兩岸三地小學音樂創作教學課程綱要與教材內涵之分析比較

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題名:
兩岸三地小學音樂創作教學課程綱要與教材內涵之分析比較
著者: 吳蕙純; Wu, Hui-chun
鄭方靖; none; 音樂學系碩士班
主題: 小學; 音樂教材; 音樂創作教學; 兩岸三地; 音樂創作能力; music education; music creativity; music creativity training; music textbook; three regions across the straits; elementary school
描述: 本研究旨在分析、比較兩岸三地小學音樂課程綱要及音樂教材中音樂創作教學之內容。本研究者採內容分析法、比較教育研究法，並以自編之「音樂創作教學能力指標內容分析表」、「兩岸三地音樂教材音樂創作內涵分析表」作為研究之工具。音樂教材包含(1)台灣：康軒及翰林出版社的生活及藝術與人文教科書(2)香港：「小學音樂之旅」、「音樂新領域」(3)中國：「音乐」、「艺术」等一至六年級(共十二學期)中音樂創作教學之內容。依據研究之結果與發現，本研究有以下結論：一、兩岸三地小學音樂課程綱要中音樂創作教學之能力指標與進程各有異同，但相異處多於相同之處。整體看來，台灣音樂創作教學能力指標涵蓋面向較廣；中國音樂創作教學能力指標描述較為具體、詳細。（一）指標方面，創作知識與技巧方面均注重結合科技與多元式的紀錄；在音樂概念的運用方面均規範學生創作需基於已學得的概念基礎，並在較高學習階段增加「結構與組織」之運用；再者，三地均為「肢體表現創作」作具體之規範。在相異方面，三地有不同的學習階段及年級劃分，而涵蓋範圍與指標文字描述以台灣最廣，香港與中國有屬音樂之獨立規範。但在創作意向及創作環境方面，僅台灣有相關指標；運用之音樂概念與創作形式方面僅中國之描述較為較為具體。（二）進程方面，三地均以自由創作為入門，且注重於較高年段運用電腦並強調創作作品之結構性特色，但均忽略對比性特色及創作素材的運用。而在創作意向與創作環境方面，僅台灣有進程之規劃；創作知識與技巧方面，三地進程不一，而僅中國對創作作品長度、音樂概念運用及創作形式方面有延續性的進程規劃。且三地在和聲、速度、力度方面的進程規劃與各國趨勢有相左之現象，而中國在音樂創造思考活動與音樂創作活動兩方面雖有所規範，但與各國趨勢亦有出入。二、兩岸三地小學六套音樂教材中音樂創作教學進程，在音色、速度、力度及組織與結構方面有較多相同之處，而在節奏、節拍、曲調方面的創作教學進程規劃有較多不同之處。整體看來，以香港兩版本之音樂教材創作教學進程規劃最為詳細與周延。三、兩岸三地國小音樂教材中音樂創作教學內涵，香港頁數比例最高；三地創作運用之音樂概念方面皆以「節拍」概念運用最多；肢體表現創作方面皆以「即興律動」較多；節奏創作方面皆以「創作節奏樂句」居多；曲調創作方面皆以「在自創節奏上創作曲調」居多；音樂技能表現創作方面除「中國-音乐」外，其他版本均為「即興演唱、演奏」較多；其他方面除「台灣-翰林」、「香港-音樂新領域」外，其他版本均為「歌詞創作」較多；創作形式比例方面皆以「節奏創作」比例最高。整體看來，六套音樂教材之音樂創作內涵，「中國-音乐」在各項創作形式的運用最為平均；香港兩版本在描述音樂創作教學活動上最為詳盡。（一）創作教學所佔頁數比例方面--「香港-音樂新領域」頁數比例最高；「台灣-翰林」頁數比例最低。（二）創作運用之音樂概念方面--均為「節拍」概念運用最多；「和聲」概念運用最少。（三）創作形式之肢體表現創作方面--均為「即興律動」運用多於「以身體節奏表現音樂」。（四）創作形式之節奏創作方面--運用最多次者均為「創作節奏樂句」；運用最少者則不一致。（五）創作形式之曲調創作方面--運用最多次者均為「在自創節奏上創作曲調」；運用最少者則不一致。（六）創作形式之音樂技能表現創作方面--除「中國-音乐」外，其他版本均為「即興演唱、演奏」運用多於「音樂表現形式」。（七）創作形式之其他方面--除「台灣-翰林」、「香港-音樂新領域」外，其他版本均為「歌詞創作」運用多於「音效模仿、創作」。（八）創作形式比例方面--均以「節奏創作」比例最高；而除「台灣-康軒」外，其他五版本均以「音樂技能表現創作」比例最低。最後，研究者依據研究結果，提出建議，以提供教育行政單位、教材編輯者、音樂教師以及後續研究者之參考。
This research aims at analyzing and comparing the contents of music creativity training in music curriculum guidelines and music textbooks from the elementary schools in three regions across the straits. This study used the content analysis, comparative education research, and two self-arranged analysis tables as the main tools for the research. The music textbooks include the following six editions: Taiwan-Kanhsuan, Taiwan-Hanlin, Hong Kong-Journey in Music, Hong Kong-New Music Territory, China-Music, and China-Art. According to the study results and findings, this study has the following conclusions:Ⅰ. Although the music curriculums for elementary school in three regions across the straits have different competence indicators and processes for music creativity training, their differences are more than their similarities. Overall, the scope of coverage for music creativity training competence indicator is wider in Taiwan but that of China is more substantial and specific.A. In the area of indicator: All three regions emphasize combining technical and multifaceted records among creative knowledge and skill. Based on the acquired concept foundation, students’ creativity should apply “structure and organization” in the advanced learning stage in the application of musical concepts. Moreover, all three regions have substantial regulations on “body movement creativity”. In terms of differences, all three regions have different learning stages and grades. Among them, Taiwan has the widest scope of coverage and indicator text; Hong Kong and China have individual regulations for music. Only Taiwan has relevant indicators on creative disposition and creative environment; only China has more substantial description on the application of music concept and creation approach.B. In the area of curriculum process: all three regions begin with free creation and emphasize on the application of the computer and the structural feature of creativity for higher