課程名稱 |
從電影看音樂美學 MUSICAL AESTHETICS THROUGH CINEMA |
開課學期 |
98-2 |
授課對象 |
文學院 音樂學研究所 |
授課教師 |
白諾信 |
課號 |
Music5075 |
課程識別碼 |
144EU1030 |
班次 |
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學分 |
3 |
全/半年 |
半年 |
必/選修 |
選修 |
上課時間 |
星期五2,3,4(9:10~12:10) |
上課地點 |
樂學館105 |
備註 |
本課程以英語授課。 限學士班三年級以上 總人數上限:15人 |
Ceiba 課程網頁 |
http://ceiba.ntu.edu.tw/982cinema |
課程簡介影片 |
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核心能力關聯 |
本課程尚未建立核心能力關連 |
課程大綱
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課程概述 |
This course aims to introduce advanced undergraduate students and graduate students in musicology, film studies, and philosophy to some of the major texts in musical aesthetics; identify and assess the ways in which the use of music in the fiction film poses a challenge to traditional musical aesthetics; and to deepen the students’ awareness of the significance of music in cinema through screenings, readings, and class discussion. |
課程目標 |
This course aims to introduce advanced undergraduate students and graduate students in musicology, film studies, and philosophy to some of the major texts in musical aesthetics; identify and assess the ways in which the use of music in the fiction film poses a challenge to traditional musical aesthetics; and to deepen the students’ awareness of the significance of music in cinema through screenings, readings, and class discussion. |
課程要求 |
The final grade is entirely determined by coursework broken down as follows:
Attendance: 25%
Midterm paper: 25%
Final Paper: 50%
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預期每週課後學習時數 |
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Office Hours |
另約時間 備註: Friday 12.30-
13.00
email: rogopag@hkucc.hku.hk |
指定閱讀 |
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參考書目 |
Week 1 (Feb. 26) defining aesthetics: evaluation, appreciation, and psychology.
Week 2 (Mar. 5) the traditional view(1): Hanslick and "absolute music."
READING: E. Hanslick, on the Musically Beautiful (trans. G. Cohen; Bobbs-
Merrill, 1957 [1854]); excerps from Hanslick's Music Criticism: Selections
(trans. and ed. H. Pleasants; Dover, 1988[1950]).
Week 3 (Mar. 12) the traditional view(2): Adorno
READING: T. W. Adorno, Philosophy of New Music (trans. and ed. R. Hullot-
Kentor; Minnesota, 2006[1947]; excerpts from Beethoven (trans. E.
Jephcott ;Stanford, 1998).
Week 4 (Mar. 19) the traditional view(3): Scruton
READING: excerpts from R. Scruton, the Aesthetics of Architecture (Methuen,
1979); the Aesthetics of Music (Oxford, 1999).
Week 5 (Mar. 26) the traditional view(4): Davies
READING: S. Davies, Musical Meaning And Expression (Cornell, 1994).
Week 6 (Apr. 2) the traditional view(5): Goehr
READING: excerpts from L. Goehr, the Quest for Voice (Oxford, 1998); Elective
Affinities (Columbia, 2008).
Week 7 (April. 9) musical multimedia(1): opera
READING: excerpts from C. Abbate, Unsung Voices (Princeton, 1991); M.A. Smart,
Mimomania (California, 2004).
Week 8 (Apr. 16) "INSIDE THE BLACK BOX": the ideology of the concert hall
READING: excerpts from J. H. Johnson, Listening in Paris: A Cultural History
(California, 1995); B. O’Doherty, Inside the White Cube: the Ideology of the
Gallery Space (California, 1999[1976]); E. Thompson, the Soundscape of
Modernity: Architectural Acoustics and the culture of Listening in America,
1900-1933 (MIT, 2004).
Week 9 (Apr. 23) musical multimedia(2): television and the music video
READING: excerpts N. Cook, Analysing Musical Multimedia (Oxford, 1998); C.
Vernallis, Experiencing Music Video (Columbia, 2004).
Week 10 (Apr. 30) the aesthetics of film music
READING: N. Carroll, “Notes on Movie Music,” in Theorizing the Moving Image
(Cambridge 1996); P. Kivy “Music in the Movies: A Phulosophical Inquiry,” in
Film Theory and Philosophy, ed. R. Allen-M. Smith (Oxford, 1997).
FILMS: Metropolis, Dir. F. Lang (Germany, 1927); M, Dir. F. Lang (Germany,
1931).
Week 11 (May 7) recontextualising music: the film world as microcosm
READING: D. Albright, Beckett and Aesthetics (Cambridge, 2003)
FILMS: Ma Nuit Chez Maud, Dir. E. Rohmer (France, 1969); Five Easy Pieces, B.
Rafelson (USA, 1971); The Piano Teacher, M. Haneke (Germany-Poland-France-
Austria, 2001).
Week 12 (May 14) song and the fabric of everyday life
READING: W. H. Auden, “Music in Shakespeare,” in the Dyer’s Hand (Vintage,
1989[1962]); L. Zoppelli, “Stage Music in Early Nineteenth-Century Opera,”
Cambridge Opera Journal 2/1, (1990), 29-39; C. Abbate, Unsung Voices, Chap. 1.
FILMS: Rear Window, Dir. A. Hitchcock (USA, 1954).
Week 13 (May 21) music and the cinematic imagination
READING: Excerpts from K. Walton, Mimesis as Make-Believe (Harvard, 1990); G.
