作業：
Assignments:

閱讀:
Reading:
介紹《DMI》和第一部份的介紹
Introduction to DMI and to Part I.

請進行：
To do:
聆聽：35-51頁
Listening: Pp. 35-51
第二週第二堂課中的討論
Discussion in Class #2 of Week 2

習題1.1和1.2（《DMI》 7-34頁）
Projects 1.1-1.2 (DMI pp. 7-34)
報告期限：第二週的第二堂課
Paper Due: Class #2 of Week 2

• 有等級的結構：動機，樂句，樂段
  hierarchical structure -- motive, phrase, section
• 模進
  sequence
• 反複和返回
  repetition and return
• 先行的和隨後的之間的關係
  antecedent-consequent relationships
• 回應於整個樂曲脈絡的結構功能
  structural functions as responsive to context
• 音高輪廓
  pitch contour
• 複雜度的等級
  degrees of complexity
• 簡單形式：例如，a b a’（三段式，即第三段是第一段的重複或變奏）
  simple forms: e.g., a b a'

報告一
Paper 1

這次報告的重點是在習題1.2，以習題1.1作為背景及比較：作業為：
The focus of this paper is your work on Project 1.2, while using Project 1.1 as background and comparison. The tasks:

描述及討論每一個你所處理的音樂組（兩個音樂組在第一類，一個音樂組在第二類）
For each of the block-sets you worked with (two block-sets in Group 1, and one block-set in Group 2), describe and discuss the following:

I.A. 步驟：
The process:

• 你所嘗試的音樂片段，哪些可行，哪些不行，以及為什麼？
  the blocks you tried, what worked, what didn't, and why.
• 你用於製作曲調的策略。例如：
  the strategies you used in making your tune. For instance:
  • 「累積」（持續不斷的出現）
    cumulating" (going next-next-next);
  • 找到一個好的開始和一個好的結束，以及中間進行的段落
    finding a good beginning and a good ending and working on the middle;
  • 建立一些可行的樣式（如各個動機），把它們放在一起；
    

    building modules that worked and putting them together;
    
    
• 你遇到的驚奇事情：例如，從樂曲的結果中聽到一組新的東西，找到那些之前總是不能和在一起的樣式，等等。
  surprises you encountered -- e.g., hearing a block in a new way as a result of context, finding that pre-built modules didn't always work together, etc.
• 說明了你沿著這個方法所做的決定之原先意圖。
  initial attempts at accounting for the decisions you made along the way.

I.B. 完成的曲調：
Completed tunes:

• 你所完成曲調的結構，包括用圖示表示它的結構等級。
  the structure of your completed tune, including a diagram showing its structural hierarchy.
• 做個你曲調裡的結構和習題1.1之間的比較。
  a comparison of the structures of your tunes with those in Project 1.1.

II.音樂組第二類：
Block-set Group 2:

• 你認為哪些特別的現象使得這些音樂片段是「奇怪的」—它們和第一類裡面的有什麼不同？
  What specific features do you think make these blocks "strange" -- how are they different from those in Group 1?
• 為什麼這些不同處使得音樂片段更難以執行？
  Why do these differences make the blocks more difficult to work with?
• 這「奇異的事情」告訴你什麼觀點是你從熟悉的音樂裡所期望的(視為理所當然的)？
  What does this "strangeness" tell you about the aspects you have come to expect (take for granted) in more familiar music?
• 如果你要改變音高和／或音符長短，請確實考慮到下列事情：
  If you made changes in the pitches and/or durations, be sure to consider the following:
  • 什麼是你試著想要解決的問題？
    what was the problem you were trying to "fix?"
  • 什麼是你特別想要做變化的？
    what, specifically did you change?
  • 你的變化如何解決問題？
    
    how did your changes succeed in solving the problem?
    
• 你最後有發現到這些音樂片段如何產生連貫性的嗎？它們是什麼，並且你有利用到它們去建構你的曲調嗎？
  Did you eventually discover coherence-making features of the blocks? What were they and did you use them in building your tune?

附註一：請將你完成的作品儲存在軟碟或CD裡和你的報告一起繳交。
Note 1: Please save your completed pieces on a floppy disk or a CD and turn the disk in along with your paper.

