Holiday
NANDA南6A103 M5M6
This course focuses on the awareness of contemporary music issues from the 20th and 21st centuries, with Professor Nancy Rao's work serving as continuous reading material. Nancy Rao, a Taiwanese- American music theory expert, conducts music theoretical analyses not only on Western composers' works but also on music pieces from China and Taiwan. Recently, she has also been addressing issues related to hate encountered by Asians in North America and problems within the discipline's division of labor. Through an analysis of her series of thoughts, this course aims to acquaint students with research approaches to contemporary music in the 20th and 21st centuries. 本次課程重點放在二十和二十一世紀以來的當代音樂問題意識,並且以Prof Nancy Rao的著作為連續性的閱讀材料。Nancy Rao是台裔 美國音樂理論專家,她的音樂理論分析對象,不僅有西方作曲家的作品,也有中國和台灣的音樂作品。近來,她也關注亞洲人在北美遭遇的 仇恨問題,以及學科分工的問題。本課程透過分析她的系列思想,來
Course keywords: contemporary music issues, 20th and 21st centuries, music theory, Nancy Rao, Chinese and Taiwanese composers ● 課程說明(Course Description): This course explores the entangled situation of music during the Cold War, with focus on the Western classical music. It examines the Cold War and music in perspectives of historiography, artistic features, ideologies and diplomatic workings behind the scene, with cases both in the West and the East Asia. ● 指定用書(Text Books):No ● 參考書籍(References): As weekly assigned readings. ● 教學方式(Teaching Method):課程以專題討論(Seminar)方式進行包括:文獻閱讀、課堂報告與討論、 Discussion seminar ● 教學進度(Syllabus): 第1週:課程介紹、工作分配 第2週 2016 “Sonic Imaginary After Cultural Revolution.” In Listening to China’s Cultural Revolution Music, Politics, and Cultural Continuities, edited by Paul Clark, Laikwan Pang, and Tsan-huang Tsai, 213-238. 第3週 2016 “Introduction: Emergent Sino-Soundscapes: Musical Pasts, Transnationalism and Identities.” Co-authored with Sooi Beng Tan. Ethnomusicology Forum 26/1: 1-10. 第4週 2018 “Introduction: Overview of Western Contemporary Music.” (緒論:西方當代音樂創作 現狀總述) In Analysis of Western Contemporary Music—Trends of Structure and Ideas 西方當代音樂創作研究—結構思維與當代走向, edited by Chen Hongduo 陳鴻鐸, 第5週 2019 “Inner Liason and Dialogue in Asia: Chou Wen-chung and Korean Gayageum,” (亞 洲內部連結與對話:周文中與伽倻琴) The Art of Music: Journal of the Shanghai Conservatory of Music 音樂藝術156: 31-42. [in Chinese] 第6週 2020 “Kalligraphie und Tinte in der zeitgenössischen chinesischen Musik: Der Fall Wen Deqing.” Musik & Ästhetik 93 (2020): 5-26. 第7週 2020 “The Concept of Shi: Chinese Aesthetics and Chen Yi’s Happy Rain on a Spring Night,” Music Theory Online 26/ 3 第8週 2023 “Materiality of Sonic Imagery: On Analysis of Contemporary Chinese Compositions.” Music Theory Spectrum 25/1: 151-155. 第9週 2022 “Preface: Temporality and the Mode of Listening.” In Harrison Birtwistle’s Concept of Temporality by Zhang Huilin, Guangxi Normal University Press.“ 序言: 時 間思維與聆聽方式.”載張曄林著《哈里森·伯特威斯爾時間思維》,廣西師範大學出版社 第10週 2022 “Listening Practice and History: Sound, Erasure.” Symposium on The Race of Sound by Nina Sun Eidsheim, KALFOU: A Journal of Comparative and Relational Ethnic Studies 8/2: 307-317. 第11週 2022 “Anti-Asian Hate: It’s Time to Stop Playing ‘Chinatown, My Chinatown.’” Musicology Now, An online platform for sounds, words, and ideas from the American Musicological Society. 第12週 2022 “Anti-Asian Hate and the Transpacific History of American Music; Or, Why Is “Chinatown, My Chinatown” Still Played?” American Music 40/4: 547-552. 第13週 2020 “On Division of Intellectual Labor.” Intégral: The Journal of Applied Musical Thought 33/1 第14週 2023 “Interdisciplinary and Intercultural Artistic Collaboration.” In Human Flourishing in Music, edited by Anna Harwell Celenza, 137-159. New York: Oxford University Press. 第15週 《跨洋的粵劇:北美城市唐人街的中國戲院》1 第16週 《跨洋的粵劇:北美城市唐人街的中國戲院》2 ● 成績考核(Evaluation): 課堂出席40 % 分組報告 30% 期末筆記和書面報告 30%
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Average GPA 4.09
Std. Deviation 0.32
本課程為16周課程。
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