| 著作名稱： | 音樂要素與聆賞者因素交互作用對聆賞情緒的影響 |
| 年度： | 2011 |
| 類別： |
期刊論文
藝術教育研究
|
| 摘要： | 本研究旨在探究音樂要素與聆賞者因素對聆賞情緒的影響，自變項為音樂要素的調性、速度與力度，以及聆賞者因素的性別與音樂訓練；依變項為聆賞者的正負向與激發情緒。聆賞音樂採用兩首創作曲，分別改編調性（大調／小調）、速度（快／慢）、力度（強／弱）成為16首樂曲。結果發現：（1）「調性」、「速度」、「力度」會影響聆賞者的正負向情緒；但只有「速度」、「力度」會影響激發情緒。（2）「性別×調性」會影響聆賞者的正負向情緒；且「性別×調性」、「性別×速度」、「性別×力度」會影響激發情緒。（3）「音樂訓練×調性」、「音樂訓練×速度」、「音樂訓練×力度」會影響聆賞者的正負向情緒；「音樂訓練×調性」、「音樂訓練×速度」會影響激發情緒。 |
| 關鍵字： | 力度 ； 性別 ； 音樂要素 ； 音樂訓練 ； 速度 ； 聆賞者因素 ； 聆賞情緒 ； 調性 |
| 著作名稱： | 大學生人格特質、音樂偏好與聆賞情緒之相關研究 |
| 年度： | 2009 |
| 類別： |
期刊論文
藝術研究期刊
|
| 摘要： | 本研究旨在探討大學生人格特質、音樂偏好與聆賞情緒之相關性，為黃
靜芳、吳舜文（2007）發表「音樂選曲與情緒反應之相關研究」之後續分析
研究，研究對象（n 179）為非音樂主修但修習音樂通識課程的大學生，分
別選自台灣北、中、南區。受測者將先填寫「基本人格量表」，再聆聽 12
首音樂選曲（分為古典 vs.非古典、器樂 vs.聲樂、激勵型 vs.鎮定型音樂三
大類），並填寫「音樂聆賞情緒與音樂偏好量表」。研究結果顯示：1. 人
格特質與音樂偏好呈現顯著低相關，人格特質「外向」者似乎較喜愛具有激
勵特色的音樂、附有歌詞的聲樂曲以及非古典音樂；2. 人格特質與聆賞情
緒呈現顯著低相關，聆賞音樂似乎可喚起與人格特質近似的情緒反應；3. 音
樂偏好與聆賞情緒呈現顯著低相關，聆賞者欣賞個人喜愛的音樂似乎較容易
產生正向的情緒反應如熱切或快樂。 |
| 關鍵字： | 人格特質、音樂偏好、聆賞情緒 |
| 著作名稱： | The Relationship Between Music Excerpts and Emotional Responses of Undergraduate Students |
| 年度： | 2007 |
| 類別： |
期刊論文
The International Journal of Arts Education
|
| 摘要： | The purpose of this study was to survey the relationship
between music excerpts and emotion responses, including the
coefficient between familiarity and preference. Participants were 179
undergraduate students, non-music majors and attendants of music
course for general education, from three universities in northern,
middle and southern Taiwan. Scale of Music Listening Emotion and Scale
of Music Preference were developed to investigate how different music
pieces may arouse different listening emotions. The stimuli were twelve
music excerpts equally classified into different categories: classical &
non-classical, instrumental & vocal, and stimulative & sedative. And
students should rate their listening emotion, familiarity and preference
about the excerpts. Four main results were as follows. (1) Nearly all excerpts can arouse two dimensions of listening emotions: happy-sad, and agitated-calm; (2) Significant differences of emotional responses
exist in classical & non-classical, instrumental & vocal, and stimulative
& sedative music; (3) There is a positive relationship between familiarity
and preference; (4) Listeners with different familiarity and preference
produce different emotion responses. |
| 關鍵字： | Music Emotion, Emotion Response, Familiarity, Preference, Music appreciation |
| 著作名稱： | 大學生音樂選曲與情緒反應之相關研究 |
| 年度： | 2007 |
| 類別： |
期刊論文
國際藝術教育學刊
|
| 摘要： | 本研究旨在探究音樂聆賞與情緒反應的關聯性，並進一步瞭解熟悉度與喜
愛度的相關及其對情緒的影響。在研究方法上，以179位修習音樂通識課程的大
學生為研究對象，運用自編「音樂聆賞情緒量表」與「音樂偏好量表」，將十二
首聆賞樂曲均等分類為「古典－非古典」、「器樂曲－聲樂曲」、「激勵型－鎮定
型」，以探究不同樂曲種類的情緒反應，以及聆賞者對每首樂曲的熟悉與喜愛程