附註二：這次指定作業的範例在電腦實驗室門邊的小書架裡，也有在這堂課的開放式課程網址上。
Note 2: Sample papers for this assignment are in the small bookcase by the door in the Computer Lab and also on the OCW website for this course.

報告期限：第二週的第二堂課
Paper Due: Class #2 of Week 2

學生範例作品一：Becky's French（PDF）
Sample Student Project 1: Becky's French (PDF)
學生範例作品一：Becky（MIDI）
Sample Student Project 1: Becky (MIDI)

（感謝Becjy Esquenazi的提供。允許使用。）
(Courtesy of Becky Esquenazi. Used with permission.)

第一週Week 1:

第一堂：Class #1:
Impromptu的介紹
Introduction to Impromptu
重建旋律
Reconstructing melodies
進行記錄
Log keeping
從鍵盤上挑選辨認出曲調
Picking out tunes on the keyboard
多樣化重現曲調
Multiple representations

第二堂：Class #2:
介紹如何創作你們自己的曲調
Introduction to composing your own tunes:
分享音樂的結構：
Shared musical structures:
反複和返回
Repetition/return
功能
Functions
樂曲脈絡
Context
模進
Sequence
結構的等級
Structural hierarchy

第二週Week 2:

作業
Assignment:

閱讀：基礎一
Reading: Basics1

在教科書每一部份的後面，有一節叫做「一些基礎教材」。這些部份的目的是要提供同學們這個主題所涵蓋到的材料有關的基礎知識。
At the end of each Part of the text, there is a section called "Some Basics." These sections are intended to give students just that -- basic information relevant to material covered in the projects.

第一堂：Class #1:
聆聽曲例的分析：
Analysis of listening examples:
貝多芬，第九號交響曲，第四樂章，變奏曲《除了管弦樂團，還加上合唱團及女高音、女低音、男高音、男低音各一名獨奏者共同參與演出》
Beethoven, Symphony 9, 4th movement, Variations
海頓，第九十九號交響曲，小步舞曲《小步舞曲即為a b a，形式》
Haydn, Symphony #99, Minuet
韋瓦第，四季，冬《韋瓦第所做的小提琴協奏曲，春、夏、秋、冬各自有三個樂章》
Vivaldi, Four Seasons, Winter
巴哈，第二組曲，吉格舞曲《巴哈當時流行的組曲樣式為：阿勒曼舞曲Allemande，庫朗舞曲Courante，莎拉邦德舞曲Sarabande，小步舞曲Menuet，吉格舞曲Gigue》
Bach, Partita #2, Gigue
李斯特，浮士德交響曲
Liszt, Faust Symphony

例如，貝多芬的變奏曲（範例1.2）提供了在不同的情況裡聆聽到「簡單結構」在不同的變化中—配器，織體，相似處—相異處，力度，音域範圍，和特質—什麼造成了特質的變化，以及變奏曲發展過程當中什麼是持續的 “線索”？
For instance, Beethoven's variations (Example 1.2) provide opportunities to listen for "elaborations" on the "simples" in different contexts -- instrumentation, texture, same-different, dynamics, range/register, and character -- what generates the changes in character and what is the continuing "thrust" as the variations develop?

比較韋瓦第和巴哈例子，引起了關係的使用和功能上的問題，以及分段的和模進的結構間的差異。請注意到韋瓦第樂曲中，模進「樣式」的改變，標示出樂段的起始。巴哈的曲子是更困難，「為什麼是那樣？」一個可能的理由是對比和段落的訂定，在細節上更加細分：變化頻率更快，而且，樂句範圍是模糊的，比較起來，動機才是「感知的單位」。
A comparison of the Vivaldi and Bach examples raises the issue of use and function of sequential relations, along with the differences between sectional and continuous organization. Noticed the large sections in the Vivaldi and also the changes in the sequential "template" which marks the boundaries of sections. The Bach is more difficult, the question is, "Why is that?" A possible reason is that contrast and boundary-making are at a more fine-grained level of detail--the rate of change is much faster, and in addition, boundaries are obscured. The motive rather than the phrase is the "unit of perception."

