課程資訊
課程名稱
聽見歷史、現代性
Hearing History and Modernity 
開課學期
101-1 
授課對象
文學院  音樂學研究所  
授課教師
山內文登 
課號
Music5091 
課程識別碼
144EU1190 
班次
 
學分
全/半年
半年 
必/選修
選修 
上課時間
星期一6,7,8(13:20~16:20) 
上課地點
樂學館105 
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 
Ceiba 課程網頁
http://ceiba.ntu.edu.tw/1011hearinghistory 
課程簡介影片
 
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課程概述

HISTORY IS USUALLY WRITTEN UTILIZING VARIOUS SORTS OF WRITTEN DOCUMENTS. SO IS MUSIC HISTORY. THIS SEMINAR CRITICALLY REVIEWS AND DISCUSSES A VARIETY OF RECENT STUDIES EXAMINING HOW ONE CAN LISTENING TO THE PAST, INTENDED IN PARTICULAR TO EXPLORE AND RESTORE THE MUSICAL AND AUDITORY DIMENSIONS OF MODERNITY, WHICH IS OFTEN CONSIDERED TO BE VISION-ORIENTED. IT ALSO EXAMINES HOW TO UTILIZE SOUND RECORDINGS AND AUDIO-VISUAL MATERIALS AS NEW SORTS OF SOURCES FOR HISTORICAL STUDY.  

課程目標
THIS SEMINAR AIMS TO EXPLORE THE THEORETICAL AND METHODOLOGICAL LITERATURE IN WHAT IS GENERICALLY CALLED SOUND STUDIES, WHICH HAS RECENTLY EMERGED AS A GROWING AND IMPORTANT INTERDISCIPLINARY FIELD OF STUDY. IN CLASS DISCUSSION, SPECIAL EMPHASIS WILL BE PUT ON CONTEMPLATING IN EAST ASIAN CONTEXTS THE KEY ISSUES OF WHAT KIND OF MATERIALS WOULD BE AVAILABLE AND HOW ONE COULD ANALYZE THEM. 
課程要求
1. PREPARING NOTES OF QUESTIONS, ISSUES AND EXAMPLES (ALL STUDENTS / EVERY WEEK):
EVERY WEEK ALL STUDENTS MUST PREPARE 1-2 PAGE NOTES FOR CLASS DISCUSSION BASED ON THEIR READING OF TWO REQUIRED ARTICLES. NOTES SHOULD INCLUDE QUESTIONS ABOUT THE READINGS, ISSUES FOR DISCUSSION, AND EXAMPLES FOR DEMONSTRATION; THEY ARE NOT FOR SUBMISSION PURPOSES BUT FOR A PERSONAL USE IN ORDER FOR ALL STUDENTS TO PARTICIPATE IN CLASS DISCUSSIONS.
2. PRESENTING NOTES OF A CRITICAL SUMMARY PLUS QUESTIONS, ISSUES AND EXAMPLES (TWO ASSIGNED STUDENTS EACH WEEK / TWO, THREE TIMES A SEMESTER):
EVERY WEEK TWO STUDENTS ARE RESPONSIBLE FOR PRESENTING SUMMARIES OF TWO REQUIRED READINGS WITH ADDITIONAL INFORMATION AND CRITICAL COMMENTS IN THEIR OWN WORDS, AND FOR GIVING A SHORT PRESENTATION TO LEAD CLASS DISCUSSION. PRESENTATION MATERIALS SUCH AS A PPT FILE SHOULD BE SENT TO THE INSTRUCTOR AND THE TEACHING ASSISTANT (TA) NO LATER THAN ONE DAY BEFORE EACH CLASS. AN EFFECTIVE AND CREATIVE USE OF AUDIO-VISUAL MATERIALS IS HIGHLY RECOMMENDED.
