20072008学年度第二学期,曹本冶教授为上海音乐学院研究生开设的专业课程。本课程以研讨课形式进行,重点探讨民族音乐学的记谱分析问题。课程分为两个阶段进行:(1)阅读和分析学科内西方学者涉及记谱分析的理论和方法。(2)对实际音例的记谱分析实践

     

     

    记谱分析

    20085月~6

     

    导师:曹本冶教授

     

    20072008学年度第二学期,曹本冶教授为上海音乐学院研究生开设的专业课程,因曹教授的时间档期关系,采取集中授课的方式。本次课程的教学周期为七周,授课时间为每周一、周三上午10时至1230分,经过遴选,共有11名同学修读此门课程。

     

    课程内容本课程以研讨课形式进行,重点探讨民族音乐学的记谱分析问题。课程分为两个阶段进行:(1)阅读和分析学科内西方学者涉及记谱分析的理论和方法。同学提前阅读曹老师挑选的原文文章,在课堂上由曹教授引导讨论,最后由曹老师做总结发言。这一教学环节于5月底完成;(2)对实际音例的记谱分析实践,曹教授布置了3个模拟作业。从6月初开始,同学们在课堂上展示、讲解自己所记的谱子,并将自己对音例的分析与同学们讨论。

     

    考核方法:曹老师初派发了指定参考文献10篇和记谱分析作业的音响资料(5个音例;音例(1)指定要做以外,其他4个音例选做2首)。每位学生必须閱读所有指定参考书目,并负责参考文献中1篇文章做堂上阅读分析的主讲,以及为该篇文章做堂上讨论的记录和堂后整理,然后用书面形式提交给曹老师作备案。3份记谱分析作业,于堂上讨论后用书面形式提交给曹老师作备案。

     

    评分方法:(1)课堂参与和讨论  20分;(2)阅读分析报告(1篇文章) 20分;(3)三个记谱分析作业 60

     

    一、理论方法

    (1)         Abraham, Otto and von Hornbostel, Erick M. 1909/10. “Suggested Methods for the Transcription of Exotic music” (translated by George and Eve List). Ethnomusicology 3 (1994): 425 – 56.

    (2)         Seeger, Charles. 1958. “Prescriptive and Descriptive Music Writing,” Musical Quarterly XLIV (2): 184 – 195.

    (3)         Hood, Mantl. 1982. “Transcription and Notation.” In The Ethnomusicologist. New edition of 1971 edition. Kent, Ohio: Kent State University Press. 50 – 122

    (4)        Nettl, Bruno. 1983. The Study of Ethnomusicology: Twenty-Nine Issues and Concepts. Urbana: University of Illinois Press. Chapters 6 and 7

    (5)        Barwick, Linda. 1990. “Central Australian Women's Ritual Music: Knowing through Analysis versus Knowing through Performance,Yearbook for Traditional Music 22: 60 – 79.

    (6)        Blum, Stephen. 1992. “Analysis of Musical Style.In Ethnomusicology: An Introduction. New York: W.W. Norton. Chapter 7

    (7)        Kartomi, Margaret Joy. 1990. “Problems of the Intercultural Reception and Methods of Describing and Analysing Musical Rhythm.” In Tradition and Its Future in Music: Report of SIMS 1990 Osaka, edited by Tokumaro Yosihiko. Tokyo: Mita Press.529538

    (8)        Qureshi, Regula Burckhardt.     1987. “Musical Sound and Contextual Input: A Performance Model for Musical Analysis.” Ethnomusicology 31: 56 – 86.

    (9)         Widdess, Richard. 1994. “Involving the Performers in Transcription and Analysis: A Collaborative Approach to Dhrupad,” Ethnomusicology 38: 59-79.

    (10)         Frigyesi, Judit. 1993. “Preliminary Thoughts toward the Study of Music without Clear Beat: The Example of ‘Flowing Rhythm in Jueish Nusah,” Asian Music XXIV (2): 59-88.

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