為什麼李斯特曲例和別的曲例這麼的不同，而且什麼造成了此曲明顯且有點兒令人驚懼的效果？這模進「樣式」的「內容」，和它從一個表達方式，到下一個表達方式，隨著織體和器樂法漸漸改變，產生明顯的大變化。
Why does the Liszt example sound so different from the other examples, and what generates its clear and somewhat frightening affect? The "content" of the sequential "template" and the way it "creeps" from one statement to the next clearly make a big difference, along with texture and instrumentation.

基礎一的討論：
Discussion of Basics1:
音樂織體；器樂法
Texture; instrumentation
表情記號
Expressive markings
演奏
Performance

第二堂：Class #2:
同學們曲調的討論及表演
Discussion and performance of student tunes
當日作業截止：報告一
Due Today: Paper 1

在第二部份中你將游移在兩種體認之間，一種是你音樂上的時間和旋律變化的直覺經驗，另一種是對這些經驗透過樂譜體現後的反應。多方面的觀點（呈現）有助於你完成這項學習之路—在不同媒介裡表現，多種等級的元素—數目、圖示、聲音、行為。為了達成這目標，Impromptu已經設定好時間關係的數字記號，有助於你保持你對於組織韻律的密切體驗；另一方面，幫助你發展出對於瞭解節奏的結構的「規範模式，」較一般化架構。跟著你將學會去欣賞作曲家如何擾亂這些規範模式去創造對比、效果、和較廣闊的設計。
In Part 2 you will move between your intuitive experience of musical time and motion, and reflections on these experiences as embodied by notations. Multiple views (representations) help you to achieve this passage -- kinds of elements at varying levels of detail as expressed in differing media -- numbers, graphics, sound, action. Towards this goal Impromptu's number notation for temporal relations have been designed on one hand, to help you keep close to your immediate experience of organized movement, and on the other, to help you develop a more general framework for understanding the "norms" of rhythmic structure. In turn you will learn to appreciate how composers perturb these norms to create contrast, affect, and larger design.

第三週
Week 3:

作業：
Assignments:

閱讀：
Reading:
《DMI》第二部份的介紹
Introduction to Part II of DMI
《MBME》24-44頁—第五週的第二堂課
MBME: Pp. 24-44

請做：
To do:
習題2.1和2.2（67-98頁）
Projects 2.1 & 2.2 Pp. 67-98
第四週的第二堂課中討論 Discussion in Class #2 of Week 4

聆聽：
Listening:
64-66頁
Pp. 64-66

習題2.1和2.2（67-98頁）
Projects 2.1 and 2.2 (Pp. 67-98)

I. 這次的指定作業不需要寫成報告。然而，要使用Impromptu 製作 主要的作業，作業是習題2.1，2.2和大部分討論過的聆聽曲例。
This assignment does not require writing a paper. However, it does involve using Impromptu to actively make the principles work that are mostly just discussed in Projects 2.1, 2.2, and the listening examples.

在Impromptu的Drummer Playground（鼓手的遊戲平台）中作業，使用打擊樂器和可變的音符時間長度去建立：
Working in Impromptu's Drummer Playground, use percussion instruments and varied durations to build:

1. 產生二拍子節拍的兩個節奏。
1. Two rhythms that generate duple meter.
2. 產生三拍子節拍的兩個節奏。
2. Two rhythms that generate triple meter.
3.準備好表演你的節奏，實際在鼓上演出。
3. Be prepared to play your rhythms, live, on real drums

你可以使用1-3種打擊樂器（ 2-4聲部）
You may use 1-3 percussion instruments (in Voices 2-4)

作業截止在第四週的第二堂課Due in Class #2 of Week 4

第一堂：
Class #1:
假日
Holiday

第二堂：Class #2:
持續習題1.2曲調的討論
Continuing discussion of Project 1.2 tunes.
節奏結構的介紹
Introduction to rhythmic structure
Drummer（鼓手）的介紹
Introduction to Drummer

節奏記譜的問題，在於它們難與我們對於一個旋律組織的體驗相關，或與持續性地隨著時間和聲音而展開大作品的體驗相關，。這樣的經驗很重要的其實是一個基本的悖論：一個拍是由一個旋律或節奏形式上不同的音符長度所產生出來的，然而這一個拍也變成了所有音樂事件的測量單位。
The problem with notations for rhythm is that they are difficult to relate to our experience of the organization of a melody or larger piece which are continuously unfolding in time and sound. What seems essential to this experience is actually a fundamental paradox: a beat is generated by the relations among the varied durations at the surface of a melody or rhythm pattern, while this beat also becomes the unit for measuring the events that generate it.

