音樂、科技與社會:1876年以前
Music, Technology, and Society up to 1876
| 節 | 週四 |
|---|---|
5 13:20–14:10 | 音樂、科技與社會:1876年以前 HC501 3 節連堂 |
6 14:20–15:10 | |
7 15:30–16:20 |
* 根據陽明交大上課時間表所列
This course offers an overview to Western art music from late Baroque to 1876, the year Wagner’s Ring was premiered. We will incorporate the music history of this period in the larger context of social and cultural developments, including the developments of aesthetics and technology. The goal of this course is twofold. Functioning as a remedial course, it offers graduate music students without sufficient knowledge in the history of Western art music a factual and conceptual grounding. Equally importantly, it approaches music as a cultural phenomenon, partaking and “bouncing back,” as an active force, to what was happening in social reforms, political upheavals, and innovations in technology and industry, including the inventions of music instruments, music devices, as well as well stagecraft, lighting, sound, and space. There is no textbook per se for this course. However, students are encouraged to check out a copy of Burkholder, Grout, and Palisca’s A History of Western Music from the library. This source will provide basic information regarding charts, chronology, and terminology, factual information for a undergraduate music history survey course. Essential course readings are accessible either on the course website or NCTU’s library system, under electronic resources. Two quizzes focusing on repertoire building and score-reading will take place in mid- and end of the term. In addition to weekly course reading and listening assignments, each student will choose one reading and give a presentation; guidelines for the presentation will be distribute in W3.
This course is designed as a remedial course in music history for first-year music grads. Non-music majors are strongly encouraged to speak to the course instructor and to sit in the class sessions in W1-W2 to determine whether this course's contents and workload are too challenging.
Grove Music Online, Naxos
Attendance & participation: 25% Midterm presentation: 25% Quizzes: 50%
| 週次 | 主題 |
|---|---|
| 第 1 週 | Overview: Western art music, society, and technology before 1876 |
| 第 2 週 | Baroque: Enlightenment spirits, geographical explorations, social upheavals, and the arts |
| 第 3 週 | Counterpoint, concerto, and opera seria |
| 第 4 週 | The flourishing business of instrument-making and instrumental music genres in late Baroque |
| 第 5 週 | The evolving definition of virtuosity and vocal music (Handel, A. Scarlatti, Hesse, J. S. Bach) |
| 第 6 週 | The Classical era: revolutions, reforms, and new gadgets (metronome, fortepiano, and new musicality; Gluck; from modal to tonal) |
| 第 7 週 | Instrumental music and new structural thinking: binary, ternary, and sonata forms (Haydn) |
| 第 8 週 | Vienna in mid-late 18th century: the Galant style, Mannheim rocket, and Sturm und Drang (Haydn, Mozart) |
| 第 9 週 | Beethoven, the changing patronage system, and the new music languages |
| 第 10 週 | Beethoven, Rossini, and the Romantic generation Quiz #1 |
| 第 11 週 | The expanded orchestra, varying timbres, and visual culture (Beethoven, Berlioz, Weber) |
| 第 12 週 | Music in private spheres: Lieder, salon culture, and character pieces (Schubert, Chopin, Schumann) |
| 第 13 週 | Music and the rhetoric of imitation: program music and absolute music (Mendelssohn, Schumann; Berlioz, Liszt) |
| 第 14 週 | The cult and language of virtuosity (Paulin Viardot, Pasta, Liszt, Paganini) |
| 第 15 週 | Nationalism, Imperialism, and Exoticism: Western music and its Other (Verdi) |
| 第 16 週 | Listening culture: concert culture, its audience, and music aesthetics |
| 第 17 週 | Wagner, music drama, and the Bayreuth enterprise |
| 第 18 週 | Conclusion & quiz #2 |
cf. 課程概述與目標
- 地點
- HC511
- 時間
- Wednesday, 3:30 pm-5 pm or by appointment
- 聯絡方式
- blblume@nctu.edu.tw, ext. 58316