音樂、科技與社會:1877年以來

COURSE DESCRIPTION Whether in the building of instruments and concert halls or theoretical and aesthetic systems, music has always been interdisciplinary between technology and the humanities. Even when music asserted the status of an independent and autonomous art—“absolute music”—at the end of the 18th century, it was neither isolated from Enlightenment ideas nor political and industrial revolutions of that time. Music historiography has long taken the absolute music paradigm for granted, focusing mostly on masterworks and their masters. But detached from its social and technological contexts, music could be no more than “sound and fury, signifying nothing.” This course aims to reconnect the art of music with technology and society, and takes its departure after the 1876 premiere of Richard Wagner’s monumental _Ring_ tetralogy in the custom-built and court-funded Bayreuth theater, which could be taken as the summation of European music culture. With the invention of phonography by Thomas Edison in 1877, music has entered what Walter Benjamin calls the “age of technological reproducibility,” when the production, transmission and reception of music was profoundly transformed. A chronological narrative of that transformation will be attempted here; the first half is a broader survey, the second spotlights on selective topics with more global perspective. Though compact and selective, this course should enable the students to understand the ebb and flow of music history within this time frame, and cultivate a critical sense to think about the meaning and value of musical creativity in the contexts of technological innovations and social restructuring.

這是補修課程,請依新「修業規章」的方案來選課://本所研究生於學年開學時須參加音樂史檢定測驗,未通過者須於畢業前依指定補修一至二門之音樂史課程。而通過檢定者或已通過一門補修課程者,方可修習「音樂研究導論」。// THIS IS A REMEDIAL COURSE. PLEASE SIGN UP ONLY AFTER OBTAINING THE INSTRUCTOR'S PERMISSION.

Literature and other materials will be available on E3.

ASSESSMENT Quiz 10*3=30%(隨堂小考十次,每次選擇題三題) Papers (in-class) 20+30=50%(期中考簡答題2題、期末考選擇題20題+簡答題1題 [12/29]) Essay (take-home)=20%(期末報告一份,約1,200字:題目12/29公布,1/5交)

BIBLIOGRAPHY (GENERAL AND PRELIMINARY) Attali, Jacques. _Noise: The Political Economy of Music_. Translated by Brian Massumi. Minneapolis: University of Minnesota Press, 1985. Bayley, Amanda, ed. _Recorded Music: Performance, Culture and Technology_. Cambridge: Cambridge University Press, 2010. Benjamin, Walter. _The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media_. Edited by Michael William Jennings, Thomas Y. Levin, and Brigid Doherty. Translated by E. F. N. Jephcott. Cambridge, MA: Belknap Press of Harvard University Press, 2008. Bijsterveld, Karin. _Mechanical Sound: Technology, Culture, and Public Problems of Noise in the Twentieth Century_. Cambridge, MA: MIT Press, 2017. Born, Georgina. _Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde_. Berkeley: University of California Press, 1995. Braun, Hans-Joachim, ed. _Music and Technology in the Twentieth Century_. Baltimore: John Hopkins University Press, 2002. Bull, Michael. _Sound Moves: IPod Culture and Urban Experience_. London: Routledge, 2007. Cage, John, and Kyle Gann. _Silence_. 50th anniversary edition. Middletown: Wesleyan University Press, 2011. Day, Timothy. _A Century of Recorded Music: Listening to Musical History_. New Haven: Yale Univ. Press, 2002. Greene, Paul D., and Thomas Porcello, eds. _Wired for Sound: Engineering and Technologies in Sonic Cultures_. Middletown: Wesleyan University Press, 2005. Kahn, Douglas. _Noise, Water, Meat: A History of Sound in the Arts_. Cambridge, MA: The MIT Press, 1999. Katz, Mark. _Capturing Sound: How Technology Has Changed Music_. Rev. ed. Berkeley: University of California Press, 2010. Kittler, Friedrich A. _Gramophone, Film, Typewriter_. Translated by Geoffrey Winthrop-Young and Michael Wutz. Stanford: Stanford University Press, 1999. Moorefield, Virgil. _The Producer as Composer: Shaping the Sounds of Popular Music_. Cambridge, MA: MIT Press, 2005. Nettl, Bruno. “Music.” In _Grove Music Online_. Oxford University Press, 2001, updated and revised, 7/1/2014. https://doi.org/10.1093/gmo/9781561592630.article.40476. Patteson, Thomas. _Instruments for New Music: Sound, Technology, and Modernism_. Oakland: University of California Press, 2016. Schafer, R. Murray. _The Soundscape: Our Sonic Environment and the Tuning of the World_. Rochester: Destiny Books, 1993. Sterne, Jonathan. _The Audible Past: Cultural Origins of Sound Reproduction_. Durham: Duke University Press, 2003. Taylor, Timothy Dean. _Strange Sounds: Music, Technology & Culture_. New York: Routledge, 2001.

地點

HC513

時間

OFFICE HOUR 4X, by appointment: kam@nctu.edu.tw