Musicianship)之學習，強化聽覺經驗與理論性之理解，經由鋼琴鍵盤和聲行進之演練，實際深入與理解西方調性音樂之基礎組織語彙，體認各時代風格之差異與演變，進而啟發修習者（演奏者）之創意思考與創作動機，增進音樂即席(instant)詮釋與即興展演之能力。

課程綱要：
一、 弁鄔M聲的形成與演變
二、 自然和聲與變化和聲
三、 從近系轉調至遠系轉調
四、 數字低音與實踐
五、 巴洛克、古典、與浪漫派和聲風格
六、 古典樂派奏鳴曲呈示部反覆段落之加料即興
七、 主題、變奏與即興
八、 協奏曲「裝飾奏」之即興與實踐
九、 其它風格之即興手法，如民族風、爵士等

◎綱要六之後之內容可依修習者之主修樂器別演練與實踐，亦歡迎管、弦樂器主修者修習之。
◎修課人數超過上限時以高年級優先。

[Under construction!]
Different from a historical survey of 19th-century music, this seminar is more topical orientated: A common thread is about lateness. (But no excuse for coming late to a course on "lateness"!) Lateness as late style in last works, as how art(ist) must face death, as how coming of age is questioned afterwards, as how classicism in music turns to romanticism and beyond, as how 18th-century Enlightenment is criticized in the 19th century and beyond... While the music discussed will concentrate on late Beethoven and late Mahler, the theoretical framework is provided by Adorno and Edward Said. It is hope that we'll be listening more out of the music then just "sonic moving form" (Hanslick), and be more sensitive and critical to its tones and ideas, even of our own.

A writing seminar where individual research projects (e.g. thesis, course work) are presented and discussed. Focus will be on theoretical and methodological issues in musicological research and writing, from the mundane question of form and style to the deep question of value and meaning. The aim is to help each other to be a more experienced and critical writer of academic paper. The end "product" for each participant will be a revised and improved paper (oral and written). A mini-conference and an anthology of selected paper are planned.
At the same time, we'll be practicing the "art and craft" of "conferencing," and hope to foster a sense of academic community among us.

本課程主要為培養演唱者或演奏者對於音樂相關作品中法語辭彙（含音樂術語及一般用語）之理解與應用能力。有/無法語基礎者均可選修。課程內容將包括發音法、簡易文法、音樂術語、文本解析（特別針對使用法語表達之音樂作品，如：法文藝術歌曲、法文歌劇、室內樂或現代作品…進行文本解讀與賞析）。希望藉由本課程之訓練，幫助演唱者或演奏者更加精準掌握法語音樂作品的展演內涵。

音樂作為一種藝術之最為獨特者，也釵b於其所能展現與生命形式上相似的深刻性。就此面向而言，兩者的意義都在於尋找一種組織時間的方式。但是無止境的永恆對生命而言也釵釣鉿b宗教上或哲學上的含意，在音樂上其意義卻顯得可疑，因此更精確地說，音樂的意義乃是針對一段有始末的時間之組織方式。
此課程的目標首先要探討這樣的時間組織方式中最為基本的兩個觀念：時間的分割，分割後的重組。我們藉由前者產生脈動以便知覺時間的微單位，而藉由後者產生節拍去建構一種潛在底層的揚抑參照基準。其次將探討時間被分割後，重組而成的各種節奏原型，以及這些原型的複合體，並尋求這些節奏型態與上述揚抑參照基準間彼此互動的心理機制。最後，由於音樂中的節奏與節拍並非以機械性的累積方式而成，本課程將以一種構築式（architectonic）的切入去理解並經驗它們兩者的意涵。

課程目標：
本課程討論二十世紀各種主要音樂寫作技術的成因、運用手法、記譜法與風格演變，增進修習者對於二十世紀中「現代性」的音樂語彙的掌握與實務經驗。

課程大綱：
一、音列作品到全序列音樂(total serialism)
二、梅湘的音樂語言
三、延展演奏技術(extended techniques)與音質的探索
四、織體與細微復音手法(micropolyphony)
五、新複雜手法(new complexity)
六、頻譜樂派(musique spectrale)
七、非西方的(non-western)現代性╱傳統性?
八、其他……

本課程是電腦音樂創作或製作之入門課程，使學習者具備最基礎的電腦音樂知識與能力。課程內容包含對於基礎音樂聲學(Acoustics)與數位音訊原理、數位音訊處理技術(DSP)、非線性(non-linear)聲音設計與剪接技術、電腦聲音合成技術(sound synthesis)、Max程式化準則音樂寫作技術(algorithmic music)的學習與技巧養成，並能利用多音軌 (multitracker)音樂軟體拼貼/創作數位音樂或配樂、能以電腦音樂程式演算寫作(programming)，創作簡單之電腦準則作品或甚至結合感應器與Wii控制器之現場互動音樂、能以8聲道設備做音樂之空間投射展演。
其他內容尚包括音樂科技與電腦音樂之今昔發展、當下電腦音樂/數位音樂製作或創作之相關軟體、經典電腦音樂作品、電腦音樂美學之認識與增進。期待透過此一文獻、理論與實務兼具之課程設計，培養學生以電腦科技作為音樂創意表達的興趣與能力。

室內樂作品的實際演奏，以分組教學達成作品的完整演出與詮釋。