音樂與批判理論 

Music and Critical Theory

授課教師：楊建章

開課學期：96/2

學分數：3

課程簡介及目的Class Introduction and Objectives

本課程內容著重在與音樂相關的社會、歷史、及文化批判議題。本學期課程以法蘭克福學派宗師阿多諾 (Theodor W. Adorno) 之音樂相關著作為主軸，首先熟悉其思想之理論與歷史背景，之後以阿多諾與音樂相關的著作為例，並援引其他學者就類似議題的說法，以實例來探討批判理論的音樂實踐。

課程分為三個部份：前五週為阿多諾理論的 背景部份，以及討論音樂與外在世界的關係；第七週至第十週以新音樂議題為例，討論阿多諾的歷史觀與藝術觀之間的緊張關係；第十一週至第十五週以批判理論的 角度來討論音樂形式與技術的問題，包括觀賞及討論華格納的《帕西法爾》；第十六至十八週為修課學生之期末報告主題設計之討論，由修課同學與授課教師共同決 定閱讀文獻。

This course investigates music-related topics of social, cultural, and historical criticisms. In particular, Theodor W. Adorno's writings on music will be the core of reading materials. Course sessions are divided into three parts: Part One (Week1-Week6) introduces theoretical and historical backgrounds of critical approaches to music under the rubric of "Music and the Surrounding world." From Week 7 through Week 10, Adorno’s writings on "New Music" will be examined to explore the tension between historical and artistic characteristics in musical artworks. Weeks 11 through 15 will focus on issues of musical form and technology, including a screening session of Richard Wagner's Parsifal.

上課要求與評量標準Course Requirements

本課程為以討論為主的進階討論課，修課同學除了在學期末必須完成一含參考書目之書面報告外，其餘評量標準皆以期中之討論與口頭報告表現。成績評量標準如下：

This course is a discussion-oriented graduate seminar. Students taking the course are responsible for at least one class presentation and a research paper submitted by the end of the semester.

一、口頭報告 (classroom reports)                    25%

二、上課參與 (classroom participation) 25%

三、學期報告 (final paper)                              50%

教材及參考用書Texts and References

本課程無固定參考書，以下文獻為課程討論與參考需要，修課同學可考慮購買。

Adorno, Theodor W. Essays on Music. Berkeley: University of California Press, 2002.

Adorno, Theodor W. Philosophy of New Music. Translated by Robert Hullot-Kentor. Minneapolis: University of Minnesota Press, 2006.

———. Sound Figures. Translated by Rodney Livingstone. Standford: Standford University Press, 1999.

Eagleton, Terry. Marxism and Literary Criticism. London: Routledge, 2002.

Jay, Martin. Adorno. Cambridge, Mass.: Harvard University Press, 1984.

馬丁．傑 (Martin Jay)，《阿多諾》，台北市：桂冠，1992。

Jarvis, Simon. Adorno: A Critical Introduction. London: Routledge, 1998.

上課進度Meeting Schedules

UNIT ONE: Die Kunst und die Umwelt

Week 1 (19.02.2008): Course Introduction--Cultural Industry Reconsidered

Readings: Adorno, "Cultural Industry Reconsidered"; Horkheimer, Critical Theory

Week 2 (26.02.2008): Adorno and Musicology

Readings: DeNora, After Adorno;  Adorno, "Alienated Masterpiece: The Missa Solemnis" (Subotnik, "Adorno and the New Musicology")

Week 3 (04.03.2008): Art and Its Surrounding World

Readings: Althusser, "A Letter on Art"; Marcuse, "Art as Form of Reality"; Adorno, "On the Social Situation of Music"

Week 4 (11.03.2008): The Origin of Art?

Readings: Heidegger, "On the Origin of Art"; Adorno, Aesthetic Theory

Week 5 (18.03.2008): Adorno’s Response to Heidegger

Readings: Adorno, Aesthetic Theory (Bowie, Adorno, Heidegger, and the Meaning of Music)

Week 6 (25.03.2008): Music and Ecology

Readings: Adorno, "Engagement" (Guest speaker: Nancy Guy, University of California, San Diego)

UNIT TWO: Music and Historicity/Music in History

Week 7 (01.04.2008): Art and Its Reproductions--Adorno vs. Banjamin

Readings: Adorno, "The Regression of Hearing"; Benjamin, "The Mechanical Reproduction of Arts"; (Adorno, Theory of Musical Reproduction)

Week 8 (10.04.2008): New Music i

Readings: Adorno, Philosophy of New Music; Adorno, "Criteria of New Music"

Week 9 (17.04.2008): New Music ii

Readings: Adorno, "The Aging of New Music"; Boulez, "Schoenberg Is Dead"; (Bürger, “The Decline of Modernism)

Week 10 (22.04.2008): Music, Authenticity and History

Readings: Paddison, “Authenticity and Failure in Adorno’s Aesthetics of Music; Goehr, “Dissonant Works and the Listening Public” (Said, “Adorno as Lateness Itself)

UNIT THREE: Art and Its Technique

Week 11 (29.04.2008): Adorno and Music Analysis

Readings: Adorno, "On the Problem of Musical Analysis"; Agawu, "What Adorno Makes Possible for Music Analysis?" (Burnham, "Landscape as Music");

Week 12 (06.05.2008): Music and Technique

Readings: Adorno, "Music and Technique"; Heidegger, "The Question Concerning Technique" (Ziarek, “Art as Forcework)

Week 13 (13.05.2008): Music, Form, and Materiality

Readings: Adorno, “Mediation”; “The Form of the Phonograph Record” (Jarvis, “Adorno, Marx, Materialism”)

