《芬貝爾基礎鋼琴教材》教學內容與多感覺學習策略之分析 A Study on the Teaching Contents and Multi-Sensory Learning Strategies of the"Faber's Basic Piano Adventures"

dc.contributor 吳舜文 zh_TW
dc.contributor Wu, Shun-Wen en_US
dc.contributor.author 林妍諭 zh_TW
dc.contributor.author Lin, Yen-Yu en_US
dc.date.accessioned 2022-06-08T02:35:44Z
dc.date.available 2021-06-25
dc.date.available 2022-06-08T02:35:44Z
dc.date.issued 2021
dc.description.abstract 本研究旨在探討《芬貝爾基礎鋼琴教材》教學內容與多感覺學習策略之分析,以該教材八個等級四個項目,包含《鋼琴教本》、《鋼琴樂理》、《鋼琴技巧》、《鋼琴表演》共計31本教材為對象,以自編「《芬貝爾基礎鋼琴教材》之教學內容與多感覺學習策略內容分析類目表」為研究工具,獲致研究結論如下:壹、在教學內容方面  一、在教學內容所包含三項主類目中,以音樂知能佔七成七,彈奏技巧佔一成六,而樂曲內涵則佔不到一成。  二、教學內容主類目「彈奏技巧」的分析結果,佔一成比例以上由高至低,分別為手腕練習(佔一成九)、音量控制(佔一成六)、踏瓣(佔一成四)、觸鍵(佔一成二)、手指練習(佔一成一)等五項次類目,其餘尚有四項佔比極低(均未達一成)。  三、教學內容主類目「音樂知能」的分析結果,於音樂理論而論,依序由高至低,以音程與和聲約佔四成為最高,次之為旋律與音階、節拍與節奏(均佔二成),較低為譜表與音高(約佔一成);於音樂能力而論,依序由高至低,以讀譜與視奏約佔六成為最高,次之為即興創作(佔二成八),而較低為聽力訓練與背譜訓練(均佔不到一成)。  四、教學內容主類目「樂曲內涵」的分析結果,依序由高至低,以樂曲背景與樂曲結構均佔約四成為較高,而較低為樂曲曲種(佔一成五)。 貳、在多感覺學習策略方面  一、在多感覺學習策略所包含四項主類目中,依序由高至低,以視覺策略約佔六成為最高,次之為聽覺策略與觸覺策略(均佔一成八),而較低為動覺策略(佔不到一成)。  二、多感覺學習策略主類目「視覺策略」的分析結果,依序由高至低,以書寫約佔七成為最高,次之文本圖像(佔兩成七),再者具體物品(佔一成),而較低為音畫(佔不到一成)。 三、多感覺學習策略主類目「聽覺策略」的分析結果,依序由高至低,以唸唱約佔四成六為最高,次之為聆聽(佔三成五),而較低為創作(佔一成九)。 四、多感覺學習策略主類目「動覺策略」的分析結果,依序由高至低,以手部動作約佔九成為最高,而較低為腳部動作與綜合動作(均佔不到一成)。 五、多感覺學習策略主類目「觸覺策略」的分析結果,依序由高至低,以實物觸碰約佔九成為最高,而較低為想像觸碰(佔不到一成)。參、在教學內容與多感覺學習策略相關性方面  一、整套教材樂曲內涵與聽覺策略具顯著相關。  二、在分級方面,第1級於音樂能力與動覺策略、樂曲內涵與動觸覺策略,第2A級於樂曲內涵與動觸覺策略,第2B級於音樂能力與聽覺策略,第3A級於彈奏技巧與視覺策略、音樂能力和樂曲內涵與聽覺策略,第3B級於音樂能力與動覺策略、樂曲內涵與聽覺策略,第4級於音樂能力與動觸覺策略,第5級於音樂能力與動覺策略等,均具顯著相關。  三、在分級方面,第3A級於音樂理論與觸覺策略,第4級於樂曲內涵與觸覺策略,此兩項具顯著負相關。 研究者最後依據研究結論提出相關建議,以供教材編輯者、教學者與後續研究者為參考。 zh_TW
dc.description.abstract The purpose of the study was to analyze teaching contents and multi-sensory learning strategies in Faber’s Basic Piano Adventures. Thirty-one textbooks were reviewed in this research including core and set material through eight levels. The researcher used the self-developed tool “Content Analysis Categories of teaching contents and multi-sensory learning strategies in Faber’s Basic Piano Adventures.” Conclusion was following:1. About “teaching contents”  (1) Music knowledge and skills occupied 77%, playing skills occupied 16%, and music connotations occupied less than 10% in the teaching contents.  (2) Wrist exercises occupied 19%, volume control occupied 16%, pedal occupied 14%, articulation occupied 12%, and finger exercises occupied 11% of the top five in the playing skills.  (3) Interval and harmony occupied 41%, melody and scale occupied 25%, beat and rhythm occupied 22%, and staff and pitch occupied 12% in the music theory. And sight reading occupied 60%, improvisation occupied 28%, and listening training and recitation occupied less than 10% in the musical ability. (4) Music background occupied 43%, music structure occupied 40%, and music types occupied only 15% in the music connotations.2. About “multi-sensory learning strategies”  (1) Visual strategies occupied 60%, auditory strategies occupied 18%, tactile strategies occupied 18%, and kinesthetic strategies occupied less than 10% in the multi-sensory learning strategies.  (2) Writing occupied 70%, text and images occupied 27%, specific items occupied 10%, and tone painting occupied few proportion in the visual strategies.  (3) Speaking and singing occupied 46%, listening occupied 35%, and creation occupied 19% in the auditory strategies.  (4) Hand movements occupied 93%, foot movements and comprehensive movements occupied less than 10% in the kinesthetic strategies.  (5) Physical touch occupied 93%, imaginary touch occupied less than 10% in the tactile strategies. 3. The relevance between “teaching contents” and “multi-sensory learning strategies”  (1) The music connotations of the whole textbooks is significantly related to the auditory strategies.  (2) Musical ability and kinesthetic strategies, music connotations and kinesthetic-tactile strategies in level 1, musical connotations and kinesthetic-tactile strategies in level 2A, musical ability and auditory strategies in level 2B, playing skills and visual strategies, musical ability, music connotations and auditory strategies in level 3A, music ability and kinesthetic strategies, music connotations and auditory strategies in level 3B, musical ability and kinesthetic-tactile strategies in level 4, and musical ability and kinesthetic strategies in level 5 have significantly positive correlation. (3) Music theory and tactile strategies in level 3A, music connotations and tactile strategies in level 4 have a significant negative correlation.The researchers proposed some relevant suggestions based on the results from this research as a reference for the textbook editors, teachers and future researchers. en_US
dc.description.sponsorship 音樂學系碩士在職專班 zh_TW
dc.identifier 008903123-39425
dc.identifier.uri https://etds.lib.ntnu.edu.tw/thesis/detail/cc951362de3e7f08ea951271727ca4ff/
dc.identifier.uri http://rportal.lib.ntnu.edu.tw/handle/20.500.12235/116829
dc.language 中文
dc.subject 芬貝爾基礎鋼琴教材 zh_TW
dc.subject 鋼琴教學內容 zh_TW
dc.subject 多感覺學習策略 zh_TW
dc.subject 視聽動觸覺 zh_TW
dc.subject Faber's Basic Piano Adventures en_US
dc.subject piano teaching contents en_US
dc.subject multi-sensory learning strategies en_US
dc.subject VAKT en_US
dc.title 《芬貝爾基礎鋼琴教材》教學內容與多感覺學習策略之分析 zh_TW
dc.title A Study on the Teaching Contents and Multi-Sensory Learning Strategies of the"Faber's Basic Piano Adventures" en_US
dc.type 學術論文
Files
Original bundle
Now showing 1 - 1 of 1
No Thumbnail Available
Name:
008903123-39425.pdf
Size:
11.49 MB
Format:
Adobe Portable Document Format
Description:
學術論文
Collections