Rethinking Applied Music Instruction in Higher Education from the Perspectives of Adult Learning

從成人教育之觀點重新思考高等教育音樂個別課

10.7037/JNTTC.200412.0001

蘇鈴雅(Lin-Ya Su)

高等教育音樂個別課 ； 參攷框架 ； 意識形態 ； 慣例練習 ； Applied music instruction in higher education ； Frame of reference ； Ideology ； Praxis

臺中師院學報

18卷2期（2004 / 12 / 01）

1 - 18

英文

音樂個別課，無論處於課堂教學或一對一的教學環境，無學級之分的，百年來始終仰賴著傳統師徒制之思維模式為其認知基礎。然而，師徒制的教學假設，包含了它對於學習者和教學者的角色認定，學習和教學之義意，於歷代的傳承過程中已被視為理所當然而鮮少受挑戰，也因此使不同的社會知識建構方式持續受矇蔽。當此思維模式被應用於高等音樂教學的環境中，似乎更顯為狹隘不足。原由它無法提供部分成人學習者於學習過程中所需之自主自導權。因此，綜觀之，高教音樂個別課最根深的問題顯然淺藏於人們的意識形態，與人們對音樂個別課之教學模式的觀念假設和運作方式有關。 如同成人教育與音樂教育之學者所薦，慣例練習(praxis)的哲學理念對音樂演奏之教學有著深遠的意涵。而此理念的實踐不僅意謂著傳統音樂個別課之教學假設將有待重新定位外，其附帶之教學方式也有待調整。若音樂演奏的最終教學目的與培養學習者之自主自導性有關，那慣例練習便應是學習經驗裡不可或缺之程序動元。其果效需經由師生共同培養俱批判性之反思精神與溝通能力方能達成。

Applied music instruction, either in class setting or one-to-one studio setting, has been relying on the traditional master-apprenticeship model as its epistemological underpinning for hundreds of years regardless of grade levels. However, its taken-for-granted pedagogical assumptions on learning and learners, teaching and teachers still go relatively unchallenged and have continued to mask the social construction of different forms of knowledge from generation to the next. When applying the master-apprenticeship model to applied music instruction in higher education, a great limitation seems to be unveiled as the model fails to support some adult learners’ need for self-direction. Hence, it is apparent that the fundamental problem of applied music instruction lies in people’s ideological assumptions concerning how applied music instruction should function and operate. As suggested by educators and philosophers from the fields of adult and music education, the notion of praxis seems to hold important implications for the teaching and learning of musical performance. To meet the praxial ideal, reorienting the traditional pedagogical assumptions underlying applied music instruction will be necessary, and the accompanying instructional approach will need to be reformulated accordingly. If the ultimate educational precedence of musical performance is concerned with cultivating autonomy and self-empowerment in learners, then praxis is an indispensable procedural element that lies at the heart of the educational experience. The realization of it will entail the cultivation of critically reflective minds and communicative competence in both teachers and learners.

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