JMU 5021-0

Brief

本課程旨在通過閱讀主要學者的重要著作，專注於民族音樂學的發展史，以幫助學生理解該學科的多樣性、理論基礎和研究方法，以及不 斷演變的研究主題。同時，本課程將通過閱讀這些關鍵作品，讓學生理解民族音樂學與其他人文學科的交互作用，突顯其跨領域和跨學科 的本質。課程將採取研討會形式，通過閱讀和討論，使學生不僅了解從19世紀到21世紀初民族音樂學的發展史，還將重新審視早期研究取徑 及其在當代實踐中的影響和發展。

Description

Course keywords: 民族音樂學 Ethnomusicology, 音樂史 Music History, 世界音樂 World Music 一、 科目名稱：民族音樂學 Ethnomusicology 二、 任課教師：官元瑜 Yuan-Yu KUAN 三、 時間：每週二 四、 地點：南6B103 五、 授課內容COURSE DEscriptION 隨著19世紀末比較音樂學和20世紀民族音樂學的興起，歷史音樂學、人類學、文化研究、語言學等學科發生了 深刻的交集和轉變。專注於世界音樂研究的學者們開始從多樣性的角度和方法，包括音聲、物質、社會、象徵以 及社群關係等多角度，來解析所謂的「音樂文化」。本課程旨在通過閱讀主要學者的重要著作，專注於民族音樂 學的發展史，以幫助學生理解該學科的多樣性、理論基礎和研究方法，以及不斷演變的研究主題。同時，本課程 還將通過閱讀這些關鍵作品，讓學生理解民族音樂學與其他人文學科的交互作用，突顯其跨領域和跨學科的本 質。課程將採取研討會形式，通過閱讀和討論，使學生不僅了解從19世紀到21世紀初民族音樂學的發展史，還 將重新審視早期的研究方法及其在當代實踐中的影響和發展。 With the rise of comparative musicology in the late 19th century and the emergence of ethnomusicology in the 20th century, there have been profound intersections and transformations in disciplines such as historical musicology, anthropology, cultural studies, and linguistics. Scholars focusing on world music studies began to engage the concept of “musical culture” from diverse perspectives and methodologies, including sound, materiality, society, symbolism, and community building. This introductory course will primarily emphasize the development of ethnomusicology by reading primary sources authored by leading ethnomusicologists, aiming to acquaint them with the discipline’s prominent paradigms, the diversity of its research activities, and its evolving research agendas. Additionally, the course will explore the interplay between ethnomusicology and other humanities disciplines through the reading of key works, highlighting its interdisciplinary nature. The course is a graduate seminar. Through reading and discussion, students will not only gain insights into the historical development of ethnomusicology from the late 19th century to the early 21st century but also examine earlier modes of inquiry and their contemporary relevance. 六、 學習目標 LEARNING OUTCOMES 1. 閱讀並評估民族音樂學的重要著作 2. 熟悉該學科主要學者及其理論框架 3. 具備收集、分析和綜合研究資料的能力 4. 以音樂作為文化及社會文本培養思辨能力 Read and critically assessed seminal writings of the discipline Familiarity with major scholars and their theoretical frameworks Gained ability in collecting, analyzing and synthesizing materials for their research. Learned to think critically about music as culture and social text. 七、 課堂作業COURSE ASSIGNMENTS 1. 課堂參與 Class Participation 20% 2. 研究報告提案Project proposal (1-2 pages, double-spaced, 10%) 3. 兩篇文本分析Report on two works in ethnomusicology (3 pages, double-spaced, 20%) 4. 口頭報告Oral presentation (15 minutes each and will be based on the research paper, 20%) 5. 期末研究報告Research paper (30%): In consultation with me, each participant will select a topic on which to write a research project/paper of 15 pages. The paper must incorporate your ethnographic data, interviews, fieldwork experience and address issues from class discussion and from the readings as integral to its content. 八、 生成式人工智慧AI使用原則 基於透明與負責任的原則，本課程鼓勵學生利用AI進行協作或互學，以提升本門課產出品質。根據本校公布之 「大學教育場域AI協作、共學與素養培養指引」，本門課程採取有條件開放，說明如下。學生可於課堂作業或報 告中的「標題頁註腳」或「引用文獻後」簡要說明如何使用生成式AI進行議題發想、文句潤飾或結構參考等使用 方式。然而，在本課程的「文本分析」、「期末研究報告」中，學生不得使用生成式AI工具撰寫作業。若經查核 使用卻無在作業或報告中標明，教師、學校或相關單位有權重新針對作業或報告重新評分或不予計分。本門課授 課教材或學習資料若有引用自生成式AI，教師也將在投影片或口頭標注。修讀本課程之學生於選課時視為同意以 上倫理聲明。 