Qualification: Ph.D. in History and Theory of Music, The University of Chicago
Research interests: European music history; history of musical thought; aesthetics and philosophy of music; critical theory; musical modernity; musical modernism in East Asia
Course Taught: Readings in European Music Aesthetics; New Music in the Twentieth Century 20; Freshman Seminar; Issues on Musical Modernity: Music, Technology, and Form; Soundscape, sound Art: Concepts and Practices,;Introduction to Western Music
Chien-Chang Yang has held teaching and research positions at National Chiao Tung University and the Academia Sinica in Taiwan, before joining the faculty of National Taiwan University in 2006. He earned his doctorate from the University of Chicago in 2002 with the dissertation, “Music as Knowledge: The Foundation of GermanMusikwissenschaft and Hugo Riemann’s Theory of Listening,” which won research grant support from the DAAD and the Chiang Chingkuo Foundation. He has published and presented scholarly papers in Taiwan, Hong Kong, Japan, Korea, and the United States. His research areas include the intellectual history of music, critical theory, music historiography, and issues related to musical modernity. Chien-Chang Yang focuses his studies on the question of musical modernity in three directions.
(1) By examining writings on music psychology, physiology, and philosophy, he proposes that the view of music as energy was one of the starting point of music’s gradual departure from a linguistic model around the year 1800 that made the idea of autonomous or absolute music possible.
(2) Through a theoretical re-examinations on the idea of musical technics, he also proposes to view musical technology from a broader historical and social co-operation which is impossible to consider from a pure musical point of view.
(3) His recent research also involves in a rethinking of the historical writings in the 20th century music.
In particular, he argues that it is necessary to view the contemporaneous events as co-eval history so that to avoid a Eurocentric historiography. Chien-Chang Yang’s recent research topics include the interaction between experimental sciences and music aesthetics in the late 18th century, Adorno’s conceptions of historical time and compositional techniques, and historiography of 20th-century music.美國芝加哥大學音樂史與理論博士，曾任職於中央研究院歷史語言研究所與國立交通大學音樂研究所，目前為國立臺灣大學音樂學研究所副教授。研究大致分為三個方向：一為1800年前後歐洲關於音樂的哲學與科學討論的交錯脈絡；二為以亞洲與全球的角度，重新思考二十世紀音樂的歷史書寫；三為嘗試以前述兩個研究為基礎，發展一個有關音樂媒介與技術的理論，以解釋音樂的現代性如何穿透近兩百多年人們對音樂的認識與思考。