3. RESEARCH PROPOSAL – FINAL PRESENTATION – TERM PAPER (ALL STUDENTS / ONCE A SEMESTER):
ALL STUDENTS SUBMIT A RESEARCH PROPOSAL IN ENGLISH ON ANY TOPICS RELEVANT TO THIS COURSE AGENDA ON WEEK 9, AND GIVE A FINAL ORAL PRESENTATION AT THE END OF THE SEMESTER (WEEK 17). AND THEY DEVELOP THE PRESENTATION DRAFT INTO A 5-10 PAGE ENGLISH TERM PAPER TO BE SUBMITTED DUE BY 1/●, 2013. THEY TALK WITH THE INSTRUCTOR ABOUT THEIR PROPOSALS BEFOREHAND ACCORDING A SCHEDULE TO BE ANNOUNCED AROUND MIDTERMS. 
預期每週課後學習時數
 
Office Hours
 
參考書目
ACKERMAN, DIANE. 1990. A NATURAL HISTORY OF THE SENSES. NEW YORK: RANDOM HOUSE.
ANDERSON, BEN. 2004. RECORDED MUSIC AND PRACTICES OF REMEMBERING. SOCIAL & CULTURAL GEOGRAPHY 5 (1): 3-20.
ATTALI, JACQUES. 1985. NOISE: THE POLITICAL ECONOMY OF MUSIC. MANCHESTER: MANCHESTER UNIVERSITY PRESS.
BAILEY, PETER. 1996. BREAKING THE SOUND BARRIER: A HISTORIAN LISTENS TO NOISE. BODY SOCIETY 2 (2): 49-66.
BAYLEY, AMANDA ED. 2010. RECORDED MUSIC: PERFORMANCE, CULTURE AND TECHNOLOGY. CAMBRIDGE, UK ; NEW YORK: CAMBRIDGE UNIVERSITY PRESS.
BENSCHOP, RUTH. 2009. ALL THE NAMES: SOUNDSCAPES, RECORDING TECHNOLOGY, AND THE HISTORICAL SENSATION. IN KARIN BIJSTERVELD & JOSE VAN DIJCK EDS., SOUND SOUVENIRS: AUDIO TECHNOLOGIES, MEMORY AND CULTURAL PRACTICES, AMSTERDAM: AMSTERDAM UNIVERSITY PRESS, 182-198.
BIJSTERVELD, KARIN. 2008. MECHANICAL SOUND: TECHNOLOGY, CULTURE, AND PUBLIC PROBLEMS OF NOISE IN THE TWENTIETH CENTURY. CAMBRIDGE, MASS.: MIT PRESS.
BIRDSALL, CAROLYN. 2009. EARWITNESSING: SOUND MEMORIES OF THE NAZI PERIOD. IN KARIN BIJSTERVELD & JOSE VAN DIJCK EDS., SOUND SOUVENIRS: AUDIO TECHNOLOGIES, MEMORY AND CULTURAL PRACTICES, AMSTERDAM: AMSTERDAM UNIVERSITY PRESS, 169-181.
BURNETT, CHARLES, MICHAEL FEND AND PENELOPE GOUK EDS. 1991. THE SECOND SENSE: STUDIES IN HEARING AND MUSICAL JUDGEMENT FROM ANTIQUITY TO THE SEVENTEENTH CENTURY. LONDON: THE WARBURG INSTITUTE.
CARTER, PAUL. 1992. THE SOUND IN-BETWEEN: VOICE, SPACE, PERFORMANCE. KENSINGTON: NEW SOUTH WALES UNIVERSITY PRESS.
CLASSEN, CONSTANCE. 1993. WORLDS OF SENSE: EXPLORING THE SENSES IN HISTORY AND ACROSS CULTURES. NEW YORK: ROUTLEDGE.
CLASSEN, CONSTANCE. 1997. FOUNDATION FOR AN ANTHROPOLOGY OF THE SENSES. INTERNATIONAL SOCIAL SCIENCE JOURNAL 49: 401-12
CONNOR, STEVEN. 2000. DUMBSTRUCK: A CULTURAL HISTORY OF VENTRILOQUISM. NEW YORK: OXFORD UNIVERSITY PRESS.
