Introductory Survey of Music
樂曲賞析
Instructor：Yuh-wen Wang
Semester：Fall 2006, Spring 2005, Spring
2003
Credit：3
Course
Music may be appreciated from multiple perspectives, and this is
one of the basic assumptions of this course. In this course students will be
guided to approach musics of various cultures, times and societies. Because
different musics, especially those from different cultures, often require
different “listening habitus,” in order to get the best out of them, one needs
to be able to listen in different ways, with different attitudes and
anticipation. Thus it is one of the major aims to develop different listening
modes and techniques.
In this course actual listening experience is greatly emphasized.
Through listening experience, one may get to know how music changes in the
historical time, what compositional or cultural concepts are behind the work.
This experience may also help one to consider and imagine what kind of culture,
society and tradition may be the fertile ground for the music. Understanding of
music history and music in society/culture thus is achieved through one’s own experience
as well as through description in the book.
To cultivate listening and perceptual ability, one needs to have
keen ears. Thus we should not limit our ears only to what is called “music,”
but rather should expand the object of listening to all sorts of sounds—near,
far, loud, soft, pleasing, quirky, low, high, vocal, mechanical, etc. Once we
have learned to appreciate all the sounds around us, we have gained much more
fun in our daily lives.
The main body of the music to be discussed in this course is
western art music. However, some non-western, especially Asian music is invoked
and explored. The purpose is to avoid a single listening perspective resulted
from limiting oneself to music of a particular culture.
Evaluation
Three listening reports (45%)
Group presentation (20%)
Quiz (20%)
Class Discussion (15%)
Reference
Abraham, Gerald. 《簡明牛津音樂史》(The Concise Oxford History
of Music). 上海：新華書店。
Bernstein, Leonard. The Joy of Music 《音樂欣賞》，林聲翕譯。香港：今日世界社，1964.
Grout, Donald J. & Claud Palisca. A History of Western
Music. Norton, 1996.
(ML
----------. 《西方音樂史》。汪啟璋、吳佩華、顧連理譯。北京：人民音樂出版社﹐1996. (910.94 4792)
Lang, Paul Henry. Music in Western Civilization. Norton,
1997.
Miller, Hugh M., Paul Taylor, & Edgar Williams. 《音樂概論》(Introduction to
Music), 桂冠學術編輯室譯。台北：桂冠，1999.
Norton Recorded Anthology of Western Music. (10 CDs)
(多媒體服務中心 (AL) MT6.5 N67z 1996 disc 1-10 )
Wang, Yuhwen. “The Ethical Power of Music: Ancient Greek and
Chinese Thoughts,” Journal of Aesthetic Education 37/4 (2003) .
王育雯.〈音樂，身心狀態，與道德性情──由韓國宮廷音樂《壽齊天》的經驗談起〉，《2001 年中華民國民族音樂學會學術研討會論文集》。台北市：中華民國民族音樂學會。
林谷芳選輯，國立傳統藝術中心籌備處策劃。《本土音樂的傳唱與欣賞》（共六輯）。臺北：望月文化，2000.
--------- 編輯。《傳統音樂概論》。台北：漢光，1998.
----------. 《諦觀有情》系列CD。台北：望月，1997.
修海林､李吉提﹒《西方音樂的歷史與審美》。北京：中國人民大學出版社﹐1999.
陳郁秀•《台灣音樂閱覽》台北：玉山社，2000.
楊沛仁。《音樂史與欣賞》。台北：美樂，2001.
葉明媚•《音樂天地》。台北：台灣商業印書館，1993.
Course Outline
Listening Object:
1. Outer sounds—sounds around
close --> near
--> far
3. Inner sounds
physical
sounds—breathing, heart beating,
pulsation, inner
voice
4. the so-called “music”
pitch
melody
rhythm
texture
dynamics
harmony
timbre
5. music of different styles,
of different times,
of different
cultures
Listening Modes:
1. Listen with Spirituality
2. Listen through Body
3. Listen through Emotions
A. Happiness,
sadness, love, ... etc.
B. Tension-release
4. Listen with Imagination/Program
5. Listen through Rationality
(listen to the
musical form and structure)
6. Listen through Expectation/Realization
7. Background Listening
Syllabus
1. Introduction
Various modes of
listening
Music fundamentals:
pitch, timbre, rhythm, dynamics, melody, harmony, texture
2. Listen through Body
Listen to our inner
sounds—breathing, heart beating, pulsation, etc.
Sujechon, Nasori, Etenraku
Listen to pop
singers’ resonance area with our own bodily experience
3. Music and ethos
qin music, nanguan
music
Wenwang Tsao,
Dongtien Han
4. Listen through Spirituality (1)
European music in
the Middle Ages and Renaissance—
Gregorian chant;
Hildegard of Bingen; Perotin, Machaut, Dufay, Josquin；
5. Listen through
Spirituality (2)
Vimbuza (
6. Listen through Emotions (1)
Monteverdi, The
Coronation of Poppea
Purcell, Dido and
Aeneas; Mozart, Don Giovanni;
7. Listen through Emotions (2)
European
19th-century Lieder, character pieces:
Schumann, Dichterliebe;
Chopin, Nocturne
8. Listen through Emotions (3)
19th-century opears
in Europe: Bizet, Carmen；
popular music (TBA)
9. Listen with Imagination:
Ex. Vivaldi, Four
Seasons; Schubert, Erlkonig;
Schumann, Carnival;
Berlioz, Symphonie fantastique
Debussy, Prelude to
The Afternoon of a Faun;
10. Listen through Rationality（1）
symphonies,
concertos and chamber music in Classical Europe;
Sonata form
Ex. Mozart, Haydn,
Beethoven
11. Listen through Rationality（2）
Other forms—rondo, variations, minuet
Ex. Mozart, Haydn,
Beethoven
12. Listen through Rationality（3）
12-tone
music—Schoenberg, Webern;
Ex. Boulez, Le
marteau sans matre
Ex. Stravinsky, The
Rite of Spring;
13. Listen through Expectation & Realization
Ex. Haydn,
“Surprise” Symphony, no. 94, III;
Philip Glass,
Einstein on the Beach
14. Quiz
15. Other Listening experiences;
Sound experiments:
Ex. Varese, Poem
electronique;
Ligeti, Lux aeterna;
Crumb, Black Angels;
Cage, Aria
16. Conclusion
Other listening
modes
17. Final Exam