本課程預計透過「樂動」；即「音樂的動態行動」之概念，探索台灣的近代社會。我們將試圖體會在這個島嶼上，歷史和當代的人們經由各種樂舞活動所創造的共同意義和其影響。我們的目標是透過仔細聆聽和樂動參與，對過去150年來塑造台灣的社會組織和變遷，產生反思性、身體性、與情感性的不同觀點與新理解。我們會接觸各式各樣的傳統與當代樂種，包括儀式樂舞、社群樂舞、具政治性的樂舞、與大眾流行音樂。然而我們不求定義「台灣音樂」是什麼，也不力圖全面認識所有在台灣的樂種；反之，我們將藉由不同議題的探索—包括社群凝聚、移民與人權、墾殖、殖民現代性、政治與經濟、族群身分、多元文化與原住民主權、性別與性向、空間與環境、社會運動等—嘗試理解住在這塊土地上的原住民、漢人、新住民、及訪客，如何透過不同類型的音樂和舞蹈發聲與行動。 ＊本課程將以英語進行，著重於課堂小組分組討論、分組報告及小組寫作＊

1) 基礎認識台灣各族群的不同傳統與當代音樂(與舞蹈) 2) 透過聆聽、發聲、舞動、表演等媒介反思自己與台灣歷史和社會的關係和所在位置 3) 應用「樂動」的概念，理解音樂表演在社會中扮演的動態角色，並發展批判思考能力，以分析多樣樂種與塑造社群、身分認同、政治經濟、與社會運動之關係。

Week 2 - Chen, Chun-bin. 2022. “Highway Nine Musical Stories: Musicking of Taiwan-ese Indigenous People at Home and in the National Concert Hall,” in Resound-ing Taiwan: Musical Reverberations Across a Vibrant Island, edited by Nancy Guy. London: Routledge, pp. 47-66. Week 3 - Excerpt from Lin, Yih-Ren et al. 2020. “Situating Indigenous Resilience: Cli-mate Change and Tayal’s “Millet Ark” Action in Taiwan,” Sustainability 12:24, pp.7-11 (Section 3.1 on lmuhuw and migration). - Excerpt from Wang, Ying-fen. 2016. “The transborder dissemination of nan-guan in the Hokkien Quadrangle before and after 1945,” Ethnomusicology Forum, 25:1, pp. 58-62. - Ruckus, Ralf. 2023. “At work treated like a robot, through metal feeling like a human,” New Bloom Magazine (Online). Week 4 - Excerpt from Tan, Shzr Ee. 2012. Beyond ‘Innocence’: Amis Aboriginal Song in Tai-wan as an Ecosystem. Surrey: Ashgate, pp. 45-61. - Excerpt from Yu, Jin Fu. 2015. “The Religious Implications and Theological Thinking of the Bunun ‘Song for Bumper Harvest of millet’ pasibutbut,” Yu-Shan Theological Journal 22, pp.49-64. Week 5 - Lam, Joseph. 2001. “Confucian Ceremonial Music,” in Provine et al. (eds), Garland Encyclopedia of World Music, Vol. 7 East Asia, New York: Routledge, pp. 372-75. Week 6 - Chao, Hui-Hsuan. 2011. “Singing Under the Rising Sun: Music Education in Early Colonial Taiwan, 1895-1905.” Formosan Journal of Music Research 12, pp. 29-63. Week 7 – Jones, Andrew F. 2020. “Fugitive Sounds of the Taiwanese Musical Cinema,” in Circuit Listening: Chinese Popular Music in the Global 1960s, Minneapolis: University of Minnesota Press, pp. 79-108. Week 8 - Lee, Ching-huei. 2022. “Voicing gender in pak-koán theater: social contexts and singing mechanisms,” in Resounding Taiwan: Musical Reverberations Across a Vibrant Island, edited by Nancy Guy. London: Routledge, pp. 124-44. Week 11 - Ho, Tung-hung. 2019. “Profiling a Postwar Trajectory of Taiwanese Popular Music: Nativism in Metamorphosis and Its Alternatives,” in Made in Taiwan: Studies in Popular Music, New York: Routledge, pp. 23-42. - Lee,Vito; translated by David Smith. 2012. “Ara Kimbo Sings the Indigenous Blues,” Taiwan Panorama, April 2012. Week 12 – Tsai, Eva. 2019. “Tacky and World-Class: Hsieh Jin-yen, Taiwan EDM, and the Reinvigoration of Tai ,” in Made in Taiwan: Studies in Popular Music, New York: Routledge, pp. 143-55. - Lin, Hao-li. 2019. “Muscular Vernaculars: Braggadocio, “Academic Rappers,” and Alternative Hip-Hop Masculinity in Taiwan,” in Made in Taiwan: Studies in Popular Music, New York: Routledge, pp. 157-67. Week 13 - Hatfield, DJ W. 2020. “Good Dances Make Good Guests: Dance, Animation and Sovereign Assertion in ‘Amis Country, Taiwan.” Anthropologica 62/2, pp.337–52. Week 14 - Guy, Nancy. 2009. “Flowing Down Taiwan's Tamsui River: Towards an Ecomusicology of the Environmental Imagination,” Ethnomusicology 53/2, pp. 218-248.

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