第四週
Week 4:

作業：
Assignments:

閱讀：
Reading:
基礎二
Basics2
在第五週的第一堂課中討論
Discussion in Class#1 of Week 5
Hasty, 《音樂拍子即節奏》（1-13頁）（講義）
Hasty, Meter as Rhythm (Pp. 1-13) handout.
在第五週的第二堂課中討論
Discussion in Class#2 of Week 5

第一堂：
Class #1:
韻律的等級—三拍子和二拍子
The metric hierarchy -- triple and duple meter
音形和節拍的結構
Figural and metric structures

聆聽：
Listening:
Bhimpalasi和Hindemith（亨德密許）：拍子與非拍子
Bhimpalasi & Hindemith: Beat and non-beat
Lanner和Sousa：三拍子和二拍子
Lanner & Sousa - triple and duple meter

第二堂：
Class #2:
擊樂作品的表演及討論
Performance and discussion of percussion pieces
當日作業截止：習題2.1和2.2Due in Class Today: Projects 2.1 and 2.2

附註：請用磁片繳交你完成的擊樂作品。
Note: Please hand-in your completed percussion pieces on disk.

第五週
Week 5:

用繪圖方法表現出時間的關係，展現了整個系統化組織架構下的節拍關係的條理。更進一步，當人更熟悉樂譜時，即使他可能不會想到是否在使用樂譜，也變得可能使用CRN創作出節奏。再進一步，這樂譜本身提出了些疑問，例如，節奏的衝突當中什麼東西造成節奏的一致性，以及節奏的衝突如何和節奏的混亂有所不同？
The process of making mappings across representations of temporal relations serves to reveal the principles that underlie the whole systematic framework of metric relations. Moreover, as one becomes familiar with the notation, it also becomes possible to create rhythms that one would probably not even think of if using CRN. Further, the notation lends itself to asking questions such as, what is it that generates rhythmic coherence in the midst of rhythmic conflict, and how does rhythmic conflict differ from rhythmic chaos?

第一堂：
Class #1:
持續擊樂的表演及討論
Performance and discussion of percussion pieces (cont.)
節奏記譜：相似處和相異處
Rhythm notations: similarities and differences.

第二堂：
Class #2:
對於Hasty的討論（節拍器（1-13頁）（講義））
Discussion of Hasty
創造節奏記譜（《MBME》24-44頁）
Inventing rhythm notations (MBME - pp. 24-44)
「快」和「慢」的多重涵義
Multiple meanings of "fast" and "slow"

請做：
To do:
習題2.3（99-100；118-122頁）
Project 2.3 (Pp. 99-108; 118-122)

聆聽：
Listening:
（109-118；123-129頁）
Pp. 109-118; 123-129

報告二：習題2.3
Paper 2: Project 2.3

對兩首曲調，Clementine（克萊門）和Tyrol（提洛爾），如同100頁中作業2和3裡面描述的，各自做出兩個不同的伴奏。注意你將只能使用兩首曲調，克萊門是代替100頁中所列的Early和Lanner。
Make 2 different accompaniments for each of two tunes, Clementine and Tyrol, as described in Tasks 2 & 3 on P. 100. Notice that you will be using just two tunes and that Clementine is substituted for Early and Lanner listed on P. 100.

I.對於這兩首曲調，克萊門和提洛爾，做出兩個不同種類的打擊伴奏。為了要從作品中創作可行的節奏基礎，應該從建立每一個曲調的節拍的等級開始。然後對每一個曲調如下所示做出伴奏：
For each of these two tunes, Clementine and Tyrol, make two different kinds of percussion accompaniments. To create a base from which to work, begin by building the metric hierarchy for each tune. Then make accompaniments for each tune as follows:

a. 各式各樣的音符長度可以強化節拍的等級。
Varied durations that reinforce the metric hierarchy.
b. 各式各樣的音符長度和節拍的等級有所衝突。Varied durations that conflict with the metric hierarchy.

