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課程名稱 |
媒體、機器、音樂
Media, Machine, Music: a Graduate Seminar |
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開課學期 |
103-1 |
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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 |
山內文登 |
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課號 |
Music5078 |
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課程識別碼 |
144EU1060 |
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班次 |
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學分 |
3 |
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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 |
星期三2,3,4(9:10~12:10) |
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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。
限學士班三年級以上
總人數上限：15人 |
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Ceiba 課程網頁 |
http://ceiba.ntu.edu.tw/1031MMM |
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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 |
(The syllabus shown on this website is currently not the latest version. Please refer to the printed syllabus provided in class. September 15, 2014)
Technological innovation has dramatically changed the way people relate to music over the past centuries, to the point where the ontological status of music has come under critical scrutiny. This historical transformation has never been one-directional, however, as is often presupposed in simplistic narratives of technological determinism, since musical practice and sonic imagination, in turn, have complicated the course of technological innovation, thus affecting the way audio devices and media take shape as they do. This graduate seminar intends to deepen our historical and theoretical understanding of the triangular interrelation and gradual interpenetration among media, machine, and music, with emphasis on exploring current issues in what is now generically called sound studies, a growing interdisciplinary field of study regarding various aspects of sound, noise, and silence.
NOTE: The coda of this seminar features Prof. Andrew Jones, the internationally renowned scholar of modern Chinese literature and popular culture at the University of California, Berkeley, who will join us for a lecture series entitled “Circuit Listening: Methodologies, Media, and Popular Music.” |
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課程目標 |
This seminar consists of three major parts respectively dealing with; historical developments of sound reproduction technologies since the 19th century; the adaptation and appropriation by various actors of the art of sound recording; finally, music practices in the age of digital media. It aims at several objectives; a better understanding of the historicity and mutual construction of technologies and music as we know them; an interdisciplinary approach covering musicology, social history, anthropology, sociology, cultural studies, and science and technology studies (STS); consistent efforts to examine discussed issues and perspectives in East Asian contexts. |
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課程要求 |
1. Every week two students are responsible for summarizing two required readings respectively and leading the week’s class discussion. Presentation materials such as a draft or a ppt file should be sent to the instructor and the teaching assistant (TA) no later than one day before each class. The TA will make their copies in advance. Presenters are recommended to utilize audio-visual materials to facilitate classmates’ understanding of their presentations and activate class discussion.
2. Class presentation at the end of the semester. All students are going to talk with the instructor to clarify a topic. A consulting schedule and relevant procedures to be announced in detail around the midterm period.
3. 5 - 10-page term paper based on class presentation. Due by email or by hand. |
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預期每週課後學習時數 |
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Office Hours |
另約時間 |
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指定閱讀 |
Week 1 Introduction to Course
I. Exploring Histories of Sound Reproduction Technologies
Week 2 Sound Studies and New Technologies: An Introduction
Trevor Pinch and Karin Bijsterveld, 2004, Sound Studies: New Technologies and Music, Social Studies of Science 34(5), 635-648.
Timothy D. Taylor, 2001, Music, Technology, Agency, and Practice, Strange Sounds: Music, Technology and Culture, Routledge, 15-40.
Supplementary:
Geoffrey Winthrop-Young and Michael Wutz, 1999, Translators’ Introduction: Friedrich Kittler and Media Discourse Analysis, Friedrich Kittler, trans. by Geoffrey Winthrop-Young and Michael Wutz, 1999, Gramophone, Film Typewriter, Stanford University Press, xi-xxxviii.
Simon Frith, 1986, Art versus technology: The strange case of popular music, Media, Culture, and Society, 8(3), 263-279.
Week 3 The (Ancient) Regime of Machines to Hear/Talk
Jonathan Stern, 2003, Machines to Hear for Them, The Audible Past: Cultural Origins of Sound Reproduction, Duke University Press, 31-86
Thomas L. Hankins and J. Silverman, 1999 [1995], Vox Mechanica: The History of Speaking Machines, Instruments and the Imagination, Princeton University Press, 178-220.
Supplementary:
吉見俊哉, 1995, 〈声を複製する文化〉, 《〈声〉の資本主義: 電話・ラジオ・蓄音器の社会史』, 講談社選書メチエ, 66-100.
渡辺裕, 1997, 《音楽機械劇場》, 新書館.
中川克志, 2010, 〈音響記録複製テクノロジーの起源─帰結としてのフォノトグラフ、起源としてのフォノトグラフ〉, 《京都精華大学紀要》36, 1-20.
Week 4 The Art of Phonography
Evan Eisenberg, 2005, Phonography, The Recording Angel: Music, Records and Culture from Aristotle to Zappa (second edition), Yale University Press, 89-131,
Michael Chanan, 1995, Record Culture, Repeated Takes: A Short History of Recording and its Effects on Music, Verso, 1-22.
