Browsing by Author "KAM Lap-Kwan"

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Documentary-Biography of Chang Hao (1913-2003): 1. The Primary Musical Sources
(2013)
金立群
;
KAM Lap-Kwan
;
國立交通大學音樂研究所
不協和音的解放？加拿大音樂學論述中的第一民族和新移民
(2012)
金立群
;
KAM Lap-Kwan
;
國立交通大學音樂研究所
“The emancipation of the dissonance,” according to Schoenberg, “has placed the tonal center of gravity in jeopardy” (Style and Idea, 258). Could it be the anxiety of decentering, to read Schoenberg’s metaphor into the context of musical scholarship, which drives those with institutional power to cling to the mainstream and suppress the inharmonious? In recent research on the historiographies of Austria and Taiwan (for example, 2004, 2009), this author indicated a similar trajectory of identification away from a shared and harmonious culture with their mightier neighbors, that is, German and Han Chinese respectively, and toward their rather dissonant self in its own time and space. However, these studies also indicated that this emancipating deed of the scholars involved seems to be more a product of political correctness than a genuine demonstration of academic integrity. In any case, music scholars tended to sacrifice harmony through fairness and justice to harmony through suppression. This paper aims to continue this transnational study of musical scholarship with Canada. At first sight, it seems absurd to compare apples with oranges, for Canada is obviously much open and multicultural then the other two countries examined. But Canada also began as “a child of nations, giant limbed” (Charles Robert, Canada, 1885), and has to construct an identity independent of its former French and British colonizers, and a powerful neighbor, the US. The sources included for this study will be the comprehensive music history books by Helmut Kallmann (1960), Clifford Ford (1982), and Timothy McGee (1985). To complete the picture, the two editions of Encyclopedia of Music in Canada (1981, 1992) and its online version (2001) are also examined. Besides several book reviews, there are only a few reflective and critical studies; in this regards, the anthology Canadian Music: Issues of Hegemony and Identity (1994) is a pioneering work that examines the political and power structure underneath musical knowledge. Nevertheless, the question of not only what is written, but also of who wrote what and why, is not yet fully scrutinized. Set in the postmodern/postcolonial discourse, this study will concentrate on the issue of representation of the First Nation and the newcomers, that is, the native and the naturalized, the two marginalized poles around the center. Exactly here is the scholar challenged to reflect on his/her role as mere chronologist and lexicographer of the harmonious center, and to listen to the dissonant periphery, and to give voice to the voiceless. The musicologist as an intellectual should be both the emancipated and the emancipator.
晚期馬勒與維也納現代主義
(2010)
金立群
;
KAM Lap-Kwan
;
國立交通大學音樂研究所
晚期馬勒與維也納現代主義由於許多知識分子從中歐移民至美國，以及戰後美國學界的全球性影響，1900年前後的世紀末維也納文化仍是當今世界的重要源流之一。在卡爾休斯克劃時代的巨著《世紀末的維也納》（1980）中，這個文化被視為「美學現代主義」，其肇因於「自由主義的挫敗」，而資產階級的關注點由政治轉向精神心靈層面與藝術。然而，九零年代中期的研究，開始傾力於「再思1900年的維也納」。它質疑所謂自由派挫敗以致藝術疏離的休斯克典範，轉而聚焦於一個「批判性現代主義」的道德及批判面向，而在其中猶太背景為主要驅力。事實上在維根斯坦與阿多諾以哲學化觀點透視其個別流亡經驗時，他們皆受卡爾克勞斯、阿道夫洛斯、以及阿諾德荀白克的維也納現代主義之影響。而本研究將論證這個路線甚可回溯至被荀白克譽為聖者的馬勒。本計畫嘗試銜接奧地利研究以及哲學及音樂學間的斷層，首先將重新檢視馬勒於維也納當代文化的定位，尤其他是與重感官的分離派與重文化批判的現代主義者的關係。然後本研究將依兩個方向來進行：一方面，馬勒晚期風格的特點，與貝多芬晚期風格作出比較，連結著阿多諾否定性美學的兩個典範；另一方面，在馬勒及維根斯坦間共通的現代主義特點，諸如在「沒有價值」及「焦慮不安」等方面，儘管維根斯坦認為馬勒的音樂是沒價值的，並對之是否堪稱為藝術存疑。
補助人文及社會科學研究圖書計畫規劃主題---音樂學---歐洲音樂史 (1700-1945)
(2009)
金立群
;
KAM Lap-Kwan
;
國立交通大學音樂研究所
ABSTRACT The cultural historian Carl Schorske has once complained that music is “so easy to love, so hard to grasp.” But even professional musicians, especially for those outside Europe, would confess that it’s one thing to make music, it’s another to make sense of music: philologically, of notation and performance practice, and philosophically, of concept and meaning. Yet practice and concept are not timeless but only historically conditioned, one must study their development and change in the historical sources and the historiography. And it’s a never-ending enterprise: even in the Western world after the call to battle against positivism in Contemplating Music (Joseph Kerman, Harvard UP 1985), there’s a strong directive to Rethinking Music (Nicholas Cook & Mark Everist eds., OUP 1999) already at the turn of the century. For this purpose, this 2-year 9-million library acquisition project will collect major