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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 |
105-2 |
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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 |
3.0 |
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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。
限學士班三年級以上
總人數上限：16人 |
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Ceiba 課程網頁 |
http://ceiba.ntu.edu.tw/1052Music5078_ |
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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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課程概述 |
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, in such a way that narratives of technological determinism would simplistically presuppose: musical practice and sonic imagination have in turn complicated the course of technological innovation, thus affecting the way audio devices and media take shape in the spheres of everyday life. This graduate seminar aims to deepen our historical and theoretical understanding of the triangular interrelation and interpenetration among media, machine, and music. An emphasis is put on exploring current issues in what is now generically called sound studies. |
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課程目標 |
This seminar consists of two major parts to explore:
- Theoretical and conceptual issues;
- Sound-reproduction and electronic technologies and industries;
- Music practices in the age of digital and social media.
This seminar holds several objectives:
- To gain a historical understanding of the co-construction of technology and music;
- To appreciate interdisciplinary approaches covering musicology, social history, anthropology, sociology, cultural studies, and science and technology studies (STS);
- To contemplate discussed notions and issues in East Asian contexts. |
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課程要求 |
1. Preparatory Notes (all students, every week):
Every week all the students prepare 1-2 page notes on the two required articles (see the schedule below). Their notes should include questions about the readings, issues for class discussion, and examples to share with other students. The students must also check out all the musical and other examples discussed in the readings as they read them.
2. Class Presentations (two assigned students, every week):
Every week two students are assigned the responsibility to comment on the two required readings and lead class discussion. Their presentations are not simply summaries of the readings but should raise discussion issues and critical comments. They should also include sonifying/visualizing all the examples discussed in the readings, as well as demonstrating other relevant examples. An effective and creative use of audio-visual materials is highly recommended. Presentation materials such as a PPT file should be sent to the instructor and the teaching assistant (TA) by the evening of the previous day before each class.
3. Research Proposal – Final Presentation – Term Paper (all students, once):
(1) All the students write a research proposal (A4, 1-2 pages, preferably in English) on a topic relevant to this course’s agenda during Week 9 (the midterm exams week) and hand in by Week 10,
(2) give a 20-minute oral presentation towards the end of the semester (this can be cancelled this time),
(3) submit a 5- to 10-page term paper (A4, double-spaced, preferably in English) on Week 18 or later (the precise deadline will be announced towards the end of the semester). |
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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 |
Schedule:
PART I. THEORETICAL ISSUES AND CONCEPTS
Week 1 (02/20): Orientation
Week 2 (02/27): Public Holiday (No Class)
Week 3 (03/06) Perspectives from Sound Studies
Trevor Pinch and Karin Bijsterveld. 2004. Sound Studies: New Technologies and Music. Social Studies of Science 34(5): 635-648.
Jonathern Sterne. 2012. Sonic Imaginations. In Jonathan Sterne ed., The Sound Studies Reader. New York: Routledge, 1-17.
Supplementary:
Trevor Pinch and Karin Bijsterveld. 2012. New Keys to the World of Sound Studies. In Trevor Pinch and Karin Bijsterveld eds., The Oxford Handbook of Sound Studies, Oxford, New York; Oxford University Press, 3-35.
Aden Evens. 2005. Sound and Noise. In Sound Ideas: Music, Machines, and Experience, Minneapolis, Minn.: University of Minnesota Press, 1-24.
Week 4 (03/13): The Technology-Music Relationship
Mark Katz. 2010. Causes, Capturing Sound: How Technology Has Changed Music (revised edition). University of Chicago Press, 10-55.
Lars Nyre. 2008. Theoretical Introduction to Sound Media. Sound Media: From Live Journalism to Music Recording. Routledge, 1-30.
Supplementary:
Timothy D. Taylor. 2001. Music, Technology, Agency, and Practice. Strange Sounds: Music, Technology and Culture. Routledge, 15-40.
Lisa Gitelman. 2006. Introduction: Media as Historical Subjects. Always Already New: Media, History, and the Data of Culture. Cambridge, Mass.: MIT Press, 1-22.
Simon Frith. 1986. Art Versus Technology: The Strange Case of Popular Music. Media, Culture, and Society 8 (3): 263-279.
