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完整後設資料紀錄
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor.advisor | 楊建章(Chien-Chang Yang) | |
dc.contributor.author | Hui-Ping Lee | en |
dc.contributor.author | 李惠平 | zh_TW |
dc.date.accessioned | 2021-05-13T08:35:53Z | - |
dc.date.available | 2016-08-25 | |
dc.date.available | 2021-05-13T08:35:53Z | - |
dc.date.copyright | 2016-08-25 | |
dc.date.issued | 2016 | |
dc.date.submitted | 2016-08-19 | |
dc.identifier.citation | 參考書目(Bibliography)
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San Pedro: The Creative Nationalist.” In The National Artists of the Philippines, edited by Cultural Center of the Philippines, 306–17. Pasig City: Anvil Publishing, 1998b. Kak, Subhash. “The Golden Mean and the Physics of Aesthetics.” FO(A)RM Magazine 5 (2007): 75–81. Kasilag, Lucrecia. “Music In A New Era.” In Filipino Heritage: The Making of A Nation Vol. 10 Birth of A Nation (1941–1946), edited by Alfredo R. Roces, Gilda Cordero-Fernando, Carlos Quirino, and Manuel C. Gutierrez, 2583–9. Manila: Lahing Pilipino Publishing, 1978. ______. 'Maceda, Jose.' In The New Grove Dictionary of Music and Musicians Vol. XV, edited by Stanley Sadie and John Tyrrell, 467. London: Macmillan, 2001. ______. “Maceda, Jose.” In Die Musik in Geschichte und Gegenwart Personenteil 11, aus. Herausgegeben Ludwig Finscher, 407–8. Kassel: Barenreiter, 2007. Kwon, Donna Lee. Music in Korea. New York: Oxford University Press, 2011. 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Matherne, Neal D.. “Naming the Artist, Composing the Philippines: Listening for the Nation in the National Artist Award.” PhD diss., University of California Riverside, 2014. Miller, Terry E. and Williams, Sean. “Southeast Asian Musics: An Overview.” In Garland Encyclopedia of World Music Volume 4 – Southeast Asia, edited by Terry E. Miller and Sean Williams, 2–23. Routledge, 1998. Molina, Lito. “Antonio J. Molina: A Bridge to the Filipinos’ Musical Past.” In The National Artists of the Philippines, edited by Cultural Center of the Philippines, 262–9. Pasig City: Anvil Publishing, 1998. Moon, Krystyn R.. “The Quest for Music’s Origin at the St. Louis World’s Fair: Frances Densmore and the Racialization of Music.” American Music, vol. 28, no. 2 (2010 Summer): 191–210. National Classical Music Institute. Anthology of Korean Traditional Music. Seoul: Korean Traditional Music Publication Company, 1969. National Music Council of the Philippines. 