度。研究結果顯示：（1）「快樂的－悲傷的」與「激動的－平靜的」是音樂聆賞最
常產生的情緒反應；（2）聆賞「古典－非古典」、「器樂曲－聲樂曲」、「激勵型－
鎮定型」音樂時，引發的情緒都顯著不同；（3）聆賞者對樂曲的熟悉度與喜愛度
呈現顯著正相關；（4）對樂曲的不同熟悉度與喜愛度，會產生顯著不同的聆賞情
緒反應。 |
| 關鍵字： | 音樂情緒、情緒反應、熟悉、喜好、音樂欣賞 |
| 著作名稱： | 音樂與自然科學的美妙相遇—從自製樂器開展的 跨領域美感教學 |
| 年度： | 2020 |
| 類別： |
期刊論文
臺灣教育評論月刊
|
| 摘要： | |
| 關鍵字： | |
| 著作名稱： | 揭開音樂產出情緒的神秘面紗 |
| 年度： | 2012 |
| 類別： |
期刊論文
美育
|
| 摘要： | |
| 關鍵字： | |
| 著作名稱： | 探究聆賞者在各種情緒類型音樂的喜愛度與感受情緒 |
| 年度： | 2023 |
| 類別： |
期刊論文
藝術教育研究
|
| 摘要： | 本研究旨在探索聆賞者對四種情緒類型音樂（快樂、柔和、悲傷與恐懼音樂）的
喜愛度與感受情緒，採調查研究法，以217位非音樂系大學生為研究對象，自變
項為四種情緒類型音樂與性別，依變項是喜愛度與感受情緒。研究結果發現：（1）
聆賞者對「四種情緒類型音樂」的「喜愛度」達顯著差異，其中「快樂音樂」和「柔
和音樂」的喜愛度最高，「悲傷音樂」次之，「恐懼音樂」最低。且「四種情緒
類型音樂 × 性別」在「喜愛度」達顯著差異，聆聽「恐懼音樂」時女生比男生
的喜愛度低。（2）「四種情緒類型音樂 × 性別」在「十種感受情緒」達顯著差異，
聆聽「柔和音樂」時，女生比男生感受到更高「平靜的」與更低「悲傷的」情緒；
當聆聽「悲傷音樂」時，女生比男生感受到更低「快樂的」、更低「有活力的」、
也更高「悲傷的」情緒。最後提出音樂在情意教學與心理輔導的應用。 |
| 關鍵字： | 情緒音樂、感受情緒、音樂喜愛、音樂聆賞 |
| 著作名稱： | 運用「整合性音樂素養」畫出國中音樂課程的實踐藍圖 |
| 年度： | 2022 |
| 類別： |
期刊論文
音樂研究
|
| 摘要： | 本研究運用「整合性音樂素養」（Comprehensive Musicianship，以下簡寫
為 CM）於國中音樂課程，旨在規劃 CM 音樂課程設計、探討 CM 教師教學
歷程與分析 CM 學生學習表現。課程主題「動手玩音樂」下設計三個單元：
動手玩燈光秀、動手 DIY 卡祖笛、動手做創作曲，採用行動研究法於 4 個七
年級班級循環教學，參與者為七年級學生 116 位、研究者本人與國中原班音
樂教師，收集資料包括學生問卷回饋單、教師教學省思、教師觀課紀錄與教
學錄影，透過三角檢證效度，提出綜合省思與結論：1. 在音樂課程設計上
CM 具有統整音樂要素、體驗音樂角色與活化學習策略的特色；2. 在教師教
學歷程上 CM 注重充足探索時間、強化創作引導、重視班級經營；3. 在學生
學習表現上 CM 能提升學習動機、體會美感經驗與學到帶得走能力。 |
| 關鍵字： | 整合性音樂素養、音樂課程、教學歷程、學習表現、行動研究 |
| 著作名稱： | The Effect of Different Emotional Music on Music Liking and Felt Emotions. |
| 年度： | 2023 |
| 類別： |
會議論文
|
| 摘要： | The purpose of this study was to investigate music liking and felt emotions while listening to four types of emotional music, including happy, tender, sad, and fear music. The study purposes were as follows: 1) to investigate subjects’ music liking for four types of emotional music; 2) to explore subjects’ felt emotions for four types of emotional music. A quasi-experimental study was conducted. Music stimuli were eight music excerpts selected to represent four types of emotional music. Every emotional music involved two music excerpts. All music excerpts were instrumental pieces without lyrics and had low familiarity. The subjects were 217 non-music college students, including 152 females and 65 males. Their ages ranged from 18 to 24 years old, with an average age of about 19 years old. The independent variables were four types of emotional music and gender, and the dependent variables were music liking and felt emotions. Repeated measures of two-way ANOVA were used for statistical analysis. The results were as follows. First, subjects were found to have a high music liking for both happy and tender music. However, subjects had a low music liking for fear music, and the liking of females