九、 進度安排TENTATIVE SCHEDULE Unit I: 民族音樂學的發展Development of the Field of Ethnomusicology 2/20: 導論 2/27: Definitions of the Field of Ethnomusicology I／定義「民族音樂學」（一） 3/5: Definitions of the Field of Ethnomusicology II／定義「民族音樂學」（二） 3/12: History of the Field ／學科領域史 3/19: Theories and Approaches: Music and Culture I／理論與取徑：音樂與文化（一） 3/26: Theories and Approaches: Music and Culture II／理論與取徑：音樂與文化（二） Unit II: 音樂文化的詮釋及其權力政治 Interpretation of Musical Cultures and Its Power Politics 4/2: Cantometrics／歌唱測量學 4/9: Merrie Monarch Festival: No Class 4/16: Organology ／樂器分類學 4/23: Transcription: Basic Techniques and Strategies ／基本技巧與策略 4/30: The Crisis of Representation I／代表性與再現政治（一） 5/7: The Crisis of Representation II／代表性與再現政治（二） Unit III: 音樂民族誌 Music Ethnography 5/14: Ethnomusicology and Fieldwork I／民族音樂學及田野調查（一） 5/21: Ethnomusicology and Fieldwork II／民族音樂學及田野調查（二） 5/28:研究與田野調查實踐（一） 6/4: Peer review 6/11: 研究與田野調查（二） 6/18: 口頭報告 十、 參考書目BIBLIOGRAPHY Abraham, Otto, and Erich M. von Hornbostel. 1909-10. “Vorschläge für die Transkription exotischer Melodien.” Sammelbände der internationalen Musikgesellschaft 11:1-25. Agawu, Kofi. 2003. Representing African Music: Postcolonial Notes, Queries, Positions. New York: Routledge. Appadurai, Arjun. 1996. “Disjuncture and Difference in the Global Cultural Economy.” In Modernity at Large. Minneapolis: University of Minnesota Press, 27- 47. Arnold, Alison. 1996. Review of Cassette Culture: Popular Music and Technology in North India, by Peter Manuel. Ethnomusicology 40(1):104-107. Bartok, Béla. 1931. Hungarian Folk Music. London: Oxford University Press. Bartok, Béla, and Albert Lord. 1951. Serbo-Croatian Folk Songs. New York: Columbia University Press. Barz, Gregory F. and Timothy J. Cooley, eds. 2008. Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology, 2nd edition. New York and Oxford: Oxford University Press. Becker, Alton, and Judith Becker. 1979. “A Grammar of the Musical Genre Srepegan.” Journal of Music Theory 23:1-43. (Reprinted in Asian Music 14[1]:30-72. 1983). ______1981. “A Musical Icon: Power and Meaning in Javanese Gamelan Music." in The Sign in Music and Literature, edited by Wendy Steiner. Austin: University of Texas Press, pp. 203- 215. ______. 1983. “A Reconsideration in the Form of a Dialogue.” Asian Music 14(1):9- 16. Becker, Judith. 1969. “The Anatomy of a Mode.” Ethnomusicology 13(2):267-79. ______. 1980. Traditional Music in Modern Java. Honolulu: University of Hawaii Press. ______. 2004. Deep Listeners: Music, Emotion, and Trancing. Bloomington: Indiana University Press. Béhague, Gerard. 1979. Music of Latin America: An Introduction. Englewood Cliffs, NJ: Prentice- Hall. ______. 1984. Performance Practice: Ethnomusicological Perspectives. Westport, CT: Greenwood Press, 1984. Bergeron, Katherine, and Philip V. Bohlman, eds. 1992. Disciplining Music: Musicology and its Canons. Chicago: University of Chicago Press. Berliner, Paul. 1978. The Soul of Mbira. Berkeley: University of California Press. ______. 1994. Thinking in Jazz: the Infinite Art of Improvisation. Chicago: University of Chicago Press. Blacking, John. 1967. Venda Children’s Songs: A Study in Ethnomusicological Analysis. Johannesburg: Witwatersand University Press. ______. 1973. How Musical is Man? Seattle: University of WashingtonPress. ______. 1977. “Some Problems of Theory and Method in the Study of Musical Change.” Yearbook of the International Folk Music Council9:1-26. Blum, Stephen. 1975. “Towards a Social History of Musicological Technique.” Ethnomusicology 19:26-53. ______. 1986. “Ethnomusicologists vis-a-vis the Fallacies of Contemporary Musical Life.” Pacific Review of Ethnomusicology 3:1-19. (Responses by G. Thompson, V.L. Levine, T. Rice, R. Jensen, S. Clark, J. Robbins, C. Robinson, C. Keil, P. Humphreys, P. Moisala, S. Feld, pp. 20- 41.) ______. 1991. “European Musical Terminology and the Music of Africa.” in Nettl and Bohlman 1991:3-36. ______. 1992. “Analysis of Musical style.” In Myers 1992, pp.165-218. Blum, Stephen, Philip V. Bohlman, and Daniel M. Neuman, eds. 1991. Ethnomusicology and Modern Music History. Urbana & Chicago: University of Illinois Press. Bohlman, Philip V. 1988a. The Study of Folk Music in the Modern World. Bloomington: Indiana University Press. ______. 