CONNOR, STEVEN. 2001. THE DECOMPOSING VOICE OF POSTMODERN MUSIC. NEW LITERARY HISTORY 32: 467-83.
CONNOR, STEVEN. 2002. VOICE, TECHNOLOGY AND THE VICTORIAN EAR. IN TRANSACTIONS AND ENCOUNTERS: SCIENCE AND CULTURE IN THE NINETEENTH CENTURY, ED. JOSEPHINE MCDONAGH AND ROGER LUCKHURST, MANCHESTER: MANCHESTER UNIVERSITY PRESS, 16-29.
COOK, NICHOLAS ET AL EDS., 2009. THE CAMBRIDGE COMPANION TO RECORDED MUSIC. CAMBRIDGE, NEW YORK: CAMBRIDGE UNIVERSITY PRESS.
CORBIN, ALAIN. 1998. VILLAGE BELLS: SOUND AND MEANING IN THE NINETEENTH-CENTURY FRENCH COUNTRYSIDE. TRANSLATED BY MARTIN THOM. NEW YORK: COLUMBIA UNIVERSITY PRESS.
COTTRELL, STEPHEN. 2010. THE RISE AND RISE OF PHONOMUSICOLOGY. IN AMANDA BAYLEY ED. 2010. RECORDED MUSIC: PERFORMANCE, CULTURE AND TECHNOLOGY. CAMBRIDGE, UK ; NEW YORK: CAMBRIDGE UNIVERSITY PRESS, 15-36.
CRARY, JONATHAN. 1990. TECHNIQUES OF THE OBSERVER: ON VISION AND MODERNITY IN THE NINETEENTH CENTURY. CAMBRIDGE: THE MIT PRESS.
DAY, TIMOTHY. 2000. CHANGES IN PERFORMING STYLES RECORDED. A CENTURY OF RECORDED MUSIC: LISTENING TO MUSICAL HISTORY. YALE UNIVERSITY PRESS, 142-198.
DOUGLAS, SUSAN J. 2004. LISTENING IN: RADIO AND THE AMERICAN IMAGINATION. MINNEAPOLIS: UNIVERSITY OF MINNESOTA PRESS.
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DYSON, FRANCES. 2009. SOUNDING NEW MEDIA: IMMERSION AND EMBODIMENT IN THE ARTS AND CULTURE, BERKLEY: UNIVERSITY OF CALIFORNIA PRESS.
ERLMANN, VEIT ED. 2004. HEARING CULTURES: ESSAYS ON SOUND, LISTENING, AND MODERNITY. OXFORD: BERG.
ERLMANN, VEIT. 2010. REASON AND RESONANCE: A HISTORY OF MODERN AURALITY. NEW YORK: ZONE BOOKS.
FELD, STEVEN. 1990 [1982]. SOUND AND SENTIMENT: BIRDS, WEEPING, POETICS, AND SONG IN KALULI EXPRESSION. UNIVERSITY OF PENNSYLVANIA PRESS (2ND EDITION).
FOLKERTH, WES. 2002. THE SOUND OF SHAKESPEARE. LONDON; NEW YORK: ROUTLEDGE.
FRANK, FELICIA MILLER. 1995. THE MECHANICAL SONG: WOMEN, VOICE, AND THE ARTIFICIAL IN NINETEENTH-CENTURY FRENCH NARRATIVE. STANFORD: STANFORD UNIVERSITY PRESS.
GEURTS, KATHRYN LINN. 2002. CULTURE AND THE SENSES: BODILY WAYS OF KNOWING IN AN AFRICAN COMMUNITY. BERKELEY: UNIVERSITY OF CALIFORNIA PRESS.
GITELMAN, LISA. 1997. READING MUSIC, READING RECORDS, READING RACE: MUSICAL COPYRIGHT AND THE U.S. COPYRIGHT ACT OF 1909. THE MUSICAL QUARTERLY 81: 265-90.