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Provine, Yosihiko Tokumaru, and Lawrence J. Witzleben, 865–70. Routledge, 2002. Rost, Dietmar. “Attempts to Conceptualise Collective Identities Beyond the Dichotomy of Essentialism Versus Constructionism.” In New Regional Identities and Strategic Essentialism: Case Studies from Poland, Italy and Germany (Region, Nation, Europa Bd. 39), edited by Heinz Kleger, 477–503. Munster: Lit, 2007. Ryker, Harrison. “Introduction.” In New Music in the Orient: Essays on Compositions in Asia Since World War II, edited by Harrison Ryker, 11–30. Buren, The Netherlands: F. Knuf, 1991. Santiago-Felipe, Vilma R.. “Lucrecia R. Kasilag: A Gem of a Person, A Jewel of an Artist.” In The National Artists of the Philippines, edited by Cultural Center of the Philippines, 208–17. Pasig City: Anvil Publishing, 1998. Santos, Ramon P.. “Revivalism and Modernism in the Music of Post-Colonial Asia.” In A Search in Asia for a New Theory of Music, edited by Jose S. Buenconsejo, 395–428. Quezon: University of the Philippines Center for Ethnomusicology, 2003. ______. “Jose Montserrat Maceda: Rebellion, Non-conformity and Alternatives.” In Tunugan: Four Essays on Filipino Music, by Ramon Santos, 125–78. Quezon City: University of Philippines Press, 2005a. ______. “The UP Conservatory of Music: Nesting Ideologies of Nationalism in a Filipino Music.” In Tunugan: Four Essays on Filipino Music, by Ramon Santos, 179–93. Quezon City: University of Philippines Press, 2005b. ______. “Ethnomusicology in the Art of Composition, Tradition and Modernity and the Musics of Asia.” Musika Journal, no. 4 (2008): 6–31. Spivak, Gayatri Chakravorty. “Criticism, Feminism, and the Institution.” In The Post-Colonial Critic: Interviews, Strategies, Dialogues, edited by Sarah Harasym, 1–16. New York: Routledge, 1990. Tenzer, Michael. “Jose Maceda and the Paradoxes of Modern Composition in Southeast Asia.” Ethnomusicology 47, no. 1 (2003): 93–120. Thomas, Megan C.. 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Accessed June 16. http://www.blackwellreference.com/subscriber/tocnode.html?id=g9781405124331_yr2012_chunk_g978140512433125_ss1‐268 コンスタンティーノ,レナト(Renato Constantino)。〈民族的自覚の問題〉。《フィリピン・ナショナリズム論 下》,鶴見良行訳,156–249。東京:井村文化事業社,1977。 김정수 (金正秀)編。《正樂牙箏譜》。서울시 : 수서원,1998 (首爾市:修書院)。 丸山真男。《日本の思想》。東京:岩波書店,1961。(ISBN:4-00-412039-X) 王筱青。〈亞洲作曲家聯盟大會暨音樂節探討(1973–2011)〉。國立臺灣師範大學民族音樂學研究所研究與保存組碩士論文,2012。 王櫻芬、李毓芳(編)。《第四屆亞太民族音樂學會會議暨第六屆國際民族音樂學會議「東亞及東南亞宮廷音樂的結構」論文集》。台北:行政院文化建設委員會,1998。 竹內好。〈方法としてのアジア〉。《日本とアジア 竹内好評論集 第三巻》,396–420。東京:筑摩書房,1966。 吉見俊哉。《ポスト戦後社会》(岩波新書1050)。東京:岩波書店,2009。(ISBN:9784004310501) 池端雪浦、生田滋。《東南アジア現代史II:フィリピン・マレーシア・シンガポール》,東京:山川出版社,1977。 吳榮順、曾毓芬、黃馨瑩。《簡約・雍容・狂野:2006亞太傳統打擊樂器特展》。宜蘭:國立傳統藝術中心,2006。(ISBN:9789860059182) 李秀琴。〈菲律賓音樂:傳統、變遷與再生〉。《關渡音樂學刊》,第二期(2005):167–96。(ISSN:1814-1889) 林珀姬。《南管樂語與曲唱理論建構》。台北:國立臺北藝術大學,2011。(ISBN:9789860303490) 酒井直樹。〈現代性及其批判:普遍主義與特殊主義的問題〉。白培德譯。《台灣社會研究季刊》,30期(1998):205–36。 陳光興。《去帝國––––亞洲作為方法》。台北:行人文化,2006。(ISBN:9789868186057) 陳鴻瑜。《菲律賓史:東西文明交會的島國》。台北:三民書局,2011。(ISBN:9789571454993) 静岡音楽館。《AOI通信:静岡音楽館倶楽部情報誌》,第59号,2010秋号。