「整合性音樂素養」理念運用於流行音樂產業系一年級理論課程之個案研究

Applying ＂Comprehensive Musicianship＂ to the Freshman Theory Curriculum of Music Industry Majors

10.6869/THJER.201912_36(2).0002

陳姿光(Tzu-Kuang Chen)

西洋流行音樂史 ； 音樂基礎訓練 ； 流行音樂和聲學 ； 流行音樂教育 ； 整合性音樂素養 ； western popular music history ； basic musicianship ； popular music harmony ； popular music education ； comprehensive musicianship

清華教育學報

36卷2期（2019 / 12 / 31）

43 - 90

繁體中文

本研究旨在探討以「整合性音樂素養」理念統整流行音樂產業系西洋流行音樂史、音樂基礎訓練、流行音樂和聲學三門理論課程之教學實踐、學生學習成效以及師生觀點。研究者自編「音樂理論教學方案」，並以流行音樂產業系一年級學生為對象，進行教學介入研究。研究結果發現，「整合性音樂素養」理念能夠有效統整三門基礎理論課程之內容，並且有助於學生的流行音樂風格辨別能力、節奏動感聽寫技能以及和聲理論認知程度。絕大多數參與本研究之師生相當認同以「整合性音樂素養」理念進行基礎理論課程之教學。

The purpose of this study is to explore the teaching practices, students' learning effectiveness, and teachers' and students' opinions of the approach of ＂comprehensive musicianship＂ applied to the curriculum of freshman theory for music industry majors. The researcher edited the ＂Music Theory Teaching Program,＂ which applied ＂comprehensive musicianship＂ to integrate the contents of three subjects-Western Popular Music History, Basic Musicianship, and Popular Music Harmony-and then conducted a teaching intervention study. The results revealed that ＂comprehensive musicianship＂ can effectively integrate the contents of these three basic theory courses and improve students' musical style discrimination ability, groove aural skills, and harmony understanding. The vast majority of teachers and students who participated in the study agreed that teaching the basic theory curriculum with the approach of ＂comprehensive musicianship＂ is effective.

