艾弗瑞全能鋼琴教程與巴斯田才能鋼琴教程學齡前鋼琴併用聽音教材教學內容之比較研究

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題名:
艾弗瑞全能鋼琴教程與巴斯田才能鋼琴教程學齡前鋼琴併用聽音教材教學內容之比較研究
著者: 賴宜含; Lai, Yi-han
鄭方靖; Fung-Ching Cheng; 音樂學系碩士班
主題: 鋼琴教育; 鋼琴教學; 聽音訓練; 學齡前; piano education; piano teaching; ear training; young children
描述: 本研究旨在分析、比較艾弗瑞全能鋼琴教程與巴斯田才能鋼琴教程學齡前鋼琴併用聽音教材之教學內容。本研究採用內容分析法與比較教育研究法，以自編的「聽音訓練音樂向度類目表」作為研究工具。分析的範圍為艾弗瑞學齡前幼童本鋼琴併用聽音訓練A 級到D 級、巴斯田小小鋼琴家並用聽音第一冊到第三冊。依據研究的結果與發現，本研究得以下結論：一、艾弗瑞學齡前～幼童本鋼琴聽音訓練之教學內容包含節奏、旋律、和聲及音色四個音樂向度，缺乏曲式向度。在進程上，以搭配鋼琴教本之進度為主。二、巴斯田小小鋼琴家併用聽音之教學內容包含節奏、旋律、和聲及音色四個音樂向度，缺乏曲式向度。在進程方面，以旋律向度、和聲向度中曲調音程分項、音樂行為具邏輯性、順序性。三、兩套鋼琴併用聽音教材之教學內容，因設計理念的不同，在各個音樂向度教上皆有差異。（一）整體而言，巴斯田小小鋼琴家併用聽音教本之教學內容較注重感受的培養，較符合學齡前階段兒童的音樂能力。（二）艾弗瑞學齡前幼童版聽音訓練之教學內容較偏重知識的學習，且C、D級旋律向度之內容超越學齡前階段兒童音樂能力。四、兩套鋼琴併用聽音教材在教學進程上，均具有其邏輯性及順序性，但在各向度的規畫亦有些差異。（一）巴斯田小小鋼琴家併用聽音之教學進程，以其鋼琴教本樂理要素進度為ii主軸，且頗具完整性，但未全然互相搭配。（二）艾弗瑞學齡前幼童版聽音訓練之教學進程，大致上完全搭配其鋼琴教本之樂理要素進度，但部分內容未顧及學齡前兒童之音樂能力。最後，研究者根據研究結果提出建議，以提供後續研究以及鋼琴教學者參考。
This investigation aims to analyze and compare the ear training courses collocating with piano course of “Alfred’s Basic Piano Library” and “The Bastien Piano Library” for infant. This research applies content analysis and comparative education research, using self-developed ‘ear training music dimensional table’ as a research tool to analyze the ear training courses collocating with piano course of “Alfred’s Basic Piano Library” for infant (level A to level D) and the Bastien’s listening courses collocating with piano course of “The Very Young Pianist” (volume 1 to volume 3 ).The result and the conclusion of this research show that:1. The ear training course collocating with piano course of “Alfred’s Basic Piano Library” for young children contains four music dimensions including tempo, melody, harmony and timbre, but no practice in the dimension of form. As for the teaching progress, it mainly joins with the progress of its piano books.2. Bastien’s listening course collocating with piano course of “The Very Young Pianist” contains four dimensions including tempo, melody, harmony and timbre, but no practice in the dimension of form. As for the teaching progress, it puts more emphasis on the melody dimension and the interval item of harmony dimension. The implied musical behavior is logical and in sequence.3. The content of these two ear training courses collocating with piano course are different in each music dimension because of different design rationales.(1) Generally, the content of Bestein’s ear training courses collocating with piano course of “The Very Young Pianist” puts more emphasis on developing perception and response, so it is more suitable for young children capability for music in this stage.(2) The content of ear training course collocating with piano course of “Alfred’s Basic Piano Library” for young children puts more emphasis on the learning of knowledge. Besides, the dimensions of melody in C and D level are beyond young children’ capability for music in this stage. 4. The teaching progress of these two ear training courses collocating with piano course both are logical and in sequence, but there are still some differences about the design in each dimension for these two courses.(1) The teaching progress of Bastein’s ear training course collocating with “The Vary Young Pianist” connects with the music theory of its piano text book, so their integrality is good. However, they do not completely match.(2) The teaching progress of the ear training course collocating with piano course of “Alfred’s Basic Piano Library” for young children approximately accords with the musical theory of its piano text book, but part of the content does not suit young children’ capability of music.Based on the above conclusions, the researcher makes recommendations to future researchers and piano educators in the end of this study.
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建立日期: 2010
格式: 121 bytes
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語言: 中文
識別號: http://nutnr.lib.nutn.edu.tw/handle/987654321/2150
資源來源: NUTN IR

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艾弗瑞全能鋼琴教程與巴斯田才能鋼琴教程學齡前鋼琴併用聽音教材教學內容之比較研究

賴宜含; Lai, Yi-han 鄭方靖; Fung-Ching Cheng; 音樂學系碩士班 2010

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