課程資訊
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
 學程  經典人文學程  
授課教師
 白諾信 
課號
 Music5075 
課程識別碼
 144EU1030 
班次
  
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。藝術。
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
 
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%
 
預期每週課後學習時數
  
Office Hours
 另約時間 備註： Friday 12.30- 13.00 email: rogopag@hkucc.hku.hk 
指定閱讀
  
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% 
  
2. 
 Midterm Paper 
25% 
  
3. 
 Attendance 
25% 
  
 
課程進度
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