禁樂:藝術,社會,與審查制度
Forbidden Music: Arts, Society, and Censorship
| 節 | 週五 |
|---|---|
5 13:20–14:10 | 禁樂:藝術,社會,與審查制度 HC501 2 節連堂 |
6 14:20–15:10 |
* 根據陽明交大上課時間表所列
This course explores music in conjunction with censorship of various sorts. In Western culture, music has been viewed as a double-bladed tool by the state and the church. Its potential danger derives from not only its power to touch—and manipulate—human feelings, but also its ability to carry powerful message, be it political, religious, or aesthetic. When a certain type of music is deemed harmful and censored, consequently, the music in question mirrors the party that censors it, including its value system, political policy, and aesthetic or moral value. Some broad questions we will raise are as follows: should music have a function in society? Should it serve politics, religion, or morality? Where does the audience, taste, cultural trends stand in this context? Can it exist as an independent aesthetic product? We will examine these issues as our starting point and exam them from the following perspectives: 1) Why is a certain type of music forbidden in a certain social, political, cultural, or aesthetic context? Does the censorship derive from the composer? The identity of its performer(s)? The music itself? 2) Who forbids it? Is the music banned by law? By the government? The church? A political party? Does the audience or the artists play a part in the censorship?
Medium English proficiency (spoken, reading) or above. This course will be instructed in English; most course readings will also be in English. Background in music (theory and performance) and music literacy (the ability to read a music score) are not required.
教學方法: Reading, listening, viewing assignments, and guidelines/focus questions for weekly readings are available on the course website. NB: Weekly assignments must be completed prior to each class meeting. Focus questions for each reading assignment will be posted next to each week’s reading. Your answers to these questions need not be submitted in writing. However, there may be pop quizzes about the readings, quizzes that are primarily based on the focus questions. In Week 14-16, every student will give a brief presentation on a music work related to one of the themes covered in this course. Detailed guidelines about this presentation will be distributed by week 10.
評量方式:(請說明作業、報告、討論或考試的次數和所佔比例。出席不可作為評分標準。請務必填寫,此項為課程之審查重要依據。) 評量形式 勾選 所佔比例 相關說明(如執行方式、質與量要求、次數等) Attendance & participation: 20% Quiz: 20% Exam: 30% Presentation: 30%
| 週次 | 主題 |
|---|---|
| 第 1 週 | Introduction and overview: music & musicians in society |
| 第 2 週 | Music, education, and religion Reading: St. Augustine, Confessions (from SRMH) Optional readings: Plato, The Republic (from SRMH) & Aristotle, excerpt from Politics (from SRMH) Repertory: Gregorian chant (Kyrie & Credo from Norton anthology) |
| 第 3 週 | Composers and their patrons Readings: J.S. Bach’s 1723 contract with the town council of Leipzig (from MWW) & Haydn’s contract with the Esterhazy family (from HWW) Repertory: Bach, Cantata BWV62 (“Nun komm, der heiden Heiland”) & Haydn, Farewell symphony |
| 第 4 週 | Censorship and 19th-century Italian opera Reading: Hugo, preface to The King Amuses Himself & Synopses of Verdi, Rigoletto & La traviata Repertory: Verdi, Nabucco & La traviata & Rigoletto |
| 第 5 週 | Censorship and 19th-century Italian opera (cont.) |
| 第 6 週 | Music, WWII, and holocaust Repertory: Ullmann, Der Kaiser von Atlantis |
| 第 7 週 | Music & propaganda Repertory: Shostakovich, Symphony No. 10 |
| 第 8 週 | Music and Racism Reading: Anderson, My Lord, What a Morning (from SRMH) & E. Roosevelt’s resignation letter (26 Feb. 1939) Viewing: M. Anderson, Lincoln Memorial concert (April, 1939) |
| 第 9 週 | Quiz |
| 第 10 週 | Composer and self-censor Reading: Berg, “Society for Private Music Performance in Vienna” Repertoire: Billy Elliot (2000) Schoenberg, excerpts from Pierrot lunaire |
| 第 11 週 | Jazz in America Viewing: The Jazz Singer (1927, Warner Bros) I Love to Singa (1936, Warner Bros) |
| 第 12 週 | Composers and their audience Reading: Babbitt, “Who Cares If You Listen?” (1958) Repertory: Babbitt, Philomel |
| 第 13 週 | Avant-garde music and public censor Reading: commentary on The Rite of Spring Repertory: Stravinsky, The Rite of Spring |
| 第 14 週 | Presentation & discussion |
| 第 15 週 | Presentation & discussion (cont.) |
| 第 16 週 | Presentation & discussion (cont.) |
| 第 17 週 | Conclusion |
| 第 18 週 | Final exam |
教科書列表: Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music. 8th ed. New York: W. W. Norton & Company, 2010. Hugo, Victor. The King Amuses Himself. Trans. Frederick L. Slous. New York: Howard Fertig, Inc., 1995. Strunk, Oliver, ed. Sources Readings in Music History. New York: Norton, 1998. Wagner, Richard. Judaism and Other Essays. Trans. William Ashton Ellis. Lincoln: University of Nebraska Press, 1995. Weiss, Piero and Richard Taruskin. Music in the Western World: A History in Documents. New York: Schirmer, 1984 自製講義或課本之參考書目: Course readings will be posted on the course website in PDF. Youtube links of the repertory in weekly listening assignments will be posted on the course website.
- 地點
- 人社三館511
- 時間
- Wednesday 3:30-5:30 pm
- 聯絡方式
- blblume@nctu.edu.tw office phone: x58316