音樂歷史學：音樂文化的歷史向位 

Music Historiography: Historical Locations of Musical Cultures

授課教師：楊建章
開課學期：92/2
學分數：3

課程簡介與目的

        本 課程探討音樂史學的理論與實際應用，除了舉音樂學的文獻材料為例之外，也兼涉當代史學理論之關鍵概念的檢討與其對音樂史寫作的影響。課程分為兩大部分：學 期前半著重在史學經典研讀以及檢討過去音樂研究文獻中之歷史方法論；我們將從十九世紀之實證史學開始，經過二十世紀出之理念史，再研討戰後新史學對傳統史 學的第一波批判。學期後辦則與當前人文學界的爭論焦點接軌，例如民族主義、後殖民、與後現代等議題，檢討西方中心音樂史觀之末路與全球化時代知音月薪史學 論述的可能性；重點在於套過與課成員討論的激盪，產生有生命的、亞洲觀點又兼具全球視角的新音樂史學觀。

上課要求與評量標準

        修課同學最好有一年以上學習音樂學，或在其他社會人文科之研究經驗。如無經驗請與授課教師討論註冊事宜。修課同學在其中之前須負責口頭報告─新史學流派，期末我們還會有個mini-conference，讓同學以辦公開論文發表的形式，展現研究成果。

一、上課參與25%

二、二次口頭報告與帶領討論30%

三、期末書面報告45%

教材與參考材料

        本課程並無指定教科書。以下書目作為背景閱讀之用（部份易作為課程指定閱讀材料），同學可在開學前選擇預習。

Burke, Peter, ed. New Perspectives on Historical Writing. University Park, Penn: Pennsylvania State University Press, 1992. D13. N45

Dahlhaus, Carl. Foundations of Music History. Cambridge: Cambridge University Press, 1983. ML3797 .D2313

----------.Nineteenth-Century Music. Berkeley: University of California Press, 1989. ML196 .D2513

林．亨特編，《新文化史》，江政寬譯，台北：麥田，2002。540.9407 0034 (Hunt, Lynn ed. The New Cultural History. Berkeley: University of California Press, 1989. HN13. N48)

Iggers, Georg. The German Conceptions of History: The National Tradition from Herder to the Present. Revised ed. Middletown, Conn: Wesleyan University Press, 1983. DD86 I34

凱斯．詹京斯，《後現代歷史學：從卡耳和艾爾頓到羅逖與懷特》，江政寬譯，台北：麥年，2000。601.4 2784-1 (Jenkins, Keith. On “What Is History?”: from Carr and Elton to Rorty and White. London: Routledge, 1995. D13 .J38)

課程大綱

第一單元  導論─歷史知識的行程

          第一週（二月18日）：音樂文化的歷史解構或重建？Deconstruction or Re-Construction?

          第二週（二月25日）：歷史知識的形成

          Readings: Foucault, The Order of Things; Shlins, “The Anthropology of History”; Treitler, “The Historiography of Music;” Bhabha, “Locations of Culture”

          第三週（三月4日）：實證史學與史實詮釋，以十八世紀州音樂史的問題與 J. S. Bach為例。

          Readings: Dahlhaus, “The 18^th-Century as a Music-Historical Epoch;” Marshall, “The 18^th-Century as a Music-Historical Epoch,” Wolf, “On the History and Historiography of Eighteen-Century Music;” Neumann, “Bach: Progressive or Conservative;” Iggers, The German Conception of History.

          第四週（三月11日）：音樂史學史回顧

          Readings: Bruney, “A General History of Music;” Forkel, Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke; Yang, “Music as Knowledge;” Spitta, J. S. Bach

第二單元：批判史學

          第五週（三月18日）：新史學的挑戰（一）

          Readings: Geartz, The Interpertation of Cultures; Foucault, “Nietzche, Geneology, History”; Braudel, On History; Gadamer, Truth and Method

          第六週（三月25日）：新史學的挑戰（二）

          Readings: White, 《史元》；Ricoeur, “Narrative Time,” Burke, 《歷史學與社會理論》, Wolf, Europe and the People without History

          第七週（四月1日）：造神運動例二：貝多芬（一）

          Readings: Dennis, Beethoven in German Politics, Pederson, “A. B. Marx, Berlin Concert Life, and German National Identiry;” Burnham, Beethoven Hero, de Nora, Beethoven and the Construction of Genius

          第八週（四月8日）： 造神運動例二：貝多芬（二）

          Readings: Wagner, “A Pilgrimage to Beethoven,” Marx, Ludwig van Beethoven: Cook, Beethoven: Symphony No. 9, Treitler, “History, Criticism, and Beethoven’s Ninth Symphony;” van den Toorn, “Politics, Feminism, and the Ninth”

          第九週（四月15日）：歷史、社會與美學的辯證

          Readings: Adorno, “On the Fetish Character in Music and the Regression of Listening;” Dahlhaus, Foundations of Music History; Shepherd, Music as Social Text, 賈克．阿達利，《噪音》