II.準備好表演你的伴奏作品，以及教導其他同學在實際的鼓上表演這樣的作品。其意思是：使得伴奏作品是可以演奏的。
Be prepared to play your accompaniments and teach them to others to play live on real drums. And this means: make accompaniments that are playable.

III.在CRN上寫出1.a和1.b。如果你使用重複模式，只要寫一遍然後指出重複的次數。
Write out 1.a and 1.b in CRN. If you use a repeated pattern, write them just once and indicate the number of repeats.

IV.根據你的作品如下所示發展出「小的理論」：
Develop "mini-theories" based on your work as follows:

a.產生一個拍的時間關係的特徵是什麼？
What are the features of temporal relations that generate a beat?
b.在音形和節拍的結構間的差異是什麼？從你自己的作品和╱或聆聽曲例（請看，例如《MBME》，24-30頁）中舉出例子。
What are the distinctions between figural and metric structures? Give examples from your own work and/or from the listening examples (see, for example MBME, pp. 24-30).
c.「節奏的衝突」和「節奏的混亂」間有哪些不同？例如，請看《DMI》，118-119頁。
What are the differences between "rhythmic conflict" and "rhythmic chaos" -- e.g., see DMI pp. 118-119.

報告截止：第七週的第二堂課
Paper 2 Due: Class #2 of Week 7

第六週
Week 6:

第一堂：
Class #1:
假日
Holiday

第二堂：
Class #2:
對於曲調來製作和演出打擊伴奏：
Making and playing percussion accompaniments for tunes:
一些Impromptu曲例。
Some Impromptu examples.
介紹節奏的衝突
Introduction to rhythmic conflict.

聆聽（109-118頁）：
Listening (Pp. 109-118):
史特拉汶斯基：彼得羅希卡（俄語意譯為木偶）
Stravinsky: Petruchka
莫札特，鋼琴協奏曲
Mozart, Piano Concerto
佛朗明哥
Flamenco
C. Porter, Night and Day

第七週Week 7:

第一堂：
Class #1:
節奏的複雜性（123-128頁）
Rhythmic complexity (Pp. 123-128)

聆聽：
Listening:
Ziporyn, "What she saw there."
海頓，四重奏
Haydn, Quartet
非洲鼓樂
African drumming
史特拉汶斯基：春之祭
Stravinsky, Rite of Spring

第二堂：
Class #2:
習題2.3同學們作品的討論及表演
Discussion and performance of Project 2.3 student pieces.
當日作業截止：報告二Due Today: Paper 2

附註：請確定將你完成的作品儲存在磁碟和你的報告一起繳交。
Note: Be sure to hand in your completed pieces on a disk along with your paper.

閱讀：
Reading:
（《DMI》）第三部份的介紹（136-143頁）
Introduction to Part III of DMI (pp. 136-143)

請做：
To do:
習題3.1
Project 3.1

無報告，在第八週的第二堂課中討論No Paper, Discussion in Class #2 of Week 8

第三部份的重點是在調性如同一個一致性的組織架構。在較前面的幾章裡，強調樂曲脈絡的重要性，尤其按照在第一部份裡已經開始的重要研究上：什麼產生了調性的中心、調性中心的觀念、以及調性穩定的觀念？
The focus throughout Part 3 is on tonality as a framework for generating coherence. As in the earlier chapters, the importance of context is emphasized, particularly in light of the central investigation which began already in Part 1: what generates a tonal center, its sense of centrality, and its sense of stability?

習題3.1的目的是要給你一個對於記譜的系統有功能性、實用性的方向、以及它們所依賴的理論性架構。當過程中引申出每一個的優缺點的不同時，你將有助於從Impromptu的曲調方塊和音高線條的記譜到傳統五線譜記號（CSN）的記譜可以有一個順暢的轉變（或許是轉換）
The purpose of Project 3.1 is to give you a functional, practical orientation to notational systems and to the theoretical structures upon which they depend. You will be helped to make a smooth transition (perhaps transformation) from Impromptu tune blocks and pitch contour notation to conventional staff notation (CSN), while drawing out the differences along with the advantages and disadvantages of each.