Geoffrey Winthrop-Young and Michael Wutz. 1999. Translators’ Introduction: Friedrich Kittler and Media Discourse Analysis. In Friedrich Kittler, trans. by Geoffrey Winthrop-Young and Michael Wutz, Gramophone, Film, Typewriter, Stanford University Press, xi-xxxviii.
Week 5 (03/20): No Class (2017 IMS Tokyo)
Week 6 (03/27): Mediation and Immediacy
Georgina Born. 2005. On Musical Mediation: Ontology, Technology and Creativity. twentieth-century music 2 (1): 7–36.
Antoine Hennion. 2003. Music and Mediation: Towards a new Sociology of Music. In The Cultural Study of Music: A Critical Introduction, M. Clayton, T. Herbert, R. Middleton eds., London: Routledge, 80-91. (The second 2012 version also available)
Supplementary:
Patrick Eisenlohr. 2009. Technologies of the Spirit: Devotional Islam, Sound Reproduction and the Dialectics of Mediation and Ommediacy in Mauritius. Anthropological Theory 9 (3): 273–296.
William Mazzarella. 2004. Culture, Globalization, Mediation. Annual Reviews of Anthropology 33: 345-67.
Week 7 (04/03): Public Holiday (No Class)
PART II. SOUND-REPRODUCTION AND ELECRONIC TECHNOLOGIES
Week 8 (04/10): Mechanical Reproduction and Phonography
Eric W. Rothenbuhler and John Durham Peters. 1997. Defining Phonography: An Experiment in Theory. The Musical Quarterly 81 (2): 242-264.
Downes, Kieran 2010 “Perfect Sound Forever”: Innovation, Aesthetics, and the Remaking of Compact Disc Playback. Technology and Culture 15 (2): 305-331.
Supplementary:
Evan Eisenberg. 2005. Phonography. The Recording Angel: Music, Records and Culture from Aristotle to Zappa (second edition). Yale University Press, 89-131.
Alexander G. Weheliye. 2005. Phonographies: Grooves in Sonic Afro-Modernity. Duke University Press.
Lee B. Brown. 1998. Documentation and Fabrication in Phonography (online article).
Michael Chanan. 1995. Record Culture. Repeated Takes: A Short History of Recording and its Effects on Music. Verso, 1-22.
Georgina Born. 2009. Recording: From Reproduction to Representation to Remediation. In Nicholas Cook et al eds., The Cambridge Companion to Recorded Music. Cambridge, New York: Cambridge University Press, 286-304.
Greg Milner. 2009. Perfecting Sound Forever: An Aural History of Recorded Music. New York: Faber and Faber Inc.
Arved Ashby. 2010. Absolute Music, Mechanical Reproduction. Berkeley and Los Angeles, C.A.: University of California Press.
David Grubbs. 2014. Records Ruin the Landscape: John Cage, the Sixties and Sound Recordings. Chapel Hill, N.C.: Duke University Press.
Week 9 (04/17): Electronic Instruments and Sounds
Paul Théberge. 1997. Invention and Innovation in Electronic Instrument Design. Any Sound You Can Imagine: Making Music / Consuming Technology. Wesleyan University Press, 41-71.
Paul Théberge. 2003. “Ethnic Sounds”: The Economy and Discourse of World Music Sampling. In René T. A. Lysloff and Leslie C. Gay Jr., eds., Music and Technoculture, Wesleyan: Wesleyan University Press, 93-108.
Supplementary:
Trevor Pinch and Frank Trocco. 2002. Analog Days: The Invention and Impact of the Moog Synthesizer. Cambridge, MA: Harvard University Press.
Paul Théberge. 1997. The New “Sound” of Music: Technology and Changing Concepts of Music. Any Sound You Can Imagine: Making Music / Consuming Technology. Wesleyan University Press, 186-213.
Week 10 (04/24): Technocized Voice / Voiced Technology
※ Term paper proposal due
Miriama Young. 2015. Singing the Body Electric: The Human Voice and Sound Technology. Routledge.
Dave Tompkins. 2010. How to Wreck a Nice Beach: The Vocoder from World War II to Hip-Hop. Melville House.
Supplementary:
井手口彰典 (Akinori Ideguchi). 2012. 現代的想像力シ「声ソワць」――『初音тヱ』ズコゆサ. 『同人音楽シガソ周辺――新世紀ソ振源メバをペ技術・制度・概念』青弓社.
