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課程名稱 |
音樂與性別
Music and Gender |
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開課學期 |
107-1 |
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授課對象 |
文學院 音樂學研究所 |
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授課教師 |
陳人彥 |
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課號 |
Music8002 |
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課程識別碼 |
144ED0030 |
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班次 |
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學分 |
3.0 |
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全/半年 |
半年 |
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必/選修 |
選修 |
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上課時間 |
星期一7,8,9(14:20~17:20) |
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上課地點 |
樂學館105 |
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備註 |
本課程以英語授課。碩士班請開學後加選
限博士班
總人數上限：10人 |
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Ceiba 課程網頁 |
http://ceiba.ntu.edu.tw/1071musicandgender |
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課程簡介影片 |
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核心能力關聯 |
核心能力與課程規劃關聯圖 |
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課程大綱
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為確保您我的權利,請尊重智慧財產權及不得非法影印
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課程概述 |
This course explores the multifaceted aspects of gender and sexuality in the history of musical composition, performance, and scholarship as well as in processes of sociocultural representation. We will draw upon the work of distinguished theorists of gender identities who have articulated influential notions of feminist, masculinist, homoerotic, and other sexualities as apparently reflected in cultural practices and musical structures; in addition, concrete case studies involving specific musicians (castrato vocalists), composers (Fanny Mendelssohn, Charles Ives), styles (alla turca), and genres (opera) will serve to ground the theoretical frameworks solidly within lived human experience. The course is broadly divided into three subtopics: gender, history, and music(ologic)al professions; postcolonial theory and gender aspects of cross-cultural representation; and gender and opera. |
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課程目標 |
待補 |
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課程要求 |
Class meetings will focus on discussions of assigned readings. In order to succeed in this course, you should be ready to spend adequate time each week understanding these readings carefully and preparing to contribute to in-depth discussions of their content and ideas. The readings will be posted on the CEIBA course website.
In addition, there will be a semester project, on a related topic of your choice, which will culminate in a final presentation and paper.
Overall grades will be calculated as follows:
Class participation (attendance and contribution to discussions) 50%
Semester research project (presentation and paper) 50% |
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預期每週課後學習時數 |
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Office Hours |
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指定閱讀 |
待補 |
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參考書目 |
Week 1 Introduction
Weeks 2-6: Gender, History, and the Music(ologic)al Profession
Week 2 Women as Historians of Western Music History
Reading: Ruth A. Solie, “Sophie Drinker’s History,’” from Ruth A. Solie, ed., Musicology and Difference: Gender and Sexuality in
Music Scholarship
Week 3 Women and the Musical Profession
Reading: Nancy B. Reich, “Women as Musicians: A Question of Class,” from Solie, Musicology and Difference
Week 4 Case Study: Renaissance Florence
Reading: Suzanne B. Cusick, “Of Women, Music, and Power: A Model from Seicento Florence,” from Solie, Musicology and Difference
Week 5 Case Study: Fanny Mendelssohn
Reading: Marcia Citron, “The Lieder of Fanny Mendelssohn Hensel”
Week 6 Case Study: Charles Ives
Reading: Judith Tick, “Charles Ives and Gender Ideology,” from Solie, Musicology and Difference
Week 7-11: Postcolonial Theory and Gender Aspects of Cross-Cultural Representation
Week 7 Colonial Desire
Reading: Robert Young, “Sex and Inequality: The Cultural Construction of Race,” from Colonial Desire: Hybridity in Theory, Culture and Race
Week 8 Postcolonial Legacies and Feminism
Reading: Sara Suleri, “Woman Skin Deep: Feminism and the Postcolonial Condition”
Week 9 No class (Midterm Examinations Week)
Week 10 Case Study: Sixteenth- and Seventeenth England
Reading: Linda Austern, “‘Foreign Conceites and Wandring Devises’: The Exotic, the Erotic, and the Feminine,” from Jonathan Bellman,
ed., The Exotic in Western Music
Week 11 Case Study: Late-Eighteenth Century “Turkish Music”
Reading: Mary Hunter, “The Alla Turca Style in the Late Eighteenth Century: Race and Gender in the Symphony and the Seraglio,” from
Bellmann, The Exotic in Western Music
Weeks 12-14: Gender and Opera
Week 12 Performance, the Operatic Voice, and Feminine Empowerment Reading: Carolyn Abbate, “Opera; or the Envoicing of Women,” from
Solie, Musicology and Difference
Week 13 The Castrato and Sexual Identity
Reading: Joke Dame, “Unveiled Voices: Sexual Difference and the Castrato,” from Philip Brett, Elizabeth Wood, and Gary C. Thomas, eds., Queering the Pitch: The New Gay and Lesbian Musicology
Week 14 The Castrato and the Voicing of Gender
Reading: Naomi Andre, “Haunting Legacies: The Castrato in the Nineteenth Century,” from Voicing Gender: Castrati, rTavesti, and the Second Woman in Early Nineteenth-Century Italian Opera
Weeks 14-17: Final Presentations |
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評量方式
(僅供參考) |
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週次 |
日期 |
單元主題 |
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Week 1 |
9/10 |
No class (I'm in Basel; makeup class on 11/5) |
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Week 2 |
9/17 |
Introduction |
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Week 3 |
9/24 |
No class (MId-Autumn Festival) |
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Week 4 |
10/01 |
Women as Historians of Western Music History |
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Week 5 |
10/08 |
Women and the Musical Profession |
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Week 6 |
10/15 |
Case Study: Renaissance Florence |
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Week 7 |
10/22 |
Case Study: Fanny Mendelssohn |
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Week 8 |
10/29 |
Case Study: Charles Ives |
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Week 9 |
11/05 |
Postcolonial Theory and Gender Aspects of Cross-Cultural Representation (makeup class) |
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Week 10 |
11/12 |
Postcolonial Legacies and Feminism |
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Week 11 |
11/19 |
No class (I'm in Albuquerque; makeup class on 1/7) |
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Week 12 |
11/26 |
Case Study: Sixteenth- and Seventeenth England |
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Week 13 |
12/03 |
Case Study: Late-Eighteenth Century “Turkish Music” |
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Week 14 |
12/10 |
Performance, the Operatic Voice, and Feminine Empowerment |
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Week 15 |
12/17 |
The Castrato and the Voicing of Gender |
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Week 16 |
12/24 |
Final presentations |
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Week 17 |
12/31 |
Final presentations |
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Week 18 |
1/7 |
No class (part of New Year's Day holiday) |
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Week 15-1 |
12/22 |
Final Presentations (makeup class for 12/31) |
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