was significantly lower than that of males. Second, the main effects of four types of emotional music on ten felt emotions were significantly different. Listening to different types of emotional music did arouse different felt emotions among the subjects. Besides, the main effect of gender was only significantly different on the “energetic” felt emotion, and males had higher “energetic” felt emotion than females. Third, the interaction effect of gender and four types of emotional music revealed that females were aroused of higher “peaceful” and lower “sad” emotions than males while listening to tender music. In addition, females were aroused of lower “happy”, lower “energetic”, and higher “sad” emotions than males while listening to sad music. According to the research results, the researcher proposed recommendations for effectively using music in teaching and psychological counseling.
|
| 關鍵字： | |
| 著作名稱： | Cross-Disciplinary Music Education Projects in Taiwan: Implementation and Challenges. |
| 年度： | 2023 |
| 類別： |
會議論文
|
| 摘要： |
With funding from the Ministry of Education and other agencies, many institutions in Taiwan have launched innovative projects to meet the emerging needs of cross-disciplinary music education. The three panelists, all teaching in departments of music and taking up the responsibility of teacher education, implement various approaches to cross-disciplinary music education and face different challenges.
Following an introduction related to the background of cross-disciplinary educational development in Taiwan, each member of the panel will individually address a project to shed light on the orientation of the project they are involve in. Special concerns include: 1). What are the aims of various cross-disciplinary music projects? 2). What are the implementing outcomes of such programs? and 3). What are the challenges faced?
The topic for the first panelist “The whole is greater than the sum of its parts.” She will introduce the biggest-scaled cross-disciplinary curriculum development project “The Pioneering Project for Cross-disciplinary Aesthetic Education” in Taiwan. As a project emphasizing the well-balanced integration between art disciplines and other academic subjects, this project aims at encouraging primary and secondary school teacher community to dialogue for designing curricula that are arts-centered, educationally consolidated, as well as inspiring, relevant and meaningful to students. Cases will be shared and comments be made. It is believed that the implementation of cross-disciplinary music-related curriculum enhances students’ learning motivation and teachers’ professional development.