1988b. “Traditional Music and Cultural Identity: Persistent Paradigm in the History of Ethnomusicology.” Yearbook for Traditional Music20:26-42. ______. 1992. “Ethnomusicology’s Challenge to the Canon; the Canon’s Challenge to Ethnomusicology.” In Bergeron and Bohlman1992:116-136. Boilès, Charles, and Jean-Jacques Nattiez. 1977. “Petite histoire critique de l'ethnomusicologie.” Musique en jeu 28:26-53. Born, Georgina and David Hesmondhalgh. 2000. “Introduction.” In Western Music and its Others. Berkeley: University of California Press, 1-58. Brailoiu, Constantin. 1973. Problèmes d'ethnomusicologie: Textes reunis et prefaces par Gilbert Rouget. Geneva: Minkoff Reprint. Bronson, Bertrand Harris. 1959. The Traditional Tunes of the Child Ballads. Princeton: Princeton University Press. Brubaker, Rogers and Frederick Cooper. 2000. “Beyond ‘Identity.’” Theory and Society 29(1):1- 47. Campbell, Patricia Shehan. 2004. Teaching Music Globally: E Chernoff, John Miller. 1979. African Rhythm and African Sensibility: Aesthetics and Social Action in African Musical Idioms. Chicago: University of Chicago Press. Christensen, Dieter. 1991. "Erich M. von Hornbostel, Carl Stumpf, and the Institutionalization of Comparative Musicology." iI Nettl & Bohlman 1991, pp. 201-209. Clifford, James. 1988. The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art. Cambridge, MA: Harvard University Press. (“On Ethnographic Authority.”) Collaer, Paul. 1960. Atlas historique de la musique. Paris: Elsevier. Danielson, Virginia. 1998. The Voice of Egypt: Umm Kulthum, Arabic Song, and Egyptian Society in the Twentieth Century. Chicago: University of Chicago Press. Day, Charles Russell. 1891. The Music and Musical Instruments of Southern India and the Deccan, with an introduction by A. J. Hipkins. London: Novello, Ewer and Co. (Repr. Belhi: B. R. Publishing Corp., 1974) Densmore, Francis. 1910. Chippewa Music. Washington: Smithsonian Institute (Bulletin 45 of the Bureau of American Ethnology). ______. 1918. Teton Sioux Music. Washington: Smithsonian Institute (Bulletin 61 of the Bureau of American Ethnology). ______. 1939. Nootka and Quileute Music. Washington: Smithsonian Institute (Bulletin 124 of the Bureau of American Ethnology). Diamond, Beverley, and Pirkko Moisala. 2000. "Introduction: Music and Gender-- Negotiating Shifting Worlds." In Music and Gender, Pirkko Moisala and Beverley Diamond, eds. Urbana and Chicago: University of Illinois Press. Dournan, Geneviève. 1992. "Organology." In Myers 1992, pp. 245-300. Ellingson, Ter. 1992a. "Transcription." In Myers 1992, pp. 110-152. ______. 1992b. "Notation." In Myers 1992, pp. 153-164. Ellis, Alexander J. 1884. "Tonometric Observations on Some Existing Nonharmonic Scales," assisted by Alfred Hipkins. Proceedings of the Royal Society, Nov. 20:368-85. ______. 1885. "On the Musical Scales of Various Nations." Journal of the Royal Society of Arts 33:485-527. Emsheimer, Ernst. 1943. The Music of the Mongols. Stockholm: The Sino-Swedish Expedition, Publication 21. England, Nicholas (moderator). 1964. "Symposium on Transcription and Analysis: A Hukwe Song with Musical Bow." Ethnomusicology 8:223-77. Erdely, Stephen. 1964. Methods and Principles of Hungarian Ethnomusicology. Bloomington: Indiana University Publications. Erlmann, Veit. 1991. African Stars: Studies in Black South African Performance. Chicago: University of Chicago Press.

Timetable

Scores

Average GPA 2.85

Std. Deviation 1.15

Remarks

Restrictions

Compulsory

Elective

Cross Discipline

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Second Specialization