grades; but they all neglect the feature of contrast and application of a creative material. Only Taiwan has process planning for creative disposition and creative environment. Three regions have different process on creation knowledge and skill, and only China has continuous process planning in the length of creation, application of music concepts and creation approach. All three regions have different process planning in harmony, tempo and dynamics than the international trends. Although China has regulations on music creative thinking activity and music creation activities, the regulations differs from the international trends.Ⅱ. In the six sets of music textbooks used in elementary schools of the three regions across the straits, tone color, tempo, dynamics, form and structure of music creativity training process have more similarities, but show more differences in rhythm, meter and melody. Overall, the planning of the creativity training process of the two sets from Hong Kong is more specific and discreet. Ⅲ. Hong Kong has the highest ratio of pages of music creativity training in the music textbooks used in elementary schools of the three regions across the straits. The most applied music concept on the creative application in three regions is “meter”; “movement improvisation” in body movement creativity; “rhythmic phrase creation” in rhythmic creativity; “creating melody from self-created rhythm” in melodic creativity; other than “Chinese Music”, “singing and instrumental improvisation” is the most applied in performing skill creation in other editions. In other areas, other than “Taiwan-Hanlin” and “Hong Kong- New Music Territory”, “lyrics creativity” is mostly used in other editions. In creative approach ratio, “rhythmic creativity” had the highest ratio. Overall, among the contents of the six music textbooks, “Chinese Music” has the most even distribution in the application of each creation approach while the two editions from Hong Kong has the most detailed description on describing music creativity training activities. A. In the ratio of pages for creativity training: “Hong Kong- New Music Territory” is the highest and “Taiwan-Hanlin” is the lowest. B. In the music concept applied in creation: “meter” is the most applied concept while “harmony” is the least.C. In the body movement creativity of creation approach: “movement improvisation” is applied more often than “expressing music through body percussion”D. In the rhythmic creativity of creation approach: “rhythmic phrase creation” is the most applied, while the least is inconsistent.E. In the melodic creativity of creation approach: “creating melody from self-created rhythm” is mostly applied, while the least is inconsistentF. In the performing skill creativity of creation approach: other than “Chinese Music”, “singing and instrumental improvisation” are applied more often than “music expression approach”G. In other areas: other than “Taiwan-Hanlin” and “Hong Kong-New Music Territory”, “lyrics creation” are applied more often than “sound effect imitation and creation” for other editions.H. In the ratio of creative approach: “rhythmic creativity” has the highest ratio for all editions. Other than “Taiwan-Kanhsuan”, “performing skill creativity” has the lowest ratio for the other five editions. Finally, suggestions are made according to the results of the observations to provide reference for executives, textbook editors, teachers, and relative researchers.
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建立日期: 2008
格式: 121 bytes
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語言: 中文
識別號: http://nutnr.lib.nutn.edu.tw/handle/987654321/3214
資源來源: NUTN IR

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兩岸三地小學音樂創作教學課程綱要與教材內涵之分析比較

吳蕙純; Wu, Hui-chun 鄭方靖; none; 音樂學系碩士班 2008

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