課程資訊
課程名稱
 流行音樂研究
Studying Popular Music 
開課學期
 107-2 
授課對象
 文學院  音樂學研究所  
授課教師
 山內文登 
課號
 Music5079 
課程識別碼
 144EU1070 
班次
  
學分
 3.0 
全/半年
 半年 
必/選修
 選修 
上課時間
 星期一7,8,9(14:20~17:20) 
上課地點
 樂學館105 
備註
 本課程以英語授課。授課教師可以流利中文回覆詢問。
總人數上限：15人 
Ceiba 課程網頁
 http://ceiba.ntu.edu.tw/1072Music5079_ 
課程簡介影片
 
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課程概述

After three decades since its beginnings as an intellectual activism led by pioneering scholars from different backgrounds, the study of popular music is now largely regarded as a legitimate activity in academic settings. It has proven itself to be one of the most powerful driving forces to stimulate and facilitate the recent transformation of musicology as a while from both within and without. This seminar critically overviews the intellectual genealogies of what is now called popular music studies, or popular musicology, and contemplate the dialectical relationship between socio-cultural dimensions of music and musical dimensions of society and culture.  

課程目標
 This seminar consists of five parts. Part I deals with key concepts and definitions surrounding the very notion of “popular music.” Part II examines issues and debates regarding the study of the music industry, Part III audiences, and Part IV musicians, respectively, thereby looking into the relationship among these three major agents in popular music. Lastly, Part V deals with identity formations. As a whole, the purpose of this seminar is to examine theoretical and methodological issues in popular music studies.  
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
2

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 student 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 at the end of the semester, (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).  
預期每週課後學習時數
  
Office Hours
 另約時間 
指定閱讀
 待補 
參考書目
 待補 
評量方式
(僅供參考)
    