第三單元：後殖民、後現代、全球化的史學觀

          第十週（四月22日）：歷史的他者與他者的歷史

          Readings: Said, “Representing the Colonized;” Hastrup, 〈烏有時代與冰島的兩部歷史〉；Bhabha, “The Other Question;” Tomlinson, Music in Renaissance Magic

          第十一週（四月29日）：現代性與民族主義（一）

          Readings: Hobsbawm, 《民族與民族主義》；Anderson,《想像的共同體》；Smith, The Nation in History; Milewski, “Chopin’s Marzukas and the Myth of the Folk”

          第十二週（五月6日）：現代性與民族主義（二）

          Readings: Bhabha, “Dissemination;” Duara, Rescuing History from the Nation; Stokes, “Ethnicity, Identity, and Music;” Ringer, Arnold Schoenberg

          第十三週（五月13日）：後殖民雨後現代

          Readings: Giddens, The Consequences of Modernity, Bhabha, “The Postcolonial and the Postmodern;” Appadurai, Modernity at Large, Strohm, “Collapsing the Dialectics”

第四單元：亞洲觀點之世界音樂史官的建立

          第十四週（五月20日）：東亞音樂史新論

          Readings: Hosokawa, “In Search of the Sound of the Empire;” Lam, “Chinese Music Historiography,” 田邊尚雄，《中國音樂史》；Tanaka, Japan’s Orient

          第十五週（五月27日）：造神運動例三：江文也

          Readings:《江文也研討會論文集》、《江文也的生平與作品》

          第十六週（六月3日）：書寫台灣音樂史─後殖民或後現代？

          Readings: 周英雄、劉紀蕙編《書寫台灣》；許常惠《台灣音樂史初稿》，張錦鴻，〈六十年來之中國樂壇〉；劉靖之，《中國新音樂史論》；Lam, “The Yin and Yang of Chinese Music Historiography”

          第十七週（六月10日）：學生報告

書目

Adorno, Theodor W. “On the Fetish Character in Music and the Regression of Listening.” In The cultural Industry: Selected Essays on Mass culture, edited by J. M. Bernstein, 29-60. London: Routledge, 1991.

Anderson, Benedict, Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso, 1991. (班納迪克．安德森，《想像的共同體：民族主義的起源與散布》，吳叡人譯，台北：時報，1999。)

Appadurai, Arjun. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis, Minn: University of Minnesota Press, 1996.

Attali, Jacques. Noise: The Political Economy of Music. Translated by Brian Massumi. Minneapolis: University of Minnesota Press, 1989. ML3795 A913 (賈克．阿達利，《噪音：音樂的經濟學》，宋素鳳、翁桂堂譯，台北：時報，1995。910.15 7132)

Bhabha, Homi. The Location of Culture. London: Routledge, 1994.

Braudel, Fernand. On Histiry. Translated by Sarah Matthews. Chicago: University of Chicago Press, 1980.

Burke, Peter. History and Social Theory. Cambridge: Polity Press, 1992. (彼得．柏克，《歷史學與社會理論》，江政寬譯，台北：麥田，2002。)

Burnham, Scott. Beethoven Hero. Princeton: Princeton University Press, 1995.

Burnham, Scott, and Michael P. Steinberg eds. Beethoven and His World. Princeton: Princeton University Press, 2000.

Cook, Nicholas. Beethoven: Symphony No. 9. Cambridge: Cambridge University Press, 1993.

Cook, Nicholas, and Mark Everisteds. Rethinking Music. Oxford: Oxford University Press, 1999.

Dahlhaus, Carl. Foundations of Music History. Cambridge: Cambridge University Press, 1983. ML3797 .D2313

----------. “The Eighteenth-Century as a Music-History Epoch: A Different Argument for the Proposition.” College Music Symposium 27 (1987): 198-205.

Dennis, David B. Beethoven in German Politics 1870  989. New Haven, Conn.: Yale University Press, 1996.

DeNora, Tia. Beethoven and the Construnction of Genius: Musical Politics in Vienna, 1792-1803. Berkeley: University of California Press, 1995.

Duara, Prasenjit. Rescuing History from the Nation: Questioning Narratives of Modern China. Chicago: University of Chicago Press, 1995.

Forkel, Johann Nikolaus. Ueber Johann Sebastian Bachs Leben, Kunst Und Kunstwerke. Leipzig, 1802; Reprint, Kassel: Bärenreiter, 1999. Translated by Charles Sanford Terry as Johann Sebastian Bach. His Life, Art, and Work. London: Constable, 1920.

Foucault, Michel. “Nietzsche, Geneology, History.” In Language, Counter-Memory, Practice: Selected Essays and Interviews, edited by Donald F. Bouchard, 139-64. Ithaca: Cornell University Press, 1977.

---------. The Order of Things: An Archaeology of the Human Science. New York: Vintage Books, 1973.

Gadamer, Hans-Georg. Truth and Method. Translated by Joel Weinsheimer and Donald G. Marshall. 2^nd revised ed. New York: The Crossroad Publication, 1989.

Geertz, Clifford. The Interpretation of Cultures: Selected Essays. New York: Basic Books, 1973.

Giddens, Anthony. The Consequences of Modernity. Stanford: Stanford University Press, 1990.