The topic for the second panelist is “An action research of cross-disciplinary music curriculum in Taiwan.” She will share with the session attendees the implementing process of the action research she conducted on cross-disciplinary music curriculum during a period of three years and for three music teaching projects: 1) from DIY instrument to music playing, 2) applying aesthetic elements to music expression, 3) bilingual music teaching. She concludes that junior high students and teachers showed positive attitude towards cross-disciplinary music curriculum, because it helped students to: 1) deepen music competencies and broaden cross-disciplinary vision; 2) cultivate aesthetic experiences and promote learning motivations; 3) relate to daily life and acquire application abilities.
The topic for the third panelist is “Music competencies and language training: The development of bilingual music teacher education in Taiwan.” She will first provide a brief introduction to the bilingual education policy in Taiwan and its impact on music teacher education. She will also present examples of bilingual music teacher training courses offered at universities, including discussions on curriculum design, teaching strategies, and the challenges faced in delivering bilingual teacher training courses. Finally, she will propose some ways to promote bilingual teacher effectiveness.
The panel will allocate time for audience participation and discussion. Attendees at the session will develop an understanding of cross-disciplinary music education projects from the perspectives of curriculum development, bilingual music teacher education and junior high school action research. Further discussion will be cordially invited.
|
| 關鍵字： | |
| 著作名稱： | Measuring the interaction effects of musical elements and listeners’ factors on listeners’ arousal emotion |
| 年度： | 2011 |
| 類別： |
會議論文
|
| 摘要： | My research focused on effects of structural features, namely musical elements and listeners’ factors, and how they affected listeners’ arousal emotion. To be more specific, the independent variables in this study were music elements (mode, tempo and dynamics) and listeners’ factors (gender and musical training); the dependent variable was arousal emotion. The first aim was to investigate the main effect of mode, tempo and dynamics on listeners’ arousal emotion; the second aim was to examine the main effect of gender and music training on listeners’ arousal emotion; and the third aim was to investigate their interaction effects.
A questionnaire survey was utilized to provide answers to this study. Subjects (N 264) were drawn from eight universities in Taiwan, including 113 music majors and 151 non-music majors. The average age was 20.15 years old. Subjects completed Questionnaire of Music Listening Emotion while listening to music stimuli. Regarding the stimuli, two musical pieces were varied in mode (major vs. minor), tempo (fast vs. slow), and dynamics (loud vs. soft) to come up with 16 versions. Participants were instructed to listen to each of these 16 musical versions and rated their arousal emotion on a 7- point scale.
Three major findings of this study were stated as follows. Firstly, musical elements of tempo and dynamics caused significant influences on listeners’ arousal emotion. Fast music produced higher arousal emotion than slow music, and loud dynamics produced higher arousal emotion than soft dynamics. But musical element of mode had no significant difference on listeners’ arousal emotion. The mode of major and minor key did not cause significantly different arousal emotion among listeners. Secondly, Regarding to listeners’ factors, music training had significant influences on listeners’ arousal emotion. Listeners with low music training produced higher arousal emotion than listeners with high music training. But gender had no such significant influence. Thirdly, in terms of interaction effect, gender × mode, gender × tempo, gender × dynamics, music training × mode, and music training × tempo had significant influences on listeners’ arousal emotion. Besides, implications for the music education were also discussed in this study.