課程進度
週次
日期
單元主題
第1週
 2/18  PART I. What is Popular Music?
Introduction to Course  
第2週
 2/25  “Popular” and “Music” Raymond Williams. 1983 [1976]. “Popular.” Keywords: A Vocabulary of Culture and Society. Revised Edition. New York: Oxford University Press, 236-238. Anahid Kassabian. 1999. “Popular.” In Bruce Horner and Thomas Swiss eds. Key Terms in Popular Music and Culture. Malden, Mass.: Blackwell, 113-123. David Brackett. 1999. “Music.” In Bruce Horner and Thomas Swiss eds. Key Terms in Popular Music and Culture. Malden, Mass.: Blackwell, 124-140.  
第3週
 3/04  Part II. Industries
Concepts and Debates Keith Negus. 1996. “Industry.” Popular Music in Theory: An Introduction. Middletown, CT: Wesleyan University Press. 36-65. Andreas Gebesmair. 2009. “The Transnational Music Industry.” In Derek B. Scott ed., The Ashgate Research Companion to Popular Musicology, Burlington, VT: Ashgate, 467-483. 
第4週
 3/11  No Class 
第5週
 3/18  Industrial Transformations in the New Millennium Geraldine Bloustien. 2009. “Music and the Creative Knowledge Economy.” In Derek B. Scott ed., The Ashgate Research Companion to Popular Musicology, Burlington, VT: Ashgate, 450-466. Timothy D. Taylor. 2012. “Conquering (the) Culture: The Changing Shape of the Cultural Industries in the 1990s and After.” The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture. Chicago and London: University of Chicago Press, 205-229. 
第6週
 3/25  Categorizing Popular Music Franco Fabbri. 2004. “A Theory of Musical Genres: Two Applications.” In Simon Frith ed., Popular Music Volume III: Popular Music Analysis, London: New York: Routledge, 7-35. David Brackett. 2012. “What a Difference a Name Makes: Two Instances of African-American Popular Music.” In Martin Clayton, Trevor Herbert and Richard Middleton eds., The Cultural Study of Music: A Critical Introduction (second edition), New York: Routledge, 127-139.  
第7週
 4/01  Part III. Audiences
Concepts and Debates Keith Negus. 1996. “Audiences.” Popular Music in Theory: An Introduction. Middletown, CT: Wesleyan University Press. 7-35. Adam Krims. 2009. “Studying Reception and Scenes.” In Derek B. Scott ed., The Ashgate Research Companion to Popular Musicology, Burlington, VT: Ashgate, 397-410.  
第8週
 4/08  Fandom and its Changing Roles Nedim Hassan. 2014. “Hidden Fans? Fandom and Domestic Musical Activity.” In Mark Duffett ed. Popular Music Fandom: Identities, Roles and Practices. London and New York: Routledge. Patryk Galuszka. 2015. “New Economy of Fandom.” In Mark Duffett ed. Fan Identities and Practices in Context: Dedicated to Music. London and New York: Routledge. 
第9週
 4/15  Music “Anytime, Anywhere” (or writing a research proposal over the midterm examination week) Mark Katz. 2010. “Listening in Cyberspace.” Capturing Sound: How Technology Has Changed Music. Revised Edition. University of Chicago Press, 177-210. Jeremy Wade Morris. 2015. “Music in the Cloud.” Selling Digital Music, Formatting Culture. University of California Press, 166-191. 
第10週
 4/22  Part IV. Musicians
Concepts and Debates Jason Toynbee. 2000. “Introduction.” Making Popular Music: Musicians, Creativity and Institutions. Bloomsbury, ix-xxiv. Tarja Rautiainen-Keskustalo. 2009. “Pop Idol: Global Economy–Local Meanings.” In Derek B. Scott ed., The Ashgate Research Companion to Popular Musicology, Burlington, VT: Ashgate, 485-497. 
第11週
 4/29  Popular Musicianship and Performance Jason Toynbee. 2000. “Making Up and Showing Off: What Musicians Do.” Making Popular Music: Musicians, Creativity and Institutions. Bloomsbury, 34-67. Nicola Dibben. 2009. “Vocal Performance and the Projection of Emotional Authenticity.” In The Ashgate Research Companion to Popular Musicology, Burlington, VT: Ashgate, 317-333. 
第12週
 5/06  Musicking in the Digital Age Mark Katz. 2012. “The Amateur in the Age of Mechanical Music.” In Trevor Pinch and Karin Bijsterveld eds. The Oxford Handbook of Sound Studies. Oxford University Press, 459-479. Steven Colburn. 2015. “Filming Concerts for YouTube: Seeking Recognition in the Pursuit of Cultural Capital.” In Mark Duffett ed. Fan Identities and Practices in Context: Dedicated to Music. London and New York: Routledge. 
第13週
 5/13  Part V. Identities
Concepts and Debates Keith Negus. 1996. “Identities.” Popular Music in Theory: An Introduction. Middletown, CT: Wesleyan University Press. 99-135. Brett, Philip, Elizabeth Wood, and Nadine Hubbs. 2012. “Lesbian, Gay, Bisexual, Transgender, and Queer Music.” Grove Music Online. 
第14週
 5/20  Homomusical Nexuses and Desires Judith A. Peraino. 2006. “Homomusical Communities: Production.” Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig. Berkeley, CA: University of California Press, 152-194. Sheila Whiteley. 2006. “Popular Music and the Dynamics of Desire.” In Sheila Whiteley and Jennifer Rycenga eds. Queering the Popular Pitch. New York & London: Routledge, 249-262. 
第15週
 5/27  Masculinity and Male Queering Jacqueline Warwick. 2009. “Singing Style and White Masculinity.” In Derek B. Scott ed., The Ashgate Research Companion to Popular Musicology, Burlington, VT: Ashgate, 349-364. Stan Hawkins. 2006. “On Male Queering in Mainstream Pop.” In Sheila Whiteley and Jennifer Rycenga , eds. Queering the Popular Pitch . New York & London : Routledge, 279-294. 
第16週
 6/03  PART VI. Class Presentations and Discussions
Class Presentation and Discussion (1) 
第17週
 6/10  Class Presentation and Discussion (2)