http://www.aoi.shizuoka-city.or.jp/_pdf/No59.pdf。 連憲升。《音樂現代性與抒情性:臺灣視野的當代東亞音樂》。台北:唐山出版社,2014。 楊宜樺。〈想像台灣?臺灣當代音樂創作中的南管〉。國立台灣大學文學院音樂學研究所碩士論文,2015。 富田宏治。〈ポスト・モダニズムと丸山真男〉。《法と政治》,48巻4号,987–1028,1997。 溝口雄三。《方法としての中国》。東京:東京大学出版会,1989。 蕭阿勤。《重構台灣:當代民族主義的文化政治》。台北:聯經,2012。(ISBN:9789570841176) 樂譜(Scores) Maceda, Jose. Music for Five Pianos. Quezon City: University of Philippines Center for Ethnomusicology. ______. Sujeichon –– A Korean Court Music for Four Pianos. Quezon City: University of Philippines Center for Ethnomusicology. ______. Nanguan –– Music for South Chinese Music Instruments. Quezon City: University of Philippines Center for Ethnomusicology. 錄音資料(Audio Materials) Drones and Melody, Tzadik Records (TZ 8043), composed by Jose Maceda, conducted by Romon Santos and Steed Cowart, performed by The Mills Performing Group and UP Contemporary Music players, 2007. Gongs and Bamboo, Tzadik Records (TZ 7067), composed by Jose Maceda, produced by Chris Brown and John Zorn, 2001. Hanunoo Music from the Philippines, Folkway Records (FW04466/FE 4466), recorded and produced by Harold C. Conklin, liner notes by Harold C. Conklin and Jose Maceda, 1953. Music of the Kenyah and Modang in East Kalimantan, Indonesia, Department of Music Research, College of Music, University of the Philippines, recorded by Nicole Revel-Macdonald, produced, edited, notes and trascription by Jose Maceda, 1977. Music of the Magindanao in the Philippines Vol. 1 & 2, Folkway Records (FW04536/FE 4536), recorded, produced and notes by Jose Maceda, designed by Ronald Clyne, 1955. Ugnayan, Tzadik (TZ 8068), composed by Jose Maceda, produced by Ramon Santos and John Zorn, performed by Antonio Regalario, Arsenio Nicolas Jr., Fabian Obispo, Felicidad Prudente, Josefina Arrieta, Nita Abrogar and Ruben Federizon, 2009. 《ホセ・マセダ:5台のピアノのための音楽・2台のピアノと4本の管楽器のための音楽》,コジマ録音(ALCD-54),録音・製作:小島幸雄,注記:高橋悠治、ホセ・マセダ,訳:柿沼敏江,2000。 | |
dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/3674 | - |
dc.description.abstract | 本文以菲律賓民族音樂學者、作曲家荷西・馬希達(1917–2004)的研究論著與音樂作品為例,重新將其文化實踐的內容與晚期的東亞轉向,分別放置於「策略本質主義」與「亞洲作為方法」兩個概念來重新理解。
西方學者邁克爾・坦瑟、思想悟子、麥特・馬波對馬希達的寫作中,他們多以某種先驗的二元觀點來理解馬希達在文化實踐上的困境,卻又不願去深入考察馬希達身後菲律賓社會的殖民脈絡。本文認為,馬希達的文化實踐能夠以策略本質主義的概念來重新詮釋。其策略性格在於,馬希達不僅在研究方法上連結擁有類似經驗的文化體,其文化策略更在不同的歷史階段有著有著明確的變動。最重要的是,若能考察馬希達所身處的菲律賓社會脈絡,更能夠確認他的文化實踐並不是單純地複製某種文化宰制結構,而是作為「獲得力量」、「理解自我」的方法之一。 再者,雖然多數學者均注意到馬希達晚期的轉向,卻鮮少人將馬希達作曲與研究關心的轉向互相連結。因此,本文試圖以承自竹內好、溝口雄三、陳光興三人寫作下「亞洲作為方法」的概念,提供一個理解馬希達晚期「東亞轉向」的不同觀點。藉由考察馬希達晚期在研究與作曲實踐當中地理空間的開展,本文將聚焦於其實踐背後關心那仍舊值得參考的思想資源,同時也試圖使馬希達晚期文化實踐內容中的張力,在名為「亞洲作為方法」的理論空間裡,找尋可能的文化詮釋方案。 | zh_TW |
dc.description.abstract | This thesis re-examines the renown Filipino ethnomusicologist/composer Jose Maceda’s (1917–2004) academic writings and musical compositions in views from the concepts of “strategic essentialism” and “Asia as method”.