對於你的直覺知識更進一步的探究，大調音階會衍生出來，而且它的結構是較明顯的；音程，四度音階，這些大調音階的模式會被討論到。而且對於事物來命名將有助於你說明你已經知道的直覺上的觀念。
Carrying further the investigation into your intuitive knowledge, the major scale is derived and its structure made explicit; intervals, tetrachords, the model of a major scale are discussed. And giving names for things will help you account for what, in some intuitive sense, you know already.

第八週
Week 8:

第一堂：
Class #1:
介紹音程和音階的結構
Introduction to intervals and structure of scales

第二堂：
Class #2:
主音的功能和1（Do）→5（Sol）→1（Do）
Tonic function and 1->5->1
當日課堂上的習題3.1Project 3.1 in Class Today

第九週Week 9:

作業：
Assignment:

閱讀：
Reading:
一些基礎三（200-211頁）
Some Basics3 Pp. 200-211

閱讀和作業：

To Read and Do:
習題3.2
Project 3.2

無報告，在第十週的第二堂課中討論
No Paper, Discussion in Class #2 of Week 10

習題3.2的重點仍然在調性上，現在透過轉調方式來分解調性的經驗的增強 —例如，一個旋律從一個調性「移動」到另一個調性上。在這個習題上，我們把重點放在新的調性環境裡，相同音高的功能改變上。一般爭論調性是「一個內在的事件」；「一個內在的事件」—當一些音高隨著時間而出現時，這些音高的內在關係的結果。
The focus in Project 3.2 is again on tonality, now enhanced by the experience of disrupting it through modulation -- i.e., what we call making a melody "migrate" from one key to another. In doing so, we focus on the changing function of the same pitch when embedded in new pitch environments. It is argued that tonality is "an internal affair," -- the result of internal relations among pitches as they occur through time. The perception of tonality results from the habits of mind we have acquired by listening to the music of our own culture, these perceptual habits guiding the specific organizing of internal pitch relations we seem just to fin there.

聆聽經由文化產生的音樂所形成的習慣，促成調性的觀念產生。那樣的觀念，導引著音高關係的特殊組成，也正是這課程課題上的中心觀點。《翁補充：4-6-1→1-3-5，類似的關係連結。》
In all of this, the fifth relationship in its many manifestations comes forth as the critical pillar upon which the generating of the tonal framework rests. That idea, along with the concept of the framework as a large, interconnected network of relations, emerges as central to the work of the course up to this point.

第一堂：
Class #1:
分析聆聽曲例3.1-3.5和1（Do）→5（Sol）→1（Do）的普遍性，187-199頁
Analysis of Listening Examples 3.1-3.5 and the pervasiveness of 1->5->1 pp. 187-199.

第二堂：
Class #2:
討論期末專題
Discussion of final projects.

第十週
Week 10:

第一堂：
Class #1:
假日
Holiday

第二堂：
Class #2:
隨堂測驗：
Quiz:
複習基礎三和習題3.1和3.2
Review of Basics 3 and Projects 3.1 and 3.2:
音階，調性，調號，五度循環，等等
Scales, keys, key signatures, circle of fifths, etc.

閱讀：
Reading:
第四部份的介紹（213頁）
Introduction to Part 4, p. 213.

閱讀和作業：
To read and do:
習題4.1，214-219頁
Project 4.1 pp. 214-219.
無報告，第十一週第二堂課作品的討論
No Paper, Discussion of compositions in Class #2 of Week 11

請做：
To do:
習題4.2
Project 4.2
報告三：第十二週的第一堂課繳交截止
Paper 3: Due in Class #1 of Week 12

