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課程名稱 |
歐美文化中的音樂與戲劇
Music and Theater in the Euro-American Context |
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開課學期 |
111-1 |
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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 |
陳人彥 |
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課號 |
Music5120 |
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課程識別碼 |
144 U1480 |
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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 |
星期五2,3,4(9:10~12:10) |
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上課地點 |
樂學館105 |
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備註 |
初選不開放。本課程中文授課,使用英文教科書。初選不開放。有興趣選課請email跟授課教師聯絡。
總人數上限：15人 |
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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 |
This course explores the history, styles, and cultural meanings of musical theater in the Euro-American context, from the invention of opera in Italy around the turn of the seventeenth century to popular theatrical forms of the nineteenth and twentieth century such as the Viennese operetta and the British-American musical. It will particularly examine the collaboration among various arts and examine the composition and performance of music not as a “thing in itself,” but as arising out of intensive dialogue with the requirements and proclivities of texts, stagings, and other theatrical elements. In addition, it considers the rich cultural significances which European and American theatrical works have constructed and transmitted, related to themes of nationalism, race, and gender, among others. |
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課程目標 |
Class meetings will focus on discussions of assigned readings and listenings. These will be drawn from the list below and will be posted on the course website. In addition, there will be a semester project, on a related topic of your choice, which will culminate in a final presentation and paper. |
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課程要求 |
Prerequisites: The ability to read music notation and a knowledge of basic concepts of music theory (e.g. key, tonic, tripartite form) are necessary in order to comprehend the musical analyses that will form a part of the course. |
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預期每週課後學習時數 |
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Office Hours |
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指定閱讀 |
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參考書目 |
1. Gary Tomlinson, “Guarini, Rinuccini, and the Ideal of Musical Speech,” from Monteverdi and the End of the Renaissance
2. Buford Norman, “The tragedie-lyrique of Lully and Quinault: Representation and Recognition of Emotion
3. Daniel Heartz, “Opera-Comique,” from Music in European Capitals: The Galant Style, 1720-1780
4. Daniel Heartz, “The Poet as Stage Designer: Metastasio, Goldoni, and Da Ponte,” from Mozart’s Operas
5. Michael Tusa, excerpts from Euryanthe and Carl Maria von Weber’s Dramaturgy of German Opera
6. David Levin, “Representation’s Bad Object: The Nibelungen, Aggression, and Aesthetics,” from Richard Wagner, Fritz Lang, and the Nibelungen: The Dramaturgy of Disavowal
7. Naomi Andre, “From Otello to Porgy: Blackness, Masculinity, and Morality in Opera,” from Blackness in Opera
8. Steven Paul Scher, “The Strauss-Hofmannsthal Operatic Experiment: Tradition, Modernity, or Avant-Garde?”
9. Richard Traubner, “The Merry Widow and Her Rivals,” from Operetta: A Theatrical History
10. Michael Beckerman, “Standing still and moving forward: The Mikado, Haddon Hall and concepts of time in the Savoy operas,” from The Cambridge Companion to Gilbert and Sullivan
11. Geoffrey Block, “Carousel: The Invasion of the Integrated Musical,” from Enchanted Evenings: The Broadway Musical from ‘Show Boat’ to Sondheim
12. Carol Oja, “West Side Story and the Music Man: Whiteness, Immigration, and Race in the US during the late 1950s”
13. Jim Lovensheimer, “Stephen Sondheim and the Musical of the Outsider,” from The Cambridge Companion to the Musical |
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評量方式
(僅供參考) |
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