卡爾達爾豪斯與歐洲音樂史 

Carl Dahlhaus and European Music History

授課教師：楊建章
開課學期：93/1
學分數：3

課程簡介與目的 Class Introduction and Objectives

本 課程以德國音樂學家卡爾．達爾豪斯的音樂史著作為主要閱讀文本，探討歐洲音樂史書寫在二十世紀最後二十年的一些轉變。閱讀材料除了達氏關於十八、十九、二 十世紀歐洲音樂史的著作外，也論及他的歷史學理論，另外我們也會觸碰音樂學界對達氏學說的評價。課程主要分成三個單元：第一單元以宏觀的角度先檢視達氏對 於十八至二十世紀歐洲音樂史的看法；第二單元則針對特定主題，以達氏的專論做為主要文本做深入的探討；第三單元則是對達氏史學方法論的檢討。

上課方式與評量標準 Class Requirements

本 課程內容安排採取漸進式，先介紹當前音樂史的基本看法，接著慢慢深入有關歐洲音樂史研究的個別議題；修課同學最好有大學程度的歐洲音樂史背景（如無背景請 事先與教師商量註冊事宜）。課程進行方式，以討論為主，輔以教師對特定題材講授基礎內容，每位同學必須負責就特定議題帶領討論。除平時成績外，修課同學在 期末必須就上課內容或其引申題材，繳交一份研究報告。以下為本課程評量標準：

一、上課參與                       25%

二、口頭報告與帶領討論   30%

三、期末報告                       45%

教材與參考材料 Texts and References

本課程無固定教科書，閱讀材料以達氏著作的英文翻譯為主。以下為 Dahlhaus 的英文著作（方括弧為德文版出版年份）：

BOOKS

[1966] Studies on the Origin of Harmonic Tonality. Translated by Robert Gjerdingen. Princeton: Princeton University Press, 1990.

[1967] Esthetics of Music. Translated by William Austin. Cambridge: Cambridge University Press, 1982. ML3845 D2913

[1970] Analysis and Value Judgement. Stuyvesant, NY: Pendragon Press, 1982.

[1971] Richard Wagner's Music Dramas. Translated by Mary Whittall. Cambridge: Cambridge University Press, 1979. ML410.W13 D153

[1974] Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century. Translated by Mary Whittall. Berkeley: University of California Press, 1980.

[1976] The Idea of Absolute Music. Translated by Roger Lustig. Chicago: University of Chicago Press, 1989. ML3854 D3413

[1977] Foundations of Music History. Translated by J. B. Robinson. Cambridge: Cambridge University Press, 1983. ML3797 D2313

[1978] Schoenberg and the New Music. Cambridge: Cambridge University Press, 1987. ML60 D158

[1982] Realism in Nineteenth-Century Music. Translated by Mary Wittall. Cambridge: Cambridge University Press, 1985.

[1986] Nineteenth Century Music. Translated by J. Bradford Robinson. Berkeley: University of California Press, 1989. ML196 D2513

[1987] Ludwig van Beethoven: Approaches to His Music. Translated by Mary Whittall. Oxford: Clarendon Press, 1991.

ARTICLES

"Wagner and Program Music." Studies in Romanticism 9, no. 1 (1970): 3-20. NTU

"Schoenberg and Schenker." Journal of the Royal Musical Association 100 (1973–74): 209–15.

"Some Models of Unity in Musical Form." Journal of Music Theory 19 (1975): 2-30. NTU

"On the Treatment of Dissonance in the Motets of Josquin Des Prez." In Josquin Des Prez, edited by Edward E. Lowinsky, 334–44. Oxford: Oxford University Press, 1976.

"Neo-Romanticism." 19th-Century Music 3, no. 2 (1979): 97–105. NTU

"Is Music History a Form of Cultural History?" Israel Studies in Musicology 3 (1983): 18–23.

"Sonata Form in Schubert: The First Movement of the G-Major String Quartet, Op. 161 (D.887)." In Schubert: Critical and Analytical Studies, edited by Thilo Reinhard, 1–12. Lincoln, Nebr.: University of Nebraska Press, 1986.

"The Eighteen-Century as a Music-Historical Epoch." College Music Symposium 26 (1986): 1–6.

"Beethoven's Symphonic Style and Temporality in Music." In Essays on the Philosophy of Music, edited by Veikko Rantala, Lewis Rowell and Eero Tarasti, 281-92. Helsinki, 1988.

"Romantic Music." In Heritage of Music, edited by Michael Raeburn and Alan Kendall, 110–23. Oxford: Oxford University Press, 1989. ML160 H527 v.2

"What Is a Music Drama?." Cambridge Opera Journal 1, no. 1 (1989): 95–111. NTU

"Fragments of a Musical Hermeneutics." Current Musicology 50 (1992): 5-20. NTU

"Sprache Und Tonsprache/Language and Musical Language." In The Romantic Tradition: German Literature and Music in the Nineteenth Century, edited by Gerald Chapple, Frederick Hall and Hans Schulte, 1–21. Lanham: Univerity Press of America, 1992.

"'New Music' as Historical Category." In Classic Essays on Twentieth-Century Music: A Continuing Symposium, edited by Derrick  Puffett, Carl Dahlhaus and Alfred Clayton, 22–33. New York: Schirmer, 1996.

       Dahlhaus 之完整著作表，請參考：Danuser, Hermann et al., eds. Das Musikalische Kunstwerk. Geschichte, Ästhetik, Theorie. Festschrift Carl Dahlhaus Zum 60. Geburtstag. Laaber: Laaber, 1988, 777–815.