GITELMAN, LISA. 2000. SCRIPTS, GROOVES, AND WRITING MACHINES: REPRESENTING TECHNOLOGY IN THE EDISON ERA. STANFORD UNIVERSITY PRESS.
GITELMAN, LISA. 2004. RECORDING SOUND, RECORDING RACE, RECORDING PROPERTY. IN MARK M. SMITH ED., HEARING HISTORY: A READER, ATHENS: UNIVERSITY OF GEORGIA PRESS, 279-94.
GITELMAN, LISA. 2006. ALWAYS ALREADY NEW: MEDIA, HISTORY, AND THE DATA OF CULTURE. CAMBRIDGE, MASS.: MIT PRESS.
GOODY, JACK. 1987. THE INTERFACE BETWEEN THE WRITTEN AND THE ORAL. CAMBRIDGE: CAMBRIDGE UNIVERSITY PRESS.
GOUK, PENELOPE. 1999. MUSIC, SCIENCE, AND NATURAL MAGIC IN SEVENTEENTH-CENTURY ENGLAND. NEW HAVEN: YALE UNIVERSITY PRESS.
HIBBITTS, BERNARD J. 1992. ‘COMING TO OUR SENSES': COMMUNICATION AND LEGAL EXPRESSION IN PERFORMANCE CULTURES. EMORY LAW JOURNAL 41: 873-960.
HIBBITTS, BERNARD J. 1994. MAKING SENSE OF METAPHORS: VISUALITY, AURALITY AND THE RECONFIGURATION OF AMERICAN LEGAL DISCOURSE. CARDOZO LAW REVIEW 16: 229-356.
HOFFER, PETER CHARLES. 2003. SENSORY WORLDS IN EARLY AMERICA. BALTIMORE: JOHNS HOPKINS UNIVERSITY PRESS.
HOWES, DAVID ED. 1991. THE VARIETIES OF SENSORY EXPERIENCE: A SOURCEBOOK IN THE ANTHROPOLOGY OF THE SENSES. TORONTO: UNIVERSITY OF TORONTO PRESS.
HOWES, DAVID. 2003. SENSUAL RELATIONS: ENGAGING THE SENSES IN CULTURE AND SOCIAL THEORY. ANN ARBOR: UNIVERSITY OF MICHIGAN PRESS.
JAY, MARTIN. 1993. DOWNCAST EYES: THE DENIGRATION OF VISION IN TWENTIETH-CENTURY FRENCH THOUGHT. BERKELEY: UNIVERSITY OF CALIFORNIA PRESS.
KAHANE, CLAIRE, 1995. PASSIONS OF THE VOICE: HYSTERIA, NARRATIVE, AND THE FIGURE OF THE SPEAKING WOMAN, 1850-1915. BALTIMORE: JOHNS HOPKINS UNIVERSITY PRESS.
KAHN, DOUGLAS. 1999. NOISE, WATER, MEAT: A HISTORY OF SOUND IN THE ARTS. CAMBRIDGE: THE MIT PRESS.
KAMENSKY, JANE. 1998. GOVERNING THE TONGUE: THE POLITICS OF SPEECH IN EARLY NEW ENGLAND. NEW YORK: OXFORD UNIVERSITY PRESS.
KATZ, MARK. 2004. CAPTURING SOUND: HOW TECHNOLOGY HAS CHANGED MUSIC. UNIVERSITY OF CHICAGO PRESS.
KATZ, MARK. 2006. PORTAMENTO AND THE PHONOGRAPH EFFECT. JOURNAL OF MUSICOLOGICAL RESEARCH 25 (3): 211-232.
KITTLER, FRIEDRICH A. 1999. GRAMOPHONE, FILM TYPEWRITER. STANFORD: STANFORD UNIVERSITY PRESS.
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LEECH-WILKINSON, DANIEL. 2009. THE CHANGING SOUND OF MUSIC: APPROACHES TO STUDYING RECORDED MUSICAL PERFORMANCE. LONDON: CHARM (ONLINE BOOK). HTTP://WWW.CHARM.RHUL.AC.UK/STUDIES/CHAPTERS/INTRO.HTML
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MCLUHAN, MARSHALL. 1962. THE GUTENBERG GALAXY: THE MAKING OF TYPOGRAPHIC MAN. TORONTO: UNIVERSITY OF TORONTO PRESS.