Week 11 (05/01): Sound Reproduction as Studio Art
Virgil Moorefield. 2005. The Studio as Musical Instrument. The Producer as Composer: Shaping the Sounds of Popular Music. MIT Press, 43-78.
Peter Doyle. 2005. Harnessing the Echo. Echo and Reverb: Fabricating Space in Popular Music Recording, 1900–1960. Wesleyan University Press, 38-63.
Supplementary:
Michael Veal. 2007. “Every Spoil Is a Style”: The Evolution of Dub Music in the 1970s. Dub: Soundscapes and Shattered Songs in Jamaican Reggae. Wesleyan University Press, 45-94.
Paul D. Greene and Thomas Porcello eds. 2005. Wired for Sound: Engineering and Technologies in Sonic Cultures. Middletown: Wesleyan University Press.
Week 12 (05/08): Social Relations in and outside the Studio
Beverley Diamond. 2005. Media as Social Action: Native American Musicians in the Recording Studio. In Paul D. Greene and Thomas Porcello eds., Wired for Sound: Engineering and Technologies in Sonic Cultures, Middletown: Wesleyan University Press, 118-137.
Louise Meintjes. 2005. Reaching “Overseas”: South African Sound Engineers, Technology, and Tradition. In Paul D. Greene and Thomas Porcello eds., Wired for Sound: Engineering and Technologies in Sonic Cultures, Middletown: Wesleyan University Press, 23-46.
Supplementary:
Louise Meintjes. 2003. Sound of Africa!: Making Music Zulu in a South African Studio. Duke University Press.
PART III. MUSICKING IN THE AGE OF DIGITAL AND SOCIAL MEDIA
Week 13 (05/15): Music, Industry, Politics: Historical Overview and Issues
Reebee Garofalo. 1999. From Music Publishing to MP3: Music and Industry in the Twentieth Century. American Music 17 (3): 318-354.
Michael Denning. 2015. Noise Uprising: The Audiopolitics of a World Musical Revolution. Verso.
Supplementary:
Josh Kun. 2005. Audiotopia: Music, Race, and America. University of California Press.
David Kusek and Gerd Leonhard. 2005. The Future of Music: Manifesto for the Digital Music Revolution, Berklee Press.
David Suisman. 2012. Selling Sounds: The Commercial Revolution in American Music. Harvard University Press.
David Patmore. 2009. Selling Sounds: Recordings and the Record Business. In Nicholas Cook et al eds., The Cambridge Companion to Recorded Music. Cambridge, New York: Cambridge University Press, 120-139.
Fabian Holt. 2011. Is Music Becoming More Visual?: Online Video Content in the Music Industry. Visual Studies 26, 50-61.
Jung-yup LEE. 2009. Contesting the Digital Economy and Culture: Digital Technologies and the Transformation of Popular Music in Korea. Inter-Asia Cultural Studies 10 (4): 489 -506.
Week 14 (05/22): The Digital Effect, the MP3 Impact
Mark Katz. 2010. Music in 1s and 0s: The Art and Politics of Digital Sampling. Capturing Sound: How Technology Has Changed Music (revised edition). University of Chicago Press, 146-176.
Jonathan Sterne. 2006. The MP3 as Cultural Artifact. New Media and Society 8(5): 825-842.
Supplementary:
Steve Jones. 2000. Music and the Internet. Popular Music 19 (2): 217-230.
Jonathan Sterne. 2006. The Death and Life of Digital Audio. Interdisciplinary Science Reviews 31(4): 338-348.
Andrew Blake. 2010. Ethical and Cultural Issues in the Digital Era. In Amanda Bayley ed. 2010. Recorded Music: Performance, Culture and Technology. Cambridge, UK ; New York: Cambridge University Press, 52-67.
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 28 (4): 521-531.
Sterne, Jonathan. 2012. MP3: The Meaning of a Format. Chapel Hill, N.C.: Duke University Press.
Reebee Garofalo. 2003. ‘I Want my MP3: Who Owns Internet Music? In M. Cloonan and R. Garofalo eds., Policing Pop, Philadelphia: Temple University Press, 30–45.
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)
Gustavo S. Azenha. 2006. The Internet and the Decentralisation of the Popular Music Industry: Critical Reflections on Technology, Concentration and Diversification. Radical Musicology 1: (http://www.radical-musicology.org.uk/2006/Azenha.htm)
Week 15 (05/29): Public Holiday (No Class)
Week 16 (06/05): Mobile Listening and Digital Media (Class Presentation Week1?)
