二十世紀初歐洲音樂美學選讀
Source Readings in Early 20th-Century European Music Aesthetics
| 節 | 週二 |
|---|---|
7 15:30–16:20 | 二十世紀初歐洲音樂美學選讀 HC514 2 節連堂 |
8 16:30–17:20 |
* 根據陽明交大上課時間表所列
Aesthetics in the Chinese notion of 美學 focuses attention on the judgement of beauty 審美, while its Greek etymology concerns the general issue of sensation and perception. This situation is analogous to the inherent duality of music, as the art of organized sound, between idea and form, structure and sonority, composition and performance. While the sensuous was favored increasingly with the rise of the bourgeois audience since the 19th century, the condition of modern life had convinced the generation of musicians before and after the First World War that the critique of contemporary culture was a historical imperative. The reaction against the pleasures of the beautiful and the affirmative brought about the modernist pursuits of the emancipatory and experimental. Conceived for musicology majors and other students who are interested in independent study, this course will engage historical documents to understand the thinking on music in the early 20th century, especially on the topics of modernism and composition. After the introductory session, which reviews the conceptions of the new and modern in earlier periods (ars nova, musica nuova etc.), the first half of the course will look at the two major regional developments (German, French), and the second half will concentrate on neoclassicism and dodecaphony. Participants will learn to read historical sources and current literature sensitively and critically, and gain experience in academic writing.
(課綱編輯中) Preliminary reading from Grove Music Online by Andrew Bowie, "Philosophy of Music, §III: Aesthetics, 1750–2000." English and music reading skills are expected, as well as passion and punctuality. If you are uncertain, please do not hesitate to contact me.
Course homepage at NCTU e-Campus. All course materials are available there. [每次上課前一天(週一)13:00前,負責導讀的組別要交報告摘要約1,000字,並提出兩個重點討論問題,每題含說明約100字(共約1,200字打在同一個DOCX檔上傳E3討論區);其他同學每人則要提一個重點評論與提問共約100字(直接貼在討論區)。]
Presentation 30%: Each student will join a group to take charge of two hour-long presentations, which should take the form of “Text-Context-Critique” followed by discussion. Participation 30%: Everyone should read everything (so start early!) and contribute to the discussion. Paper 40%: Each student should submit a 2,000-word paper as revised version of the oral presentation (“Text-Context-Critique”), supplemented with reference works such as _Grove Music Online_,《哲學超圖解》、 《圖解美學》etc. (but remember to cite properly!).
- Introduction
- Early German Modernism
- Early French Modernism
- Neoclassicism
- Twelve-Tone Music
- Conclusion: Philosophy of New Music
| 週次 | 主題 |
|---|---|
| 第 1 週 | 1. Introduction - Modernism (Botstein) - Postmodernism (Pasler) - Avant garde (Samson) |
| 第 2 週 | Reading Week |
| 第 3 週 | 2.1 Early German Modernism - Wagner and the "Music of the Future" - Mahler 1896, on his 2nd Symphony - Strauss 1942, on his *Salome* (1905) 文心、羽吟 |
| 第 4 週 | 2.2 Early German Modernism - Busoni 1907, from *Sketch of a New Aesthetic of Music* - Schoenberg 1909, two letters to Busoni - Reviews of Schoenberg's op. 16 靖凱、家瑋 |
| 第 5 週 | 3.1 Early French Modernism - Debussy 1902, 1913, three articles - Satie and "Les six" - Cocteau 1918, from "Cock and Harlequin" 盈彤、書煌 |
| 第 6 週 | 3.2 Early Russo-French Modernism - Russolo 1913, "The Art of Noises: Futurist Manifesto" - Stravinsky's *Le sacre* - Bartok 1931 et al., on folkorism 靖凱、家瑋 |
| 第 7 週 | 4.1 Neoclassicism - Stravinsky 1924, on his Octet - Stravinsky 1946, from *Poetics of Music* 文心、羽吟 |
| 第 8 週 | Guest Talk |
| 第 9 週 | 5.1 Twelve-Tone Music - Webern 1932-33, from "The Path to 12-Note Composition" (MM) - Schoenberg 1941, from "Composition with Twelve Tones" 盈彤、書煌 |
| 第 10 週 | Excursus: Language and Aesthetics |
| 第 11 週 | 4.2 Neoclassicism - Ravel 1931, 1932, interviews - Krenek 1931, 1937 on the New Objectivity - Stravinsky 1936, from *Autobiography* - Schoenberg 1926 vs. Stravinsky 1936 |
| 第 12 週 | 5.2 Twelve-Tone Music - Webern 1932-33, from lectures on new music & 12-note composition (MWW) - Webern's opp. 9 and 30 - Berg 1919, from "Society for Private Music Performances in Vienna" |
| 第 13 週 | (New Music Recital) |
| 第 14 週 | (Chamber Music Recital) 6/07 Final paper due |
| 第 15 週 | 6. Conclusion - Thomas Mann 1947, from *Dr. Faustus* - Adorno (1949), from *Philosophy of New Music* (99-102) - Chua (2006), "Drifting: The Dialectics of Adorno's Philosophy of New Music" (1-17) |
| 第 16 週 | Assessment Week |
| 第 17 週 | Assessment Week |
| 第 18 週 | Assessment Week |
[Listed here are the main titles, others to be announced in class and available via NCTU e-Campus.] Adorno, Theodor. <i>Philosophy of New Music</i>. Translated, edited and with an introduction by Robert Hullot-Kentor. Minneapolis, MN: University of Minnesota, 2006. Bowie, Andrew. "Music Aesthetics and Critical Theory." In <i>An Introduction to Music Studies</i>, ed. J.P.E. Harper-Scott and Jim Samson, 79-94. Cambridge: Cambridge University Press, 2009. Chua, Daniel. "Drifting: The Dialectics of Adorno's Philosophy of New Music." In <i>Apparitions: New Perspectives on Adorno and Twentieth Century Music</i>. Edited by Berthold Hoeckner, 1-17. London: Routledge, 2006. Dahlhaus, Carl. <i>Esthetics of Music</i>. Translated by William Austin. Cambridge: Cambridge University Press, 1982. Schoenberg, Arnold. <i>Style and Idea: Selected Writings</i>. Edited by Leonard Stein and translated by Leo Black. Berkeley, CA: University of California Press, 1984. Stravinsky, Igor. <i>Poetics of Music in the Form of Six Lessons</i>. Cambridge, MA: Harvard University Press, 1993. Webern, Anton. <i>The Path to the New Music</i>. Edited by Willy Reich and translated by Leo Black. King of Prussia, PA: Theodore Presser, 1963.
- 地點
- HC505
- 時間
- TUE 12:20-13:10 (early appointment please).
- 聯絡方式
- kam@nctu.edu.tw / ext. 58308