While the existing literatures by Western writers such as Michael Tenzer, Christian Utz and Matt Marble all tend to concentrate on Maceda’s cultural practices within a pre-supposed binary oppositional frameworks, none of them has really mined into the colonial contexts of the Maceda’s Philippines. In contrast to their writings, this thesis argues Maceda did not only connect cultural entities who share similar colonial experiences in his research methods, several distinct turns are easily found in his cultural strategies between different historical periods. Most importantly, as reviewing the social context of the Philippines, it is evident that Maceda’s cultural practice is by no means a replication of any kinds of dominating cultural structures, but rather a way of empowerment and self-understanding, a “strategic essentialism” from a post-colonial concern. Moreover, although most of the writers do pay attention to the changes in the compositional approaches during Maceda’s late years, they rarely relate Maceda’s compositional changes in relations to his research. Therefore, this thesis also provides a different viewpoint on Maceda’s late “East-Asian” turn by way of “Asia as method,” a concept derived from the writings of Yoshimi Takeuchi, Yuzo Mizoguchi and Kuan-Hsin Chen. By reassessing Maceda’s late ethnomusicology works and musical compositions, such an approach of “Asia as method”, does not only notice the productive food for thought beneath Maceda’s late practices, but also at the meanwhile suggests a possible cultural interpretation as an intention to reconcile the tension occurred during his late practices. | en |
dc.description.provenance | Made available in DSpace on 2021-05-13T08:35:53Z (GMT). No. of bitstreams: 1 ntu-105-R01144007-1.pdf: 10442897 bytes, checksum: 756291d1b362f034b13abacdb995b999 (MD5) Previous issue date: 2016 | en |
dc.description.tableofcontents | 目錄
謝誌 iii 中文摘要 iv 英文摘要 v 目錄 vi 圖目錄 viii 表目錄 ix 譜例目錄 x 第一章 緒論 1 第一節 論題 1 第二節 荷西・馬希達簡介 4 第三節 馬希達音樂的社會性解讀 7 (一)馬希達音樂的社會性解讀 7 (二)研究材料、研究時間範圍、與研究立場的對立 12 第二章 策略本質主義作為重新理解荷西・馬希達的脈絡化方案 15 第一節 二元論述光譜中的荷西・馬希達 16 (一)悟子「脈絡化」下的高橋悠治與馬希達:後現代與後殖民 17 (二)對於馬希達「矛盾」的批判:坦瑟與馬波 20 (三)二元視角的問題 22 第二節 馬希達與「策略本質主義」 24 (一)在研究裡聯合擁有相似經驗的受殖文化體 27 (二)不同時期之間的策略變動:1970與1990年代的作曲倡議 38 (三)「脈絡化」馬希達:菲律賓民族主義和後殖民文化脈絡的考察 