1. 卓甫見, F.-C.(2013)。整合性音樂基礎訓練面面觀。藝術學報，93，237-262。
   連結：
2. Augustin, C.(2010).A descriptive study to determine the opinions of community band members regarding the effectiveness of Comprehensive Musicianship.International Journal of Community Music,3(2),175-183.
3. Bess, D. M.(1991).Comprehensive Musicianship in the contemporary music project’s southern region institutes for music in contemporary education.Journal of Research in Music Education,39(2),101-112.
4. Bess, D. M.(1988).West Virginia University.
5. Black, L. G.(1972).University of Alabama.
6. Bland, L. D.(1977).The college music theory curriculum: The synthesis of traditional and Comprehensive Musicianship approaches.College Music Symposium,17(2),167-174.
7. Boyle, J. D.(1971).Teaching Comprehensive Musicianship at the college level.Journal of Research in Music Education,19(3),326-336.
8. Brame, D. E.(2011).Boston University.
9. Buccheri, J.(1990).Musicianship at Northwestern.Journal of Music Theory Pedagogy,4,125-145.
10. Chrisman, R.(1974).Teaching music theory: The liberal-arts college.Journal of Music Theory,18(1),91-99.
11. Clauhs, M.(2018).Beginning band without a stand: Fostering creative musicianship in early instrumental programs.Music Educators Journal,104(4),39-47.
12. Copeland, C. V.(1976).University of Michigan.
13. Crawford, G. A.(1984).Columbia University.
14. Denzin, N. K.(2006).Sociological methods: A sourcebook.New Brunswick, NJ:Aldine Transaction.
15. Grashel, J.(1993).An integrated approach: Comprehensive Musicianship.Music Educators Journal,79(8),38-41.
16. Green, L.(2002).How popular musicians learn: A way ahead for music education.London, England:Ashgate.
17. Heavner, T. L.(2005).The applied music lesson: Teaching gifted and talented students utilising principles of Comprehensive Musicianship.International Education Journal,6(2),170-174.
18. Kim, H. Y.(2000).Columbia University.
19. Kim, Y. H.(1997).Columbia University.
20. Lawler, N. E.(1976).University of Alabama.
21. Lowder, J. E.(1973).How Comprehensive Musicianship is promoted in group piano instruction.Music Educators Journal,60(3),56-58.
22. Madhosingh, D. F.(1984).University of British Columbia.
23. McCoy, C. P.(2011).University of Florida.
24. McGaughey, J.(1974).Teaching music theory: The university.Journal of Music Theory,18,46-50.
25. Miller, T. W.(1990).Comprehensive Musicianship at East Carolina University, 1966-1968.The Quarterly,1(3),58-60.
26. Mitchell, W.(1969).Under the Comprehensive Musicianship umbrella.Music Educators Journal,55(7),71-75.
27. Mitchell, W.(1969).A report on the CMP workshop at Eastman.College Music Symposium,9,65-80.
28. Music Educators National Conference(1971).Comprehensive Musicianship: An anthology of evolving thought.Washington, DC:Contemporary Music Project/MENC.
29. Music Educators National Conference(1965).Comprehensive Musicianship: The foundation for college education in music. CMP2.Washington, DC:Contemporary Music Project/MENC.
30. National Association of Schools of Music(2019).Handbook 2018-19
31. Norris, C. E.(2010).Introducing creativity in the ensemble setting: National standards meet Comprehensive Musicianship.Music Educators Journal,97(2),57-62.
32. O’Toole, P. A.(2003).Shaping sound musicians: An innovative approach to teaching Comprehensive Musicianship through performance.Chicago, IL:GIA.
33. Orzolek, D.(2004).Absolute musicianship for performers: A model of general music study for high school performing groups.General Music Today,17(3),21-27.
34. Rogers, M. H.(1975).Northwestern University.
35. San Diego State University. (2018). 2018-2019 Undergraduate music student handbook. Retrieved from https://music.sdsu.edu/docs/2018-19_MusicHandbook_FINAL.pdf
36. Segress, T. D.(1979).North Texas State University.
37. Shaw, G. R.(1984).University of Wisconsin-Madison.
38. Silliman, A. C.(1980).Comprehensive Musicianship: Some cautionary words.College Music Symposium,20(2),125-129.
39. Sindberg, L. K.(2016).Elements of a successful professional learning community for music teachers using Comprehensive Musicianship through Performance.Journal of Research in Music Education,64(2),202-219.
40. Sindberg, L. K.(2012).Just good teaching: Comprehensive Musicianship through Performance in theory and practice.Lanham, MD:R&L Education.
41. Sindberg, L. K.(1998).The Wisconsin CMP Project at age 21.Music Educators Journal,85(3),37-42.
42. Sindberg, L. K.(2009).The evolution of Comprehensive Musicianship through Performance (CMP): A model for teaching performing with understanding in the ensemble setting.Contributions to Music Education,36(1),25-39.
43. Starling, J.(2005).Arizona State University.
44. Stewart, J. R.(2013).University of Minnesota.
45. Strange, C. M.(1990).Columbia University.
46. Taylor, J. A.,Urquhart, D. M.(1974).Florida State University: An experimental approach to Comprehensive Musicianship for freshman music majors.College Music Symposium,14,76-88.
47. Thomson, W.(1990).The anatomy of a flawed success: Comprehensive Musicianship revisited.Quarterly Journal of Music Teaching and Learning,1(2),20-28.
48. Truland, D. (1999). Comprehensive Musicianship in undergraduate music programs. Auburn, AL: Auburn University. Retrieved from http://www.auburn.edu/academic/classes/ctmu/7970CMP/refs/truland-1997.pdf
49. Ward-Steinman, D.(1987).Comprehensive Musicianship at San Diego State University.Journal of Music Theory Pedagogy,1(2),129-147.
50. Ward-Steinman, D.,Ward-Steinman, S. L.(1987).Comparative anthology of musical forms.Lanham, MD:University Press of America.
51. Warner, R. W.(1975).Washington University.
52. Wennerstrom, M. H.(1989).The undergraduate core music curriculum at Indiana University.Journal of Music Theory Pedagogy,3,153-176.
53. Willoughby, D. P.(1990).Comprehensive Musicianship.The Quarterly,1(3),39-44.
54. Willoughby, D. P.(1971).Comprehensive Musicianship and undergraduate music curricula. CMP6.Washington, DC:Contemporary Music Project/MENC.
55. Willoughby, D. P.(1970).University of Rochester.
56. Woods, D. G.(1973).Northwestern University.
57. Yin, R. K.(2017).Case study research: Design and method.Thousand Oaks, CA:Sage.
58. 王郁菁, Y.-C.(2009)。臺北市，國立臺灣師範大學音樂學系。
59. 王維君, W.-C.(2010)。透過合唱表演進行整合性音樂素養教學。「2009音樂教育學術研討會─『音』材施教：音樂教學法在臺灣之發展與創新」論文集，臺北市=Taipei, Taiwan:
60. 朱彥霖, Y.-L.(2005)。臺北市，臺北市立師範學院音樂藝術研究所。
61. 呂文慈, W.-T.(1995)。整合性音樂基礎訓練的新方向。古典音樂，41，69-74。
62. 林小玉, S.-Y.,朱彥霖, Y.-L.(2006)。「整合性音樂基本能力」模式之內涵與在大學音樂基礎訓練課程上之應用。「2006音樂教育學術研討會─音樂教學法之理論與實務」論文集，臺北市=Taipei, Taiwan:
63. 林怡妙, Y.-M.(2015)。臺南市，國立臺南大學音樂學系。
64. 國立臺中教育大學（無日期）。開課資訊查詢。取自https://ecs.ntcu.edu.tw/pub/TchSchedule_Search.aspx【National Taichung University of Education (n.d.). Course information inquiry. Retrieved from https://ecs.ntcu.edu.tw/pub/TchSchedule_Search.aspx】
65. 國立臺灣藝術大學音樂學系（無日期）。課程中英文敘述。取自http://music.ntua.edu.tw/files/15-1001-806,c137-1.php【National Taiwan University of Arts, Department of Music (n.d.). Chinese and English course description. Retrieved from http://music.ntua.edu.tw/files/15-1001-806,c137-1.php】
66. 郭芳秀, F.-H.(2016)。臺北市，國立臺灣師範大學音樂學系。
67. 郭芳玲, F.-L.(2015)。整合性音樂能力訓練翻轉教學：以大學音樂系之整合性音樂能力訓練課程為例。「翻轉音樂教育之創新教學」研討會，臺北市=Taipei, Taiwan:
68. 陳姿光, T.-K.(2017).臺灣流行音樂教育初探.新北市=New Taipei City, Taiwan:博揚文化=Boyoung Culture.
69. 潘淑滿, S.-M.(2003).質性研究：理論與應用.臺北市=Taipei, Taiwan:心理=Psychological.
70. 蕭麗珊, L.-S.(2017)。臺南市，國立臺南大學音樂學系。
71. 鍾欣韻, H.-Y.(2018)。臺南市，國立臺南大學音樂學系。

1. 黃靜芳(2022)。運用「整合性音樂素養」畫出國中音樂課程的實踐藍圖。音樂研究，37，41-92。