習題4.1回到第一部份裡旋律建構上，但是現在你有新的觀念支撐著，可以專注在更多方面的觀點上，跟著更可能述說你的直覺感官。當我們更往後面的內容去鑽研的時候，215頁所列的問題清楚的複習到之前所涵蓋到的議題上。例如，除了動機和樂句的界定之外，我們增加了調性方面的界定，它們什麼時候出現，什麼地方出現；什麼產生了調性，以及這些調性領域之間有什麼樣的關係？具結構性功能的音樂片段，現在內含在不同調性的額外功能裡。甚者，轉調成為增強更大的結構關係的另一個工具。
Project 4.1 recalls the tune building projects in Part 1 but now you are bolstered by new concepts, abilities to focus on more aspects, and with these, increased possibilities for accounting for your intuitions. The list of questions on p. 215 quite explicitly reviews issues covered previously while going beyond them. For instance, in addition to motive and phrase boundaries, we add boundaries of key areas, where/when do they occur, what generates them, and how are the key areas on either side related to one another? Structural functions of blocks is now embedded in the additional context of functions within different keys. Further, the role of modulation enters as another means of enhancing larger structural relations.

探索1回到曲調上，荷蘭人《意指華格納所著之一齣樂劇「漂泊的荷蘭人」，北市交曾在國家戲劇院演出過》，1-5-1的重要性的細節分析。這些在結構上不同層次的五度關係的糾結（樂句裡的音階和不同樂段的調性關係），應該有助於認同五度關係作為基本結構性的支柱。對荷蘭人的分析也帶回到產生音高功能的重要性，特別是，當暗藏在新的曲調時，調性（當作「暗指的事件」）以及相同音高的功能改變上。
Exploration 1 turns back on the tune, Dutch, to an analysis in greater detail of the importance of 1-5-1. The intertwining of these fifth relations at different levels of structure (scale degrees within phrases and key relations across sections), should help to give the fifth the credit it is due as a fundamental structural pillar. The analysis of Dutch also brings back the importance of context in generating pitch functions, in particular, the tonic (as "an intimate affair") and the changing functions of the same pitch when embedded in new contexts.

這個專題不需要書面報告，但請用British和Salem方塊創作曲調來表示「移動」調性，以及研習探索1（216-219頁）。準備好在課堂上討論你的作業。
No paper is required for this project, but please do compose tunes that migrate using the British and Salem blocks, and study Explorations 1 (Pp. 216-219). Be prepared to discuss your work in class.

課堂作業繳交截止日：第十一週的第二堂課
Due in Class: Class #2 of Week 11

報告三：習題4.2
Paper 3: Project 4.2
214-247頁
Pp. 214-247
截止：第十二週的第一堂課
Due: Class #1 of Week 12

小心閱讀習題4.2（228-229頁）的介紹。這個習題把我們前幾週討論到的議題和觀念都綜合在一起。如同在這幾頁裡說到的：
Read carefully the introduction to Project 4.2 (pp. 228-229). This project brings together all the issues and concepts we have discussed in previous weeks. As it says in these pages:
「透過這個習題裡的實驗，你的直覺將再次的成為你作品的來源和目標。並且在課程裡，你將需要練習許多東西，是你在前幾個習題和探索裡學到的，並做出新的旋律一致性。」把你的時間花在這上面；讓這些可能性在你的思緒裡和聽覺裡轉動。
"Through the experiments in this project, your intuitions will again be both the source and the target of your work. And in the course of it, you will need to practice much of what you have learned in the previous projects and explorations to make new melodic coherence." Take your time with it; let the possibilities roll around in your thinking and hearing.

任務1。只給一組同樣的音高但不同的音符長度（MAKETUNE.D），聆聽音形群組。然後把這些音符附上音高，帶出這些群組，製作出順暢的旋律。只做DUR2和DUR3。在230-231頁有相當完整的操作說明。特別聆聽到邊界情況：調性如何作用（穩定—不穩定；音高的移動）如何和節奏（重音／節拍／長短）交互作用，以產生音樂體和在較高的層次裡，高低旋律的到來和離開。
Task 1. Given only a set of varied durations all playing the same pitch (MAKETUNE.D), listen for figural groupings. Then give pitches to the durations so as to bring out these groupings and to make a coherent melody. Do only DUR2 and DUR3. Instructions are quite complete on pp. 230-231. Listen especially to boundary conditions: how tonal functions (stablity-instablity; pitch movement) intersect with rhythmic functions(accent/meter/short-long) to generate musical objects and on a larger level, arrivals and departures of motion.