|
| 關鍵字： | music emotion, mode, tempo, dynamics, gender, music training |
| 著作名稱： | The effects of mode, tempo, dynamics, and gender on listeners’ positive-negative emotion for Taiwan undergraduate students |
| 年度： | 2011 |
| 類別： |
會議論文
|
| 摘要： | The purpose of this study was to investigate the effects of mode, tempo, dynamics, and gender on listeners’ positive-negative emotion. Subjects were all undergraduate students (N 264) and drawn from eight universities in Taiwan. Regarding the stimuli, two musical pieces were varied in mode (major vs. minor), tempo (fast vs. slow), and dynamics (loud vs. soft) to become 16 versions. This study found musical elements of mode, tempo, and dynamics all caused significant influences on listeners’ positive-negative emotion. Music in major key aroused more positive emotion than minor key; music in fast tempo produced more positive emotion than slow tempo; and music in loud dynamics produced more positive emotion than soft dynamics. Besides, listener factor of gender also caused significant influence on listeners’ positive-negative emotion. |
| 關鍵字： | Keywords: listening emotions, mode, tempo, dynamics, gender |
| 著作名稱： | Investigation of the factors influencing music listening emotions and music liking for Taiwan undergraduate students |
| 年度： | 2008 |
| 類別： |
會議論文
|
| 摘要： | In Taiwan, music was the most useful strategy for undergraduate students to regulate their emotion (Lin et al., 1997). In our previous studies, we found that “introvert-extrovert” was related to music preferences. For example, people with extroversion liked to listen to stimulative, vocal, as well as non-classical music. Besides, music seemed to arouse emotional responses which were similar to individual personalities. This study continued to investigate the factors that influence undergraduate students’ listening emotions and music liking. The study questions were as follows. (a) What are the personal factors that influence subjects’ music listening emotions? (b) What are the personal factors that influence subjects’ music liking? (c) What is the relationship between subjects’ listening emotions and music liking?
To examine these issues, a questionnaire survey was utilized to provide answers. Subjects (N 102) were non-music majors enrolled in music courses for general education and selected from two national universities in northern and southern districts of Taiwan. Subjects firstly completed Individual Experience Questionnaire, and then filled in Listening Emotional Responses Questionnaire while listening to music. The stimuli were twelve music excerpts and selected according to Russell (1980) circumplex model of emotion. The music emotion space was divided into four quadrants – excitement (ex. Vivaldi’s Violin Concerto “Spring”, 1st movement) , fear (ex. Holst’s the Planets “Mars”) , sadness (ex. Grieg’s Peer Gynt “Ase’s Death”) , and calmness (ex. Dvorake’s New World Symphony, 2ed movement) , defined by two levels of arousal (high or low) and valence (positive or negative) .
The study results were listed as follows. (a) Personal factors such as gender and music training influenced music listening emotions. Males produced higher arousal emotion than females. Webster & Weir (2005) also found men gave happier responses than women. So gender can be a factor to influence subjects’ listening emotions. (b) Most undergraduate students liked to listen to music which expressed happy and calm emotions. Students who had after-class music classes attending experience were associated with a liking for calm music. (c) Music liking and listening emotional responses had positive relationship. People listening to music which they liked would produce positive listening emotion. This was also supported by Ritossa & Rickard’s (2004) finding that the pleasantness and liking variables were highly correlated.
Based on these conclusions, we recommend that music teachers design suitable materials for different individuals or classes. For example, use high arousal music to intrigue males’ learning motivation. For the beginning session of each lesson, teachers could use happy and calm music to increase students’ interests. Besides, we also recommend that future study can take different measurements and focus on music elements such as rhythm, tempo, and harmony to investigate affective domain of music responses.
|
| 關鍵字： | |
| 著作名稱： | Relationship among personalities, music preferences and listening emotion responses of Taiwan undergraduate students |
| 年度： | 2007 |
| 類別： |
會議論文
|
| 摘要： | The purpose of this study was to investigate the relationship between
personality, music preference and listening emotional responses of Taiwan university
students. Subjects (N179) were non-music majors enrolled in music general
education courses and selected from three national universities in northern, middle
and southern districts. Subjects firstly completed Chinese Basic Personality Inventory
(CBPI), and then filled in Questionnaire of Music Preference and Felt Emotions while
listening to twelve music excerpts equally classified into three categories: classical &
non-classical, instrumental & vocal, and stimulative & sedative music. Results show
that male and female significantly differed in personality, and four independent
variables reflected significant low relationships with music preference, including
instrumental training, after-class music classes attended, social introversion, and sense
of persecution. In addition, anxious and thinking-disordered listeners tended to get
felt-emotion more easily by music similar to their personality inclination.
