 ※課程目標 (Course Objectives)
世界上每一個民族都有其音樂的表述形式，深扣自身的文化脈絡與背景發展。世界音樂包含內陸與海洋文化屬性的多樣性，音樂藝術富含文化印記的深刻軌跡，隨著全球音樂工業、傳播媒體的發展，世界不同地區、民族的音樂文化逐漸突破地理限制向各地傳遞。
本課程分成兩大部分，第一、從實質聲音的特徵探索五大洲音樂特點與不同的藝術表現，第二、深入探索文化與社會的多元價值，如音樂與音樂家在社會的角色地位、音樂的定位與存在、人與超自然的溝通奧秘…等，透過解析音樂藝術的豐富元素，進而探索人群的認同邊界，理解當代社會的能力。

※Course Objectives
Every nation in the world has its own musical expression form, which is closely related to its own cultural context and background development. World music contains the diversity of inland and oceanic cultural attributes, and music art is rich in profound traces of cultural imprints. With the development of the global music industry and communication media, the music culture of different regions and nationalities in the world has gradually broken through geographical restrictions and spread to various places.
This course is divided into two parts. First, it explores the characteristics of music and different artistic expressions in five continents from the characteristics of actual sound. Second, it deeply explores the diverse values ​​of culture and society, such as the role of music and musicians in society, the position and existence of music, the mystery of communication between humans and the supernatural... etc. By analyzing the rich elements of music art, we can then explore the boundaries of people's identity and understand the ability of contemporary society.

亞洲地區位於地中海以東，包含內陸與海洋文化屬性的多樣性，音樂藝術富含文化印記的深刻軌跡，隨著全球化的影響以及傳播媒體的發展，世界不同地區、民族的音樂文化逐漸突破地理限制向各地傳遞，本課程希望藉由解析亞洲地區音樂的不同表現，探索文化與社會的多元價值，透過理解音樂藝術的豐富元素，體現對世界音樂中亞洲地區的文化特色，進而探索人群的認同邊界，理解當代社會的能力。

The Asian region is located east of the Mediterranean Sea and contains the diversity of inland and maritime cultural attributes. Music and art are rich in profound traces of cultural imprints. With the influence of globalization and the development of communication media, the music culture of different regions and nationalities in the world has gradually broken through geographical restrictions and spread to various places. , this course hopes to explore the diverse values ​​of culture and society by analyzing the different expressions of music in Asia. By understanding the rich elements of music art, it can reflect the cultural characteristics of Asia in world music, and then explore the identity boundaries of people and understand the ability of contemporary society.

Bakan, Michael. 2012 [2007]. World Music: Traditions and Transformations, 2nd ed.. McGraw-Hill. Danielson, Virginia. 1988. “The Arab Middle East.” In Popular Musics of the Non-Western World, Peter Manuel, ed. New York: Oxford, pg.141-160.

Goldschmidt, Arthur, Jr. 1999. A Concise History of the Middle East. Boulder, CO: Westview Press.

Kürsat-Ahlers, Elcin. 1996. “The Turkish Minority in German Society.” In Turkish Culture in Germany Society Today, David Horrocks and Eva Kolinsky, eds. Providence, RI: Berghahn Books, pg. 113-135.

Manuel, Peter. 1995. Caribbean Currents: Caribbean Music from Rumba to Reggae. Philadelphia: Temple University Press. Marcus, Scott. 2006. Music in Egypt. New York: Oxford University Press. Nasr,

Seyyed Hossein. 1997. “Islam and Music: The Legal and the Spiritual Dimensions.” In Enchanting Powers: Music in the World’s Religions. Lawrence E. Sullivan, ed. Cambridge: Harvard University Press, pg. 219-235.

Nettl, Bruno, ed. 2012. Excursions in World Music, 6th ed.Upper Saddle River, NJ: Pearson Education.

Shelemay, Kay Kaufmann. 2001. Soundscapes: Music in a Changing World. New York: W.W. Norton. Shelemay, Kay Kaufmann. 1998. Let Jasmine Rain Down: Song and Remembrance among Syrian Jews. Chicago: University of Chicago Press.

Spencer, William, ed. 1998. The Middle East. Guilford, CT: Dushkin/McGraw-Hill.

Titon, Jeff Todd, ed. 2002. Worlds of Music: An Introduction to the Music of the World's Peoples, 4th ed. Belmont, CA: Wadsworth/Thomson Learning.

Touma, Habib Hassan. 1996. The Music of the Arabs. Portland and Cambridge:

Amadeus Press. Tucker, Judith. 1993. "Gender and Islamic History." In Islamic and European Expansion: The Forging of a Global Order. Philadelphia: Temple University Press, pg.1-36.

Turner, Victor. 1995 [1969]. The Ritual Process: Structure and Anti-Structure. New York: Aldine De Gruyter, pg. 95-130.

Bakan, Michael. 2012 [2007]. World Music: Traditions and Transformations, 2nd ed. McGraw-Hill. Danielson, Virginia. 1988. “The Arab Middle East.” In Popular Musics of the Non-Western World, Peter Manuel, ed. New York: Oxford, pg.141-160.

Goldschmidt, Arthur, Jr. 1999. A Concise History of the Middle East. Boulder, CO: Westview Press.

Kürsat-Ahlers, Elcin. 1996. “The Turkish Minority in German Society.” In Turkish Culture in German Society Today, David Horrocks and Eva Kolinsky, eds. Providence, RI: Berghahn Books, pg. 113-135.

Manuel, Peter. 1995. Caribbean Currents: Caribbean Music from Rumba to Reggae. Philadelphia: Temple University Press. Marcus, Scott. 2006. Music in Egypt. New York: Oxford University Press. Nasr,

Seyyed Hossein. 1997. “Islam and Music: The Legal and the Spiritual Dimensions.” In Enchanting Powers: Music in the World’s Religions. Lawrence E. Sullivan, ed. Cambridge: Harvard University Press, pg. 219-235.

Nettl, Bruno, ed. 2012. Excursions in World Music, 6th ed. Upper Saddle River, NJ: Pearson Education.

Shelemay, Kay Kaufmann. 2001. Soundscapes: Music in a Changing World. New York: W.W. Norton. Shelemay, Kay Kaufmann. 1998. Let Jasmine Rain Down: Song and Remembrance among Syrian Jews. Chicago: University of Chicago Press.

Spencer, William, ed. 1998. The Middle East. Guilford, CT: Dushkin/McGraw-Hill.

Titon, Jeff Todd, ed. 2002. Worlds of Music: An Introduction to the Music of the World's Peoples, 4th ed. Belmont, CA: Wadsworth/Thomson Learning.

Touma, Habib Hassan. 1996. The Music of the Arabs. Portland and Cambridge:

Amadeus Press. Tucker, Judith. 1993. "Gender and Islamic History." In Islamic and European Expansion: The Forging of a Global Order. Philadelphia: Temple University Press, pg.1-36.

Turner, Victor. 1995 [1969]. The Ritual Process: Structure and Anti-Structure. New York: Aldine De Gruyter, pg. 95-130.