Week 14 (20.05.2008): Music as Redemption--Tanhäuser; Parsifal

Screenings: 本週觀賞華格納之《帕西法爾》(Parsifal)

Week 15 (27.05.2008): Der Fall Wagners

Readings: Adorno, "Phantasmagoria" in In Search of Wagner; Adorno, "Wagner's Relevance Today"; Žižek, Opera's Second Death (Optional: Borchmeyer, "Redemption and Apocatastasis")

UNIT FOUR: Final Projects Workshop

Week 16 (03.06.2008): Critical Exercises in Musicology I

Readings: TBA

Week 17 (10.06.2008): Critical Exercises in Musicology II

Readings: TBA

Week 18 (17.06.2008): Critical Exercises in Musicology III

Readings: TBA

延伸閱讀Reading Materials

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

Adorno, Theodor W. Philosophy of New Music. Translated by Robert Hullot-Kentor. Minneapolis: University of Minnesota Press, 2006.

———. In Search of Wagner. Translated by Rodney Livingstone. London: Verso, 1991.

———. Mahler: A Musical Physiognomy. Chicago: University of Chicago Press, 1992.

———. Quasi una Fantasia: Essays on Modern Music. Translated by Rodney Livingstone. London: Verso, 1998.

———. Sound Figures. Translated by Rodney Livingstone. Stanford: Stanford University Press, 1999.

———. Toward a Theory of Musical Reproduction. Oxford: Blackwell, 2005.

———. Essays on Music. Berkeley: University of California Press, 2002."

———. "Alienated Masterpiece: The Missa Solemnis." In Essays on Music.

———. "Music and New Music." In Quasi una Fantasia.

———. "Music and Technique." In Sound Figures.

———. "On the Fetish-Character in Music and the Regression of Hearing." In Essays on Music.

———. "On the Problem of Musical Analysis." In Essays on Music

———. "On the Social Situation of Music." In Essays on Music.

———. "The Aging of New Music." In Essays on Music.

Althusser, Louis. "A Letter on Art in Reply to André Daspre." In Lenin and Philosophy and Other Essays, 151–55. New York: Monity Review Press, 2001.

Benjamin, Walter. "The Work of Art in the Age of Mechanical Reproduction." In Illuminations, 217–51. New York: Schocken Books, 1969.

Borchmeyer, Dieter. Drama and the World of Richard Wagner. Translated by Daphne Ellis. Princeton: Princeton University Press, 2003.

Bürger, Peter. Theory of the Avant-Garde. Translated by Michael Shaw. Minneapolis: University of Minnesota Press, 1984.

———. The Decline of Modernism. College Park, Penn.: Pennsylvania State University Press, 1992.

DeNora, Tia. After Adorno: Rethinking Music Sociology. Cambridge: Cambridge University Press, 2003.

Heidegger, Martin. "The Origin of the Work of Art (1935–36)." In Off the Beaten Track, 1–56. Cambridge: Cambridge University Press, 2002.

———. “Concerning the Question of Technique.” In Basic Writings. New York: Harper, 1976,

Huhn, Tom, ed. The Cambridge Companion to Adorno. Cambridge: Cambridge University Press, 2004.

Marcuse, Herbert. "Art as Form of Reality." New Left Review 74 (1972): 51–58.

———. The Aesthetic Dimension: Toward a Critique of Marxist Aesthetics. Boston: Beacon Press, 1978.

Subotnik, Rose Rosengard. "Adorno and the New Musicology." In Adorno: A Critical Reader, edited by Nigil Gibson and Andrew Robin, 234–54. Oxford: Blackwell, 2002.

Ziarek, Krzysztof. The Force of Art. Stanford: Stanford University Press, 2004.

Žižek, Slavoj, and Mladen Dolar. Opera's Second Death. London: Routledge, 2002.

Additional References to Adorno’s Aesthetics:

Menke, Christoph. The Sovereignty of Art: Aesthetic Negativity in Adorno and Derrida. Translated by Neil Solomon. Cambridge, M.A.: MIT Press, 1999.

Nancy, Jean-Luc. The Muses. Translated by Peggy Kamuf. Stanford: Stanford University Press, 1996.

Nicholsen, Shierry Weber. Exact Imagination, Late Work: On Adorno's Aesthetics. Cambridge, Mass.: The MIT Press, 1997.

Paddison, Max. Adorno’s Aesthetics of Music. Cambridge: Cambridge University Press, 1993.

Bernstein, J. M. The Fate of Art: Aesthetic Alienation from Kant to Derrida and Adorno. Cambridge: Polity Press, 1992.

Hohendahl, Peter Uwe. Prismatic Thought: Theodor W. Adorno. Lincoln: University of Nebraska Press, 1995.

Huhn, Tom, and Lambert Zuidevaart, eds. The Semblance of Subjectivity: Essays in Adorno's Aesthetic Theory. Cambridge, Mass.: MIT Press, 1997.

Jarvis, Simon. Adorno: A Critical Introduction. London: Routledge, 1998.

Macdonald, Iain, and Krzysztof Ziarek, eds. Adorno and Heidegger: Philosophical Questions. Stanford: Stanford University Press, 2008.

Watkin, Robert. W. Adorno on Music. London: Routledge, 1998.

Wellmer, Albrecht. The Persistence of Modernity: Essays on Aesthetics, Ethics, and Postmodernism. Cambridge, Mass.: The MIT Press, 1991.

陳瑞文，《阿多諾美學論－評論、模擬與非同一性》，台北：左岸，2004。