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PHILIP, ROBERT. 2004. PERFORMING MUSIC IN THE AGE OF RECORDING, YALE UNIVERSITY PRESS.
PICKER, JOHN. 1999/2000. THE SOUNDPROOF STUDY: VICTORIAN PROFESSIONALS, WORK SPACE, AND URBAN NOISE. VICTORIAN STUDIES 42: 427-53.
PICKER, JOHN. 2003. VICTORIAN SOUNDSCAPES. NEW YORK: OXFORD UNIVERSITY PRESS.
PINCH, TREVOR AND KARIN BIJSTERVELD. 2012. NEW KEYS TO THE WORLD OF SOUND STUDIES. IN TREVOR PINCH, KARIN BIJSTERVELD ED., THE OXFORD HANDBOOK OF SOUND STUDIES, OXFORD, NEW YORK; OXFORD UNIVERSITY PRESS, 3-35.
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RIDINGTON, ROBIN. 1983. IN DOIG PEOPLE’S EARS: PORTRAIT OF A CHANGING COMMUNITY IN SOUND. ANTHROPOLOGICA 25 (19): 9-22.
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SCHAFER, R. MURRAY. 1980. THE TUNING OF THE WORLD: TOWARD A THEORY OF SOUNDSCAPE DESIGN. PHILADELPHIA: UNIVERSITY OF PENNSYLVANIA PRESS.
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WEISS, ALLEN S. ED. 2000. EXPERIMENTAL SOUND AND RADIO. CAMBRIDGE: THE MIT PRESS.
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中川真. 2004 [1992]. 平安京 音?宇宙─??????????道 (?補). 東京: 平凡社.
中村洪介. 2002 [1987]. 西洋?音, 日本?耳─近代日本文??西洋音? (新?版). 東京: 春秋社. 
指定閱讀
 
評量方式
(僅供參考)
   
課程進度
週次
日期
單元主題
Week 1
9/10  Orientation 
Week 2
9/17  Hearing History: Introduction to the Literature 
Week 3
9/24  Anthony Seeger Lecture in Academia Sinica 
Week 4
10/01  Making Sense of the Senses in History and across Cultures 
Week 5
10/08  Further General Issues in the Literature (1) : Mark M. Smith ed. 2004, pp.24-36, pp.37-49 
Week 6
10/15  Further General Issues in the Literature (2) : Mark M. Smith ed. 2004, pp.36-50, pp.54-66 
Week 7
10/22  Revisiting Modernity's Ears: Erlmann(2010) pp.9-17, Sterne(2004) pp.1-29 
Week 8
10/29  Writing a Research Proposal (No Class) 
Week 9
11/05  Revision and Discussion : Coda of Mark M. Smith ed. 2004 
Week 10
11/12  Hearing Historical Soundscapes (1) : European Intellectual History : Mark M. Smith ed. 2004, pp.69-84 (Research Proposal Due) 
Week 11
11/19  Hearing Historical Soundscapes (2) : Early Europe and the Populace : Mark M. Smith ed. 2004, pp.85-111,112-135 
Week 12
11/26  Hearing Historical Soundscapes (3) : 18th- and 19th-Century France (Ch12, Ch13, Mark M. Smith edited 2004) 
Week 13
12/03  Scientific Listening and Medicine: Sterne 2003, Nicolson 2004 (Ch11, Mark M. Smith ed. 2004) 
Week 14
12/10  Religious Listening in Early America (Ch.14,15) 
Week 15
12/17  Listening to Slavery and Warfare in Early America (Ch.16,17) 
Week 16
12/24  Listening to the Sounds-Noises of American Modernity (Ch.20,21) 
Week 17
12/31  調整放假 
Week 18
2013/1/7  Class Presentation