Hastrup, Kirsten. ed. Other Histories. London: Routledge, 1992. (克斯汀．海斯翠普，《他者的歷史：社會人類學與歷史製作》，賈士衡譯，台北：麥田，1998。)

Hobsbawm, Eric. Nations and Nationalism since 1780: Programme, Myth, Reality. Cambridge: Cambridge University Press, 1990. (艾瑞克．霍布斯邦，《民族與民族主義》，李金梅譯，台北：麥田，1997。)

Hosokawa, Shuhei. “ In Search of the Sound of the Empire: Tanabe Hisao and the Foundation of Japanese Ethnomusicology.” Japanese Studies 18, no.1 (1998): 5-19.

Iggers, Georg. The German Conceptions of History: The National Tradition from Herder to the Present. Revised ed. Middletown, Conn: Wesleyan University Press, 1983.

Lam, Joseph. “Chinese Music Historiography: From Yang Yinliu’s a Draft History of Ancient Chinese music to Confucian Classics.” Journal of the Association for Chinese Music Research 8, no.2 (1995): 1-45.

-------, “ The Yin and Yang of Chinese Music Historiography: The Case of Confucian Ceremonial Music.” Yearbook for Traditional Music 27 (1995): 34-51.

Marshall, Robert.  “The Eighteenth Century as a Music-Historical Epoch: A Different Argument for the Proposition.” College Music Symosium 27 (1987): 198-205.

Marx, Adolf Bernhard. “The Final Symphony.” In Ian Bent ed. Music Analysis in the Nineteenth Century. Volume Two: Hermeneutic Approaches, 213-37. Cambridge: Cambridge University Press, 1994.

Milewski, Barbara.  “Chopin’s Marzukas and the Myth of the Folk.” 19^th Century Music 23, no.2 (1999): 113-35.

Neumann, Frederick. “Bach: Progressive or Conservative and the Authorship of the Golgberg Aria.” The Musical Quarterly 71 (1985): 281-94.

Pederson, Sanna. “A. B. Marx, Berlin Concert Life, and German National Identity.” 19^th Century Music 18, no. 2 (1994):87-107.

Ricoeur, Paul. “Narrative Time.” Critical Inquiry 7, no. 4 (1981).

Ringer, Alexander. Arnold Schoenberg: The Composer as Jew. Oxford: Oxford University Press,1990.

Sahlins, Marshall. Islands of History. Chicago: University of Chicago Press, 1985.

Said. Edward W. “Representing the Colonized: Anthropology’s Interlocutors.” Critical Inquiry 15 (1989): 205-225.

Shepherd, John. Music as Social Text. Cambridge: Polity Press, 1991.

Smith, D. Anthony. The Nation in History: Historiographical Debates About Ethnicity and Nationalism. Hanover, NH: University Press of New England, 2000.

Tanaka, Stefan. Japan’s Orient: Rendering Pasts into History. Berkeley: University of California Press, 1993.

Tomlinson, Gary. Music in Renaissance Magic: Toward a Historiography of Others. Chicago: University of Chicago Press, 1993.

Treitler, Leo. “The Historiography of Music: Issues of Past and Present.” In Rethinking Music, edited by Nicholas Cook and Mark Everist, 356-77. Oxford: Oxford University Press,2001.

--------------. “History, Criticism, and Beethoven ‘s Ninth Symphony.” In Music and the Historical Imagination. 19-45. Cambridge, Mass.: Harvard University Press, 1989.

van den Toorn, Peter C. “Polotics, Feminism, and the Ninth.” In Music, Politics, and the Academy, 11-43. Berkeley: University of California Press, 1996.

White, Hayden. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: The Johns Hopkins University Press, 1973. （海登．懷特，《史元：十九世紀歐洲的歷史意象》，劉世安譯，台北：麥田，1999。）

Wolf, Eric. Europe and the People without History. Berkeley: University of California Press, 1982.

Wolf, Eugene. “On the History and Historiography of Eighteenth-Century Music: Reflections on Dahlhlaus’s Die Musik Des 18. Jahrhunderts.” Journal of Musicological Research 10(1991): 239-55.

Yang, Chien-Chang. “Music as Knowledge: Hugo Riemann’s Theory of Musical Listening and the Foundation of German Musikwissenschaft,” Ph. D. diss., The University of Chicago, 2002.

張錦鴻，〈六十年來之中國樂壇〉，葉公超編，《二十世紀之科舉（第十一輯）人文科學之部─藝術》，台北：正中書局，1966，頁180-218。

田邊尚雄，《中國音樂史》，陳清泉譯，台北：商務，1966。

林衡哲編，《現代音樂大師─江文也的生平與作品》，台北：前衛，1989

 許常惠，《台灣音樂史初稿》，台北：全音，1991。

張己任編，《江文也紀念研討會論文集》， 板橋：台北縣立文化中心，1992。

陳碧娟，《台灣新音樂史：西式新音樂在日據時代的產生與發展》，台北：樂韻，1995。

劉靖之，《中國新音樂史論》，台北：音樂時代，1999。

周英雄、劉紀蕙編，《書寫台灣：文學史、後殖民與後現代》，台北：麥田，2000。