本課程探討音樂美學的定義和其與西方古典音樂傳統的關係。我們縱觀音樂美學的歷史、文化背景，及主要藝術家、作曲家、文人、哲學家。本課程分為三部份。我們首先細讀19世紀著名樂評Hanslick 的著作《論音樂的美》，一本常被誤解的、音樂美學史上的重要著作。我們接著討論浪漫主義、浪漫精神與音樂美學的關聯；讀本包括Schumann 及多位當代文人（如Wackenroder, Jean Paul, and ETA Hofmann）的作品。本課程結束於現代音樂：討論哲學家Adorno，與20世紀作曲家（如Debussy, and Stravinsky）如何將現代音樂中前衛的元素與音樂美學的轉變相連結。
This course explores the meaning of music aesthetics and how it relates to the tradition of Western art music. We will survey the historical and cultural background of music aesthetics, as well as the artists, composers, literary figures, philosophers, for whom it had a great impact on their creation and viewpoints of contemporary music. This course is divided into three parts. In Part I, we focus on E. Hanslick’s On the Musically Beautiful, a prose writing, in which the famous music critic offers a critical take on the interpretation and listening mode of Romantic music. In Part II, we discuss the relationship between Romanticism and the birth of music aesthetics. Our examples include prose writings by Schumann, as well as his contemporary literary figures, including Wackenroder, Jean Paul, and ETA Hofmann. Part III concerns the aesthetics of modern music. We will have a close reading of the works by philosophers and composers such as Adorno, Debussy, and Stravinsky, to whom music’s changed meaning and its function in society radically changed the way 20th-century music was interpreted.This course explores the definition of musical aesthetics and its relationship to the Western classical music tradition. We look at the history and cultural background of music aesthetics, as well as the main artists, composers, literati, and philosophers. This course is divided into three parts. We first carefully read the book "On the Beauty of Music" by the famous music critic Hanslick in the 19th century, an important work in the history of music aesthetics that is often misunderstood. We then discuss the relationship between romanticism, romantic spirit and musical aesthetics; the readings include the works of Schumann and many contemporary literati (such as Wackenroder, Jean Paul, and ETA Hofmann). The course concludes with Modern Music: a discussion of how the philosopher Adorno and 20th-century composers such as Debussy, and Stravinsky connected avant-garde elements in modern music with shifts in musical aesthetics.
This course explores the meaning of music aesthetics and how it relates to the tradition of Western art music. We will survey the historical and cultural background of music aesthetics, as well as the artists, composers, literary figures, philosophers, for whom it had a great impact on their creation and viewpoints of contemporary music. This course is divided into three parts. In Part I, we focus on E. Hanslick's On the Musically Beautiful, a prose writing, in which the famous music critic offers a critical take on the interpretation and listening mode of Romantic music. In Part II, we discuss the relationship between Romanticism and the birth of music aesthetics. Our examples include prose writings by Schumann, as well as his contemporary literary figures, including Wackenroder, Jean Paul, and ETA Hofmann . Part III concerns the aesthetics of modern music. We will have a close reading of the works by philosophers and composers such as Adorno, Debussy, and Stravinsky, to whom music's changed meaning and its function in society radically changed the way 20th-century music was interpreted.
課本 Textbook:
TBIM=Hanslick, Eduard. The Beautiful in Music. Trans. Gustav Cohen. New York: Da
Capo Press, 1974.
其它教材Other course materials:
SF=Adorno, Theodor. Sound Figures. Trans. Rodney Livingston. Stanford, CA:
Stanford University Press, 1999.
PMM=Adorno, Theodor. Philosophy of Modern Music. Trans. Anne. G. Mitchel and
Wesley V. Blomster. London: Continuum, 2007.
DOM=Lesure, Francois. Ed. Debussy on Music. Trans. Richard Langham Smith. Ithaca,
New York: Cornell University Press, 1977.
SOM=Schumann, Robert. Schumann on Music: A Selection from the Writings. Trans.
Henry Pleasants. New York: Dover, 1965.
POM=Stravinsky, Igor. Poetics of Music. Trans. Arthur Knodel and Ingolf Dahl.
Cambridge, MA: Harvard University Press, 1970.
SRIMH=Strunk, Oliver. Ed. Source Readings in Music History. New York: W. W.
Norton & Company, 1998.
Textbook:
TBIM=Hanslick, Eduard. The Beautiful in Music. Trans. Gustav Cohen. New York: Da
Capo Press, 1974.
Other course materials:
SF=Adorno, Theodor. Sound Figures. Trans. Rodney Livingston. Stanford, CA:
Stanford University Press, 1999.
PMM=Adorno, Theodor. Philosophy of Modern Music. Trans. Anne. G. Mitchel and
Wesley V. Blomster. London: Continuum, 2007.
DOM=Lesure, Francois. Ed. Debussy on Music. Trans. Richard Langham Smith. Ithaca,
New York: Cornell University Press, 1977.
SOM=Schumann, Robert. Schumann on Music: A Selection from the Writings. Trans.
Henry Pleasants. New York: Dover, 1965.
POM=Stravinsky, Igor. Poetics of Music. Trans. Arthur Knodel and Ingolf Dahl.
Cambridge, MA: Harvard University Press, 1970.
SRIMH=Strunk, Oliver. Ed. Source Readings in Music History. New York: W. W.
Norton & Company, 1998.
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 出席、課堂參與 attendance and participation出席、課堂參與 attendance and participation attendance and participation |
30 | |
| 報告 presentation(s)報告 presentation(s) report presentation(s) |
30 | |
| 期中考、期末考 midterm & final exam期中考、期末考 midterm & final exam midterm and final exam midterm and final exam |
40 |