|
| 關鍵字： | |
| 著作名稱： | How is felt emotion related to music excerpts? - An exploratory study |
| 年度： | 2006 |
| 類別： |
會議論文
|
| 摘要： | |
| 關鍵字： | |
| 著作名稱： | 從「心」出發-淺談行動研究的音樂心理測量 |
| 年度： | 2023 |
| 類別： |
會議論文
|
| 摘要： | 音樂在人類生活中扮演不可或缺的角色，當音樂的聲音響起時，我們的心理也隨之產生各種複雜的反應，然而客觀測量這些心理反應卻充滿挑戰。本文將從音樂喚起的心理反應出發，淺談真實情境脈絡中音樂喚起心理反應的BRECVEMA模式（Juslin, 2013），包含：腦幹反應（brain stem reflex）、節奏同步（rhythmic entrainment）、評價制約（evaluative conditioning）、情緒渲染（emotional contagion）、視覺心像（visual imagery）、情節回憶（episodic memory）、音樂期待（musical expectancy）與美感評價（aesthetic judgement）八種機制，做為行動研究者於音樂情境脈絡中觀察並記錄音樂心理反應的線索。此外，行動研究中經常使用多種音樂心理測量方法，包括自由敘述、檢核表、評定量表等，其中自由敘述分析有關情感和感受的文字敘述，獲取質性研究資料；而檢核表包括多個與音樂心理反應相關的項目，用以檢核是否具有特定的心理反應；至於評定量表是評估不同音樂心理向度上的程度或等級。行動研究者可以根據其研究問題和目的，選擇合適的測量方式與工具，在音樂心理反應上獲得客觀的研究資料。 |
| 關鍵字： | |
| 著作名稱： | 「整合性音樂素養」在十二年國教音樂課程的實踐 |
| 年度： | 2021 |
| 類別： |
會議論文
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| 摘要： | 十二年國教以「自發」、「互助」、「共好」為理念，強調學生是學習的主體，在這個課程變革的新時代，源起於美國西北大學的整合性音樂素養（comprehensive musicianship），主張音樂要素的統整學習、體驗各種音樂經驗、重視主動發現與運用知識的能力等，這些理念都與正式上路的108課綱不謀而合，是值得音樂教師借鏡的課程設計方式。在此呈現運用「整合性音樂素養」於國中音樂教學的實務經驗，以「整合性音樂素養」為課程設計架構，在主題「動手玩音樂」下包含三個小單元，分別是：「音樂燈光秀」、「卡祖笛DIY」、「音樂拼貼樂」，教學對象為台南市立某國中一年級三個班級的學生，透過與國中音樂教師共同備課、觀課與議課，爬梳課程實施的討論與反思，發現「整合性音樂素養」的課程能提高學生的學習動機，且可學到在生活情境應用的能力，建議教師預留更充足的時間讓學生自主探索與經驗音樂。 |
| 關鍵字： | 整合性音樂素養、國中音樂課程、ＣＭ |
| 著作名稱： | 淺談檢核表與自由敘說中的聆賞情緒 |
| 年度： | 2011 |
| 類別： |
會議論文
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| 摘要： | |
| 關鍵字： | |
| 著作名稱： | 探究音樂選曲中音樂要素對聆賞情緒的影響 |
| 年度： | 2010 |
| 類別： |
會議論文
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| 摘要： | 本研究旨在探究音樂選曲中音樂要素對聆賞情緒的影響，自變項為音樂要素的調性、速度與力度；依變項為聆賞者喚起的聆賞情緒，包含正負向情緒與激發情緒兩個向度；並將樂曲熟悉度視為控制變項，以排除其對聆賞情緒的影響。兩個研究問題為：(1)哪些音樂要素會使聆賞者產生顯著不同的正負向情緒？(2)哪些音樂要素會使聆賞者產生顯著不同的激發情緒？