sources and historiography of European music 1700-1945 — covering practically the lion’s share of the Western repertoire from high baroque to modernism — at the disposal of the late but fast growing musicological research community in Taiwan. And to facilitate inter-library loan, this collection does not include audio-visual materials but concentrates on musical and literary sources. Under musical sources are a small amount of high quality facsimiles from Bach’s B-minor Mass to Elgar’s Cello Concerto and 36 multi-volume single-composer complete editions from Couperin to Rachmaninoff. Under literary sources are selected primary (mainly in reprints) and secondary literature on historiography (from Martini to Handschin and beyond) and the closely related fields of lexicography (Walther to Apel etc.), music theory (Rameau to Tovey etc.) and the philosophy of music (Mattheson to Lissa etc.). Keeping the rate of duplicates with other collections in Taiwan under 20%, this addition of ca. 3000 items to the over 7000 related books and scores already available at the National Chiao Tung University Library will gather under one roof a significant repertory of research resources. Together with its new building, modern facilities and wide inter-library loan networks such as the Nationwide Document Delivery Service and University System of Taiwan Library etc., the NCTU Library will provide excellent service to the academic community both locally and nation-wide, and thus greatly enhance the business of making music and making sense of music in Taiwan.
補助人文及社會科學研究圖書計畫規劃主題：音樂學---歐洲音樂史 (1700-1945)
(2008)
金立群
;
KAM Lap-Kwan
;
國立交通大學音樂研究所
ABSTRACT The cultural historian Carl Schorske has once complained that music is “so easy to love, so hard to grasp.” But even professional musicians, especially for those outside Europe, would confess that it’s one thing to make music, it’s another to make sense of music: philologically, of notation and performance practice, and philosophically, of concept and meaning. Yet practice and concept are not timeless but only historically conditioned, one must study their development and change in the historical sources and the historiography. And it’s a never-ending enterprise: even in the Western world after the call to battle against positivism in Contemplating Music (Joseph Kerman, Harvard UP 1985), there’s a strong directive to Rethinking Music (Nicholas Cook & Mark Everist eds., OUP 1999) already at the turn of the century. For this purpose, this 2-year 9-million library acquisition project will collect major sources and historiography of European music 1700-1945 — covering practically the lion’s share of the Western repertoire from high baroque to modernism — at the disposal of the late but fast growing musicological research community in Taiwan. And to facilitate inter-library loan, this collection does not include audio-visual materials but concentrates on musical and literary sources. Under musical sources are a small amount of high quality facsimiles from Bach’s B-minor Mass to Elgar’s Cello Concerto and 36 multi-volume single-composer complete editions from Couperin to Rachmaninoff. Under literary sources are selected primary (mainly in reprints) and secondary literature on historiography (from Martini to Handschin and beyond) and the closely related fields of lexicography (Walther to Apel etc.), music theory (Rameau to Tovey etc.) and the philosophy of music (Mattheson to Lissa etc.). Keeping the rate of duplicates with other collections in Taiwan under 20%, this addition of ca. 3000 items to the over 7000 related books and scores already available at the National Chiao Tung University Library will gather under one roof a significant repertory of research resources. Together with its new building, modern facilities and wide inter-library loan networks such as the Nationwide Document Delivery Service and University System of Taiwan Library etc., the NCTU Library will provide excellent service to the academic community both locally and nation-wide, and thus greatly enhance the business of making music and making sense of music in Taiwan.
音樂史學在奧地利與臺灣 III--- 臺灣傳統
(2008)
金立群
;
KAM Lap-Kwan
;
國立交通大學音樂研究所
有關台灣音樂的最新研究，可以《新格魯夫第二版》(2001)、《格蘭世界音樂百科第七冊》 (2002)中的相關條目和一本《台灣音樂史》(2003)為代表。然而，《格蘭百科》的作者在論述中國對于西方音樂的接受，以及論述所謂國樂團的現代化方面，都未提及台灣的發展，雖然該冊的編者聲稱將以「中國」作為一個歷史概念來包括台灣在內。另一方面， 2003年的《台灣音樂史》，因其作者也是《新格魯夫第二版》的撰寫成員之一，便沿用了同樣的架構，卻忽略了自稱為《史》的分別，從而出現了同樣的問題：譬如在時代劃分上過度參照政治歷史而未澄清其與音樂史的關係；再者，每個時期內不同音樂傳統都進行孤立式的描述而缺乏彼此關聯和連續性敘述。這最終引向音樂史寫作的後設理論問題。本研究藉史學的討論，尤其是臺灣史、音樂史、以及後殖民理論等，探索臺灣音樂史寫作的可行摸式。