46 第三節 策略本質主義作為重新理解荷西・馬希達的脈絡化方案 54 第三章 馬希達晚期文化實踐的東亞轉向與亞洲作為方法 61 第一節 既有研究裡馬希達的「晚期轉向」 63 (一)西方學者談馬希達的「80年代轉向」 63 (二)菲律賓學者談馬希達作品的分期與轉向 65 (三)精確記譜、東西樂器混用、亞洲宮廷音樂的參照 68 第二節 亞洲作為方法 70 第三節 馬希達學術論著的晚期東亞轉向 75 (一)結構主義、人文主義、東南亞音樂中的古典主義 75 (二)1990年代以降馬希達的「東亞轉向」:亞洲宮廷音樂的結構 78 第四節 馬希達音樂作品的晚期東亞轉向 89 (一)馬希達音樂語彙裡的東南亞基調 89 (二)馬希達的晚期作品三首 99 第四章 結論 125 後記:聆聽馬希達的音樂 133 參考書目 139 附錄:本文譯名對照表 151 圖目錄 【圖一】數四原則樂曲結構的「方塊(squares)」圖像表示 81 【圖二】馬希達對於〈Gondjang Gandjing〉(slendro pathet Sanga)定旋律的結構音分析 83 【圖三】馬希達分析《壽齊天》之樂曲結構(左)《壽齊天》之樂曲結構(右) 109 【圖四】馬希達對於《壽齊天》結構音之分析 111 【圖五】《壽齊天》律字譜,第一章之第一長短與第二長短 112 【圖六】馬希達對於《壽齊天》的結構分析與《壽齊天》之章節、長短關係 113 表目錄 【表一】馬希達〈Sujeichon〉(2002)樂曲結構 106 【表二】南管音樂四個管門的五音排列 117 譜例目錄 【譜例一】卡林阿族(Kalinga)的鋼薩(gangsa)銅鑼合奏 91 【譜例二】庫林鐺合奏裡提督模式的開頭部分 92 【譜例三】馬希達〈Kubing〉(1967),第105至109小節 92 【譜例四】馬希達〈Pagsamba〉(1968),第一樂章垂憐經(Kyrie),第73至75小節 93 【譜例五】馬希達〈Strata〉(1987),第15排練記號0至20處,竹叉管部分 94 【譜例六】哈奴奴人音樂裡竹叉管(batiwtiw)與竹弦琴(bamboo zither)的節奏型態 96 【譜例七】馬希達〈Ugma-Ugma〉(1963),第105至109小節 97 【譜例八】〈Music for Five Pianos〉(1993)「共同音盒」,第1至3小節 103 【譜例九】〈Music for Five Pianos〉(1993)「獨立音盒」,第84至87小節 104 【譜例十】〈Music for Five Pianos〉(1993)「手指技巧的開發」,第133至135小節 104 【譜例十一】(上)馬希達〈Sujeichon〉(2003)鋼琴II,第1至4小節(下)《壽齊天》採譜,小笒、大岑、篳篥,第1至4小節 105 【譜例十二】 馬希達〈Sujeichon〉(2002),第1至第6小節 106 【譜例十三】馬希達〈Sujeichon〉(2002),第57至第62小節 107 【譜例十四】《壽齊天》採譜,第11至12小節 112 【譜例十五】馬希達〈Nan Guan〉(2003),第0頁第1至第8小節 115 【譜例十六】馬希達〈Nan Guan〉(2003),第3頁第1至第8小節 119 【譜例十七】馬希達〈Nan Guan〉(2003),第6頁第1至第12小節 120 【譜例十八】馬希達〈Nan Guan〉(2003),第12頁第1至第8小節 122 | |
dc.language.iso | zh-TW | |
dc.title | 荷西・馬希達研究論著與音樂作品中的策略本質主義與亞洲作為方法 | zh_TW |
dc.title | The 'Strategic Essentialism' and 'Asia as Method' in Jose Maceda's Academic Writings and Musical Compositions | en |
dc.type | Thesis | |
dc.date.schoolyear | 104-2 | |
dc.description.degree | 碩士 | |
dc.contributor.oralexamcommittee | 王櫻芬(Ying-Fen Wang),陳俊斌(Chun-Bin Chen) | |
dc.subject.keyword | 荷西?馬希達,策略本質主義,亞洲作為方法, | zh_TW |
dc.subject.keyword | Jose Maceda,strategic essentialism,Asia as method, | en |
dc.relation.page | 154 | |
dc.identifier.doi | 10.6342/NTU201603180 | |
dc.rights.note | 同意授權(全球公開) | |
dc.date.accepted | 2016-08-19 | |
dc.contributor.author-college | 文學院 | zh_TW |
dc.contributor.author-dept | 音樂學研究所 | zh_TW |
顯示於系所單位: | 音樂學研究所 |
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