課程進行大綱 Meeting Schedule

導論－Carl Dahlhaus 與歐洲音樂史的重寫

第一週（二月24日）：課程簡介、Carl Dahlhaus 簡介

第一單元 －歷史分期、美學、與詮釋分析

第二週（三月3日）：十八世紀音樂史與 J. S. Bach，一個歷史學的練習

Readings: "A Proposal of Eighteenth Century"; Marshall, "A Different Proposal;" Marshall, "Bach the Progressive"; Neumann, "Bach: Progressive or Conservative"

第三週（三月10日）：從十八世紀到十九世紀的音樂美學轉變

Readings: Esthetics of Music (Optional: Bonds, Wordless Rhetoric)

第四週（三月17日）：十九世紀音樂史的基本問題

Readings: Nineteenth Century Music, 1–53 (Optional: Daverio, John. Nineteenth-Century Music and the German Romantic Ideology)

第五週（三月24日）：樂曲分析與價值判斷

Readings: "Some Models of Unity in Musical Form," Analysis and Value Judgment (Optional: Blum, "In Defense of Close Reading and Close Listening")

第二單元：十九世紀音樂與二十世紀音樂專題

第六週（三月31日）：貝多芬

Readings: Ludwig van Beethoven; "Beethoven's Symphonic Style and Temporality in Music"  (Optional: Schmalfeldt, "Form as the Process of Becoming)

第七週（四月7日）：浪漫主義

Readings: Nineteenth-Century Music; "Neo-Romanticism" (Optional: Hoeckner, Programing the Absolute)

第八週（四月14日）：寫實主義

Readings: Realism in Nineteenth-Century Music; (Optional: Geck, Zwischen Realismus und Restauration)

第九週（四月21日）：絕對音樂

Readings: The Idea of Absolute Music; "Fragments of a Musical Hermenuetics" (Optional: Chua, Absolute Music and the Construction of Meaning)

第十週（四月28日）：民族主義

Readings: "Nationalism and Music" (Optional: Taruskin, Defining Russia Musically)

第十一週（五月5日）：華格納

Readings: Wagner's Music Dramas; "The Twofold Truth in Wagner's Aesthetics"; "What Is a Music Drama?" (Optional: Newcomb, "The Birth of Music Out of the Spirit of Drama"; Wintel, "Issues in Dahlhaus")

第十二週（五月12日）：現代主義

Readings: Schoenberg and the New Music (Optional: Adorno, Philosophy of Modern Music)

第三單元：史學理論

第十三週（五月19日）：Dahlhaus 的《音樂史原論》與其思想背景

Readings: Foundations of Music History, Hepokoski, "The Dahlhaus Project" (Optional: Gossett, "Carl Dahlhaus and the Ideal Type)

第十四週（五月26日）：何謂音樂史？

Readings: Foundations of Music History (Optional: Treitler, "What Kind of Story is History")

第十五週（六月2日）：Dahlhaus and Postmodern Historiography

Readings: Foundations of Music History; (Optional: 楊建章，＜Carl Dahlhaus 的結構音樂史＞)

第十六週（六月9日）：學生報告

第十七週（六月16日）：學生報告

Optional readings:

Adorno, Theodor. Philosophy of Modern Music. Translated by Anne G. Mitchell and Wesley V. Blomster. New York: Continuum, 1973.

Blum, Stephen. "In Defense of Close Reading and Close Listening." Current Musicology 53 (1993): 41–54.

Bonds, Mark Evan. Wordless Rhetoric: Musical Form and the Metaphor of Oration. Cambridge, Mass.: Harvard University Press, 1991.

Chua, Daniel K. L. Absolute Music and the Construction of Meaning. Cambridge: Cambridge University Press, 1999.

Daverio, John. Nineteenth-Century Music and the German Romantic Ideology. New York: Schirmer Books, 1993.

Gossett, Philip. "Carl Dahlhaus and the Ideal Type." 19th Century Music 13, no. 1 (1989): 49–56.

Hoeckner, Berthold. Programming the Absolute: Nineteenth-Century German Music and the Hermeneutics of the Moment. Princeton: Princeton University Press, 2002.

Hepokoski, James. "The Dahlhaus Project and Its Extra-Mucicological Sources." 19th Century Music 14, no. 3 (1991): 221–46.

Marshall, Robert. "Bach the Progressive: Observations on His Later Works." The Musical Quarterly 62/3 (1976): 313-57.

———. "The Eighteenth Century as a Music-Historical Epoch: A Different Argument for the Proposition." College Music Symposium 27 (1987): 198–205.

Neumann, Frederick. "Bach: Progressive or Conservative and the Authorship of the Goldberg Aria." The Musical Quarterly 71 (1985): 281–94.

Newcomb, Anthony. "The Birth of Music out of the Spirit of Drama." 19th-Century Music 5 (1981/82): 38–54.

Schmafeldt, Janet. "Form as the Process of Becoming: The Beethoven-Hegelian Tradition and the ‘Tempest’ Sonata." Beethoven-Forum 4 (1995): 37–71.

Taruskin, Richard. Defining Russia Musically: Historical and Hermeneutical Essays. Princeton: Princeton University Press, 1997.

Treitler, Leo. "What Kind of Story Is History." 19th-Century Music 7 (1983-84): 363–73.

Wintle, Christopher. "Issues in Dahlhaus." Music Analysis 1, no. 3 (1982): 341–55.