Biancorosso, “Beginning Credits and Beyond…,” Echo Vol. 3 No. 1 (2001)
[http:// www.echo.ucla.edu/archives/archives.html].
FILMS: North by Northwest, Dir. A. Hitchcock (USA, 1959); the Puppetmaster,
Dir. Hou Hsiao-Hsien (Taiwan, 1993).
Week 14 (May 28) transparency
READING: Excerpts from G. Genette, the Work of Art: the Aesthetics Relation
(Cornell, 1999); K. Walton, “Seeing in and Seeing Fictionally,” in Marvelous
Images (Oxford, 2008).
FILM: Jaws, Dir. S. Spielberg (USA, 1975).
Week 15 (June 4) agency
READING: J. Levinson, “Film Music and Narrative Agency,” in Post-Theory, ed.
D. Bordwell-N. Carroll (Wisconsin, 1996).
FILMS: A Clockwork Orange, Dir. S. Kubrick (GB/USA, 1971); Barry Lyndon, Dir.
S. Kubrick (GB/USA, 1975).
Week 16 (June 11) ambiguity
READING: R. Stilwell, “The Fantastical Gap between Diegetic and
Nondiegetic,” in beyond the Soundtrack, ed. D. Goldmark-L. Kramer-R. Leppert
(California, 2007); Jeff Smith, “Bridging the Gap,” Music and the Moving
Image, Vol. 2-2 (2009); G. Biancorosso, “the Harpist in the Closet,” Music
and the Moving Image, Vol 2-3 (2009).
Week 17 fantasy (June 18)
READING: R. Altman, the American Film Musical (Indiana, 1989)
FILMS: Chicago, Dir. R. Marshall (USA, 2002); Dancer in the Dark, Dir. L. Von
Trier (Denmark, 2000); the Hole, Dir. Tsai Ming-Liang (Taiwan, 1999). |
評量方式 (僅供參考) |
No. |
項目 |
百分比 |
說明 |
1. |
Final Paper |
50% |
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2. |
Midterm Paper |
25% |
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3. |
Attendance |
25% |
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週次 |
日期 |
單元主題 |
第1週 |
2/26 |
Introduction |
第2-1週 |
3/04 |
Screening: PSYCHO, A. Hitchcock (USA, 1960) |
第2-2週 |
3/5 |
Lecture on Psycho |
第3-1週 |
3/11 |
Screening: M, F. Lang (Germany, 1931) |
第3-2週 |
3/12 |
Lecture on M |
第4-1週 |
3/18 |
Screening: THE THIRD MAN, C. Reed (UK, 1949) |
第4-2週 |
03/19 |
Lecture on The Third Man |
第5-1週 |
3/25 |
NO SCREENING |
第5-2週 |
3/26 |
NO CLASS |
第6-1週 |
4/01 |
Screening: SINGIN’ IN THE RAIN, S. Donen-G. Kelly (USA, 1951) |
第6-2週 |
4/02 |
Lecture on Singin’ in the Rain |
第7-1週 |
4/08 |
Screening: REAR WINDOW, A. Hitchcock (USA, 1954) |
第7-2週 |
4-09 |
Lecture on Rear Window |
第8-1週 |
4/15 |
NO SCREENING |
第8-2週 |
4/16 |
NO CLASS |
第9-1週 |
4/22 |
Screening of LA DOLCE VITA, F. Fellini (Italy, 1959) |
第9-2週 |
4/23 |
Lecture on La Dolce Vita |
第10-1週 |
4/29 |
Screening: CONTEMPT, J.-L. Godard (France-Italy, 1963) |
第10-2週 |
4/30 |
Lecture on Contempt |
第11-1週 |
5/06 |
Screening: THE LOVE ETERNE/Liang Shan Bo Yi Zhu Ying Tai, Li Han-hsiang (Hong Kong, 1963) |
第11-2週 |
5/07 |
Lecture on The Love Eterne |
第12-1週 |
5/13 |
Screening: ROSEMARY’S BABY, R. Polanski (USA, 1968) |
第12-2週 |
5/14 |
Lecture on Rosemary’s Baby |
第13-1週 |
5/20 |
Screening: A CLOCKWORK ORANGE, S. Kubrick (UK, 1971) |
第13-2週 |
5/21 |
Lecture on A Clockwork Orange |
第14-1週 |
5/27 |
Screening: AMERICAN GRAFFITI, G. Lucas (USA, 1973) |
第14-2週 |
5/28 |
Lecture on American Graffiti |
第15-1週 |
6/03 |
Screening: PRINCESS MONONOKE, H. Miyazaki/Studio Ghibli (Japan, 1997) |
第15-2週 |
6/04 |
Lecture on Princess Mononoke |
第16-1週 |
6/10 |
Screening: THE FLOWERS OF SHANGHAI, Hou Hsiao-hsien(Taiwan, 1998) |
第16-2週 |
6/11 |
Lecture on The Flowers of Shanghai |
第17-1週 |
6/17 |
Screening: IN THE MOOD FOR LOVE, Wong kar-wai (Hong Kong, 2001) |
第17-2週 |
6/18 |
Lecture on In the Mood for Love |
第18-1週 |
本學期不播映 |
Screening: THE ELEPHANT MAN, D. Lynch (USA 1978) |
第18-2週 |
本學期不講授 |
Lecture on The Elephant Man |
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