Arild Bergh and Tia DeNora. 2009. From Wind-up to iPod: Techno-cultures of Listening. In Nicholas Cook et al eds., The Cambridge Companion to Recorded Music. Cambridge, New York: Cambridge University Press, 102-105.
Mark Katz. 2010. Listening in Cyberspace. Capturing Sound: How Technology Has Changed Music (revised version). University of Chicago Press, 177-210.
Supplementary:
Michael Bull. 2000. Sounding Out the City: Personal Stereos and the Management of Everyday Life. New York: Berg Publishers.
Michael Bull. 2007. Sound Moves: iPod Culture and Urban Experience. New York: Routledge.
Michael Bull. 2012. iPod Culture: The Toxic Pleasures of Audiotopia, In Trevor Pinch, Karin Bijsterveld ed., The Oxford Handbook of Sound Studies, Oxford, New York; Oxford University Press, 526-543.
Frances Dyson. 2009. Introduction. Sounding New Media: Immersion and Embodiment in the Arts and Culture, Berkley: University of California Press, 1-17.
Week 17 (06/12): Cyber Communities and Politics (Class Presentation Week2?)
René T. A. Lysloff. 2003. Musical Life in Softcity: An Internet Ethnography. In René T. A. Lysloff and Leslie C. Gay Jr., eds., Music and Technoculture, Wesleyan: Wesleyan University Press, 23-63 (originally published as René T. A. Lysloff. 2003. Musical Community on the Internet: An On-line Ethnography. Cultural Anthropology 18(2): 233-263).
Helbig, Adriana. 2006. The Cyberpolitics of Music in Ukraine's 2004 Orange Revolution. Current Musicology 82: 81-101.
Supplementary:
Dante Tanzi. 2005. Language, Music and Resonance in Cyberspace. Contemporary Music Review 24 (6): 541-549.
Trevor Pinch and Katherine Athanasiades. 2012. Online Music Sites as Sonic Sociotechnical Communities: Identity, Reputation, and Technology at ACIDplanet.com. In Trevor Pinch and Karin Bijsterveld eds., The Oxford Handbook of Sound Studies. Oxford and New York: Oxford University Press, 480-502.
Andrew Hugill. 2005. Internet Music: An Introduction. Contemporary Music Review 24 (6) (Special Issue: Internet Music): 429-437.
Christian Christensen. 2009. “Hey Man, Nice Shot”: Setting the Iraq War to Music on YouTube. In Pelle Snickars and Patrick Vonderau eds., 2009, The YouTube Reader. Stockholm: KB, 204-217.
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)
Pelle Snickars and Patrick Vonderau eds. 2012 Moving Data. The iPhone and the Future of Media. New York: Columbia University Press.
Jean Burgess and Joshua Green. 2009. YouTube: Online Video and Participatory Culture. London: Polity.
Contemporary Music Review 24 (6): Special Issue: Internet Music
Week 18 (06/19): Term Paper Due |
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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 |
02/20 |
Orientation |
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Week 2 |
02/27 |
(No Class) |
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Week 3 |
03/06 |
Perspectives from Sound Studies |
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Week 4 |
03/13 |
The Technology-Music Relationship |
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Week 5 |
03/20 |
(No Class) |
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Week 6 |
03/27 |
Mediation and Immediacy |
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Week 7 |
04/03 |
(No Class) |
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Week 8 |
04/10 |
Mechanical Reproduction and Phonography |
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Week 9 |
04/17 |
Electronic Instruments and Sounds |
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Week 10 |
04/24 |
Technocized Voice/ Voiced Technology
###Term Paper Proposal Due### |
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Week 11 |
05/01 |
Sound Reproduction as Studio Art |
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Week 12 |
05/08 |
Social Relations in and outside the Studio |
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Week 13 |
05/15 |
Music, Industry, Politics: Historical Overview and Issues |
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Week 14 |
05/22 |
The Digital Effect, the MP3 Impact |
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Week 15 |
05/29 |
(No Class) |
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Week 16 |
06/05 |
Mobile Listening and Digital Media |
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Week 17 |
06/12 |
(Final Presentation?) |
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Week 18 |
06/19 |
###Term Paper Due### |
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