為了幫助說明你聽到和製作的群組範圍，當聽到你新的音樂片段時請仔細看這些音高（在編輯視窗，數字或字母）。用符號標出（在CMN）, 並在鍵盤上演奏，將幫助你思考到一些可能的觀念，而這些觀念會是和範圍的產生和範圍與範圍之間的關係有關。例如：
To help account for the grouping boundaries you hear and make, look carefully (in the Edit Window, by number or by letter) at the given pitches while listening to your new block. Notating it (in CMN) and playing it on the keyboard, will help you to consider possible aspects that are generating boundaries and relations among boundaries. For instance:

1. 調性中心—它的到來和離開。
   Tonal center -- its arrivals and departures.
2. 高低旋律變化在範圍的目的（譬如，1和5）
   Goals of motion at boundaries (e.g., 1 and 5).
3. 音高演進輪廓（高低旋律變化的方向，跳躍或級進）
   Pitch contour (direction of motion; leaps or steps).
4. 重複的音符，重複的音形，各式各樣的重複譬如模進。
   Repeated notes, repeated figures, varied repetitions such as sequences.

作業2分做兩部份：在作業2A，音高是事先作好的；在作業2B音高是是隨機產生的，但兩個部份的作業都一樣：
Task 2 is in two parts: For Task 2A, the pitches are pre-composed; in Task 2B the pitches have been randomly generated, but the work is the same for both parts:

給定一組不同的音高同樣音符長度，聆聽音形群組，然後給予這些音高不同的音符長度去組成這些群組，並且製造一個流暢的旋律。更多完整的操作說明和相關的材料在235-247頁你可以仔細閱讀。
Given a set of varied pitches all with the same duration, listen for figural groupings, then give varied durations to the pitches to bring out these groupings and to make a coherent melody. More complete instructions and related materials are given on pp. 235-247 which you should read carefully.

在作業2B只做RAND2和RAND3。RAND1在探索3中會極度詳細的討論，探索3應該要小心的閱讀，因為可以對於所要尋找的東西，作為一個例子。你也許無法依賴於藉著清楚的調性功能所產生的一致性之特徵，但是這能讓你毫無束縛的聆聽範圍產生的其他工具。同時，把注意力放在調性功能上，那可能隱藏在明顯的無調性之後！！探索3將會特別有助於注意到細微的調性關係。
For Task 2B do only RAND2 and RAND3. RAND1 is discussed in excruciating detail in Explorations 3 which should be read carefully as an example of what to look for. You may not be able to depend on coherence-making features generated by clear tonal functions, but this can liberate you to listen for other means of boundary-making. At the same time, pay attention to tonal functions that may be lurking behind the apparent non-tonality!! Explorations 3 will be helpful particularly with regard to noticing subtle tonal relations.

在作業2B上，如果你想要的話，你可以在一列的音高上改變一個或兩個音高。但是如果你做改變，你必須說明你為什麼做這些改變，而且註解這結果的效力。
For Task 2B only, you may change one or two pitches in the pitch list if you want to. But if you do, you must say why you made these changes and comment on the effectiveness of the results.

你的專題作業和我們課中的討論是一個反思我們整學期許多議題的機會：調性的網路，節奏的結構，旋律的分析，律動的到來和離開，在結構階梯上的移上和移下，簡單和複雜。
Your work on this project and our discussion in class is an opportunity to reflect on many of the issues that we have covered throughout the semester: the tonal network, rhythmic structure, melodic analysis, movement towards arrivals and departures, moving up and down the structural ladder, simplicity and complexity.

第十一週：
Week 11:

第一堂：
Class #1:
聆聽和分析大規模的作品
Listening and analysis of Large scale compositions:
貝多芬四重奏編號59之2，E小調《弦樂四重奏》
Beethoven Op. 59#2
期末專題討論
Discussion of final projects

第二堂：
Class #2:
習題4.1作品的討論
Discussion of Project 4.1 pieces
期末專題討論
Discussion of final projects

第十二週：
Week 12:

第一堂：
Class #1:
習題4.2作品的討論和演奏
Discussion and performance of Project 4.2 pieces

第二堂：
Class #2:
繼續
Continuation

第十三和第十四週：
Weeks 13-14:

期末專題報告
Final project presentations