在研究方法上，採用問卷調查法，以大學生為研究對象，取樣八所大學的學生共計251位，其中男生73位、女生178位，整體平均年齡為21.20歲。至於音樂選曲則全部選自古典樂派與浪漫樂派的鋼琴曲，經過專家效度與相關係數的考驗後，八種音樂要素組合特色分別選出兩首代表曲目，共計16首音樂選曲。
研究結果發現：（1）在聆賞者的正負向情緒上，主要效果顯示音樂要素「調性」與「速度」兩項單因子對聆賞者正負向情緒都具有顯著的影響，大調較小調易喚起正向的情緒，快速較慢速易喚起正向的情緒，而「力度」單因子對聆賞者的正負向情緒並無顯著影響，也就是力度強與力度弱並不會喚起顯著不同的正負向情緒；至於交互作用效果也發現「調性×力度」會影響聆賞者的正負向情緒。（2）在聆賞者的激發情緒上，主要效果顯示音樂要素「速度」與「力度」對聆賞者的激發情緒會產生顯著影響，快速較慢速易喚起高激發的情緒，力度強較力度弱易喚起高激發的情緒；而「調性」單因子對聆賞者的激發情緒並無顯著影響，也就是大調與小調並不會喚起顯著不同的激發情緒；至於交互作用效果中「速度×力度」也會對聆賞者的激發情緒產生顯著影響。此外，本研究也提出在教學與研究上的討論與建議。
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| 關鍵字： | 聆賞情緒、音樂要素、調性、速度、力度 |
| 著作名稱： | 動手玩音樂-自製樂器工作坊 |
| 年度： | 2023 |
| 類別： |
會議論文
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| 摘要： | 十二年國教藝術領綱強調素養導向教學，主張核心素養與生活情境有著密
不可分的互動關係，學生的學習應能在生活情境中實踐力行。因此，本工作坊
以動手玩音樂為起點，選用生活中易取得的材料，引導參與者一同製作吸管卡
祖笛（kazoo），探索音樂聲音發聲原理的活動，並共同進行創作與表演。
卡祖笛是介於歌唱與吹奏之間的樂器，透過薄膜片（保鮮膜）和共鳴管
（吸管）放大歌聲，同時改變音色為嗡鳴般的聲響，屬於膜鳴樂器，因其以歌
唱方式吹奏，音高由每個人的聲帶振動控制，因此適合用於歌唱教學，任何歌
曲只要能夠演唱，皆可透過卡祖笛吹奏，其獨特音色可為歌唱增添樂趣與特殊
效果，無論是獨奏、重奏、合奏、或是音樂創作的特殊音效，均能展現其獨特
魅力。 |
| 關鍵字： | |
| 著作名稱： | 整合性音樂素養CM運用於國中藝才班視唱聽寫之教學方案 |
| 年度： | 2015 |
| 類別： |
會議論文
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| 摘要： |
目前受限於考試領導教學，大部分藝才班的視唱聽寫課都偏向考試題型的反覆機械式練習，為解決目前視唱聽寫課過於制式僵化且與真實音樂脫離的問題，研究者提出運用整合性音樂能力（CM）於視唱聽寫課，採用CM為教學法，提出可行的教學方案。整合性音樂能力（Comprehensive Musicianship，簡稱CM）是一種學習音樂的整合方式，透過各種音樂經驗來學習共同音樂要素，其三大教學原則為：1. 學習共同音樂要素：包括節奏、旋律、和聲、織體、力度、音色、曲式、脈絡等；2. 體驗各種音樂經驗：包含表演者（演奏/演唱/指揮）、聆賞者（描述/分析/評論）、創作者（作曲/即興）；3. 運用彈性教學策略：包括主動參與學習、多元文化教材、加深加廣概念、發現與立即應用。教學者以台南市一所國中藝才班學生為教學對象，設計三個教學方案，分別為：以「節奏」為主的教學方案、以「旋律」為主的教學方案、以「和聲」為主的教學方案，並整合相關的音樂要素，靈活運用各種教學策略，使學生在課堂中體驗各種音樂經驗。在這些教學方案中，教學者也看到學生在學習動機與音樂能力上的自信與成長。
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| 關鍵字： | 整合性音樂能力、CM、視唱、聽寫、教學方案 |