我們常說不知道歷史就不知道自我，而個人的存在與決定與當時所處的環境是息息相關；本課程希望在討論過去的木管作品時，也一併將當時的作曲家所身處的環境，科技限制介紹給大家。而音樂總離不開演出，演出的時候受眾是誰，也會影響到作曲或是舞台的呈現方式，所以在介紹二十世紀之前的木管獨奏或是室內樂作品時，也將討論當時的流行文化，或是國家政策改變對音樂發展造成的影響。十九世紀開始有專利權的保護，樂器的改良與發明也是史上最蓬勃的時候，因為樂器的改良使得演奏者與作曲家的能力可以有更大的展現，這個對照現在日益發展的電子音樂技術，希望可以讓大家得到借鏡。
在二十世紀以後，西方的古典音樂一直在求新求變，現在音樂的發展除了和聲與曲式的改變，借用當地民族音樂的元素來創新，也是一個流行的趨勢，除了介紹這些音樂，擬邀請國樂的演奏者來課堂上示範中國笛或是嗩吶的演奏方式，讓大家在這種借用東方元素音樂的樂曲裡，得到新的靈感。
本課程在曲目以及樂器學的講解，會以單簧管以及薩克斯風為主，其他木管樂器的討論會比較少一些。We often say that if you don’t know history, you don’t know yourself, and an individual’s existence and decision-making are closely related to the environment at that time; this course hopes to also discuss the environment of the composers at that time when discussing past woodwind works. , introducing technological limitations to everyone. Music is always inseparable from performance. Who the audience is during the performance will also affect the composition or stage presentation. Therefore, when introducing woodwind solo or chamber music works before the 20th century, we will also discuss the popularity at that time. Culture, or the impact of changes in national policies on the development of music. Patent protection began in the 19th century, and the improvement and invention of musical instruments was also the most prosperous time in history. Because the improvement of musical instruments allowed performers and composers to display their abilities to a greater extent, this contrasts with the increasingly developing electronic music technology. , I hope everyone can learn from it.
After the 20th century, Western classical music has been seeking innovation and change. In addition to changes in harmony and musical form, it is also a popular trend to innovate by borrowing elements of local ethnic music. In addition to introducing these music, It is planned to invite traditional Chinese music performers to the class to demonstrate how to play the Chinese flute or suona, so that everyone can get new inspiration from this kind of music that borrows oriental elements.
The explanation of the repertoire and musical instruments in this course will mainly focus on the clarinet and saxophone, and there will be less discussion on other woodwind instruments.
J-M. Londeix: Pour une Histoire du Histoire du Saxophone et des Saxophonistes, Livre 1, Livre 2
S. Cottrell: The Saxophone
M. Brenet: La Musique Militaire
F. Scherer: Quarter Notes and Bank Notes
W. Horwood: Adolphe Sax 1814-1894
W. Bernstein: The Birth of Plenty
A Bowley: Comparison of the Changes in Wages in France, The United States, and the UnitedKingdom
Jean-Pierre Rorive: Adolphe Sax
Pour une Histoire du Saxophone et des Saxophonists by Jean-Marie Londeix, Livre 1 et Livre 2
Marcel Mule: His life and the Saxophone by Eugene Rousseau
Le conservatoire de Paris et Son Histoire by Remy Campos
The Rascher Reader compiled and edited by Lee Patrick
Debussy’s Rasodie pour Orchestre et Saxophone revisited by James Noyes
Beethoven and George Thomson bu Donald W. MacArdle
J-M. Londeix: Saxophone et des Saxophonistes, Livre 1, Livre 2
S. Cottrell: The Saxophone
M. Brenet: La Musique Militaire
F. Scherer: Quarter Notes and Bank Notes
W. Horwood: Adolphe Sax 1814-1894
W. Bernstein: The Birth of Plenty
A Bowley: Comparison of the Changes in Wages in France, The United States, and the UnitedKingdom
Jean-Pierre Rorive: Adolphe Sax
Pour une Histoire du Saxophone and des Saxophonists by Jean-Marie Londeix, Livre 1 and Livre 2
Marcel Mule: His life and the Saxophone by Eugene Rousseau
Le conservatoire de Paris et Son Histoire by Remy Campos
The Rascher Reader compiled and edited by Lee Patrick
Debussy’s Rasodie pour Orchestre et Saxophone revisited by James Noyes
Beethoven and George Thomson by Donald W. MacArdle
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 期末考期末考 final exam |
40 | |
| 分組報告分組報告 Group report |
30 | |
| 出席率出席率 Attendance |
15 | |
| 上課參與討論上課參與討論 Participate in discussions in class |
15 |