Week 5 Autonomous Recorded Sound and the Birth of Fidelity
Jonathan Stern, 2003, The Social Genesis of Audio Fidelity, The Audible Past: Cultural Origins of Sound Reproduction, Duke University Press, 215-286
David Morton, 2000, High Culture, High Fidelity, and the Making of Recordings in the American Record Industry, Off the Record: The Technology and Culture of Sound Recording in America, Rutgers University Press, 13-48.
Supplementary:
Emily Thompson, 1995, Machines, Music, and the Quest for Fidelity: Marketing the Edison Phonograph in America, 1877-1925, The Musical Quarterly.pdf
Week 6 Modernity, Materiality, Music
Emily Thompson, 2002, Electroacoustics and Modern Sound, 1900-1933, The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900-1933, 229-294.
II. Adapting and Appropriating the Art of Sound Recording
Week 7 Performance Practices in the Era of Recording
Mark Katz, 2004, Aesthetics out of Exigency: Violin Vibrato and the Phonograph, Capturing Sound: How Technology Has Changed Music, University of Chicago Press, 85-98.
Timothy Day, 2000, Changes in Performing Styles Recorded, A Century of Recorded Music: Listening to Musical History, Yale University Press, 142-198.
Supplementary:
James P. Kraft, 1996, Encountering Records and Radio, Stage to Studio: Musicians and the Sound Revolution, 1890-1950, The Johns Hopkins University Press, 59-87.
Robert Philip, 1992, Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900-1950, Cambridge University Press.
Robert Philip, 2004, Performing Music in the Age of Recording, Yale University Press.
Week 8 The Studio and the Record Making
Susan Schmidt Horning, 2004, Engineering the Performance: Recording Engineers, Tacit Knowledge and the Art of Controlling Sound, Social Studies of Science 34(5), 733-758.
Simon Zagorski-Thomas, 2008, The Musicology of Record Production, twentieth-century music 4/2, 189–207.
Supplementary:
Jonathan David Tankel, 1990, The Practice of Recording Music: Remixing as Recoding, Journal of Communication 40(3), 34-46.
Thomas Porcello, Speaking of Sound: Language and the Professionalization of Sound-Recording Engineers, Social Studies of Science 34(5), 733-758.
Week 9 Making Use of Recording
David Morton, 2000, The Tape Recorder, Home Entertainment, and the Roots of American Recording Culture, Off the Record: The Technology and Culture of Sound Recording in America, Rutgers University Press, 136-170.
Daniel Makagon, Mark Neumann, 2009, Sonic Compositions, Recording Culture: Audio Documentary and the Ethnographic Experience, SAGE, 25-52.
Week 10 Collecting, Archiving, and Authorizing Recorded Music
Evan Eisenberg, 2005, Music becomes a thing, The Recording Angel: Music, Records and Culture from Aristotle to Zappa (2nd ed.), Yale University Press, 9-28.
Roy Shuker, 2004, Beyond the 'high fidelity' stereotype: defining the (contemporary) record collector, Popular Music 23(3): 311-330.
Supplementary:
Colin Symes, 2004, Keeping Records in Their Place: Collections, Catalogs, Libraries, and Societies, Setting the Record Straight: A Material History of Classical Recording, 212-244.
S Hosokawa, H Matsuoka, 2004, Vinyl Record Collecting as Material Practice, in William W. Kelly ed., Fanning the Flames: Fans and Consumer Culture in Contemporary Japan, State University of New York Press.
Marc Perlman, 2004, Golden Ears and Meter Readers: The Contest for Epistemic Authority in Audiophilia, Social Studies of Science 34(5), 783-807.
Week 11 Various Music Practices beyond Recording
Akiko Otake and Shuhei Hosokawa, 1998, Karaoke in East Asia: Modernization, Japanization, or Asianization?, in T Mitsui, S Hosokawa eds., Karaoke around the World: Global Technology, Local Singing, Routledge, 178-201.
Michael Bull, 2004 [2003], Soundscapes of the Car: A Critical Study of Automobile Habitation, in Michael Bull, Les Back eds., The Auditory Culture Reader, Berg, 357-380.
III. Musicking in the Age of Digital Media
Week 12 The Digital Effect
Mark Katz, 2004, Music in 1s and 0s, Capturing Sound: How Technology Has Changed Music, University of Chicago Press, 137-157.
Jonathan Sterne, 2006, The Death and Life of Digital Audio, Interdisciplinary Science Reviews 31(4), 338-348.
Supplementary:
増田聡, 谷口 文和, 2005, 《音楽未来形：デジタル時代の音楽文化のゆくえ》, 洋泉社.
増田聡, 2008, 〈〈音楽のデジタル化〉がもたらすもの〉, 東谷護編著, 《拡散する音楽文化をどうとらえるか》, 勁草書房 (MASUDA Satoshi, What the Digitalization of Music Brings About,” in Toya Mamoru ed., How to Capture the Deterritorizing Music Cultures)
烏賀陽弘道, 2005, 〈第2章 デジタル化は何をもたらしたか〉, 《Jポップとは何か》, 岩波書店 (UGAYA Hiromichi, Chapter 2 “What Has Digitalization Brought About,” What is J-Pop)
Week 13 Making and Performing Music with Digital Technologies
Paul Theberge, 1997, “Live” and Recorded: MIDI Sequencing, the Home Studio, and Copyright, Any Sound You Can Imagine: Making Music/Consuming Technology, Wesleyan University Press,
Jan Marontate, 2005, Digital Recording and the Reconfiguration of Music as Performance, American Behavioral Scientist, Vol. 48, No. 11, 1422-1438
Supplementary:
Special Issue〈初音ミク：ネットに舞い降りた天使〉, 2008, 《ユリイカ Eureka》40(15)
Week 14 The Transformation of Music Industry
Reebee Garofalo, 1999, From Music Publishing to MP3: Music and Industry in the Twentieth Century, American Music, vol.17, no.3, 318-354.
Jung-yup LEE, 2009, Contesting the digital economy and culture: digital technologies and the transformation of popular music in Korea, Inter-Asia Cultural Studies, vol.10, no.4, 489 -506.
Supplementary:
David Kusek and Gerd Leonhard , 2005, The Future of Music: Manifesto for the Digital Music Revolution, Berklee Press.
津田大介, 2004, 《だれが〈音楽〉を殺すのか? 》, 翔泳社.
Week 15 The MP3 Impact
Jonathan Sterne, 2006, The MP3 as Cultural Artifact. New Media and Society 8(5), 825-842.
Garofalo, R., 2003, ‘I Want my MP3: Who Owns Internet Music?, In M. Cloonan and R. Garofalo eds. Policing Pop, Philadelphia: Temple University Press, 30–45.
Supplementary:
Michael Bull, 2007, Sound Moves: iPod Culture and Urban Experience, Routledge.
Kembrew McLeod, 2005, MP3 Are Killing Home Taping: The Rise of Internet Distribution and Its Challenge to the Major Label Music Monopoly, Popular Music and Society, vol.28, no.4, 521-531
Kostas Kasaras, 2002, Music in the Age of Free Distribution: MP3 and Society, First Monday 7(1). (http://firstmonday.org/htbin/cgiwrap/bin/ojs/index.php/fm/article/view/927/849)
Week 16 Sharing and Playing in Cyberspace
Steve Jones, 2000, Music and the Internet, Popular Music, vol.19, no.2, 217-230.
Rene T. A. Lysloff, 2003, Musical Life in Softcity: An Internet Ethnography, in Rene T. A. Lysloff and Leslie C. Gay Jr., eds., 2003, Music and Technoculture. Afterword by Andrew Ross. Wesleyan: Wesleyan University Press, 23-63. (Based on Rene T. A. Lysloff, 2003, Musical Community on the Internet: An On-line Ethnography, Cultural Anthropology, 18(2), 233-263.)
Supplementary:
Mark Katz, 2004, Listening in Cyberspace, Capturing Sound: How Technology Has Changed Music, University of Chicago Press, 158-187.
Steve Jones, Amanda Lenhart, 2004, Music Downloading and Listening: Findings from the Pew Internet and American Life Project, Popular Music and Society, 27:2, 185-199.
Sean Ebare, 2004, Digital music and subculture: Sharing files, sharing styles, First Monday 9(2). (http://131.193.153.231/www/issues/issue9_2/ebare/index.html)
Burgess, Jean E. and Green, Joshua B. (2008) Agency and Controversy in the YouTube Community. In Proceedings IR 9.0: Rethinking Communities, Rethinking Place - Association of Internet Researchers (AoIR) conference, IT University of Copenhagen, Denmark.
Jean Burgess and Joshua Green (2009) YouTube: Online Video and Participatory Culture, London: Polity. |
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參考書目 |
待補 |
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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 |
9/17 |
Introduction to Course
I. Exploring Histories of Sound Reproduction Technologies |
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Week 2 |
9/24 |
Sound Studies and New Technologies: An Introduction |
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Week 3 |
10/01 |
The (Ancient) Regime of Machines to Hear/Talk |
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Week 4 |
10/08 |
The Art of Phonography |
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Week 5 |
10/15 |
Autonomous Recorded Sound and the Birth of Fidelity |
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Week 6 |
10/22 |
Modernity, Materiality, Music |
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Week 7 |
10/29 |
II. Adapting and Appropriating the Art of Sound Recording
Performance Practices in the Era of Recording |
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Week 8 |
11/05 |
The Studio and the Record Making |
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Week 9 |
11/12 |
Making Use of Recording |
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Week 10 |
11/19 |
Collecting, Archiving, and Authorizing Recorded Music |
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Week 11 |
11/26 |
Various Music Practices beyond Recording |
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Week 12 |
12/03 |
III. Musicking in the Age of Digital Media
The Digital Effect |
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Week 13 |
12/10 |
Making and Performing Music with Digital Technologies |
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Week 14 |
12/17 |
The Transformation of Music Industry |
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Week 15 |
12/24 |
The MP3 Impact |
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Week 16 |
12/31 |
Sharing and Playing in Cyberspace |
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Week 17 |
1/07 |
Class Presentation |
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Week 18 |
1/14 |
Class Presentation |
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