肢體律動融入國小三年級曲調音感教學之行動研究
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2019
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本研究旨在融入肢體律動於國小三年級曲調音感教學中，採用行動研究法來發展適合學生的曲調音感教學方案，並探討其中的教學歷程、學習成效與教學省思。本研究以森森國小（化名）三年A班共28名學生為研究對象，課程方案包含九堂課的教學活動設計以及三堂課的曲調音感測驗，共計十二週的研究時間。音感訓練為音樂教育中重要的一環，研究者有感於制式的音感教學較為無趣，無法引起學生的學習興趣，因此將肢體律動與音感教學相互結合，讓學生能夠運用不同的肢體動作來感知曲調的特徵以及變化。本研究主要教學的曲調特徵為音高、音程、輪廓，研究者透過「教學觀察紀錄表」、「教學省思札記」、「訪談大綱」、「曲調音感測驗」、「曲調感知肢體測驗評分表」、「學習情形問卷」等研究工具蒐集資料，進行歸納與分析，並獲得以下的結論：
一、運用肢體律動於國小三年級曲調音感的教學確實可行，透過不同肢體動作技巧的練習，能夠幫助學生感受與聽辨曲調的變化。
二、融入肢體律動於曲調音感的教學中，教師需留意教學活動時間的分配以及學生整體秩序的管理，才能順利引導學生以合宜的肢體動作
呈現出曲調特徵。
三、在以肢體律動學習曲調特徵後，學生於音高的表現最佳，音程與輪廓的表現較弱。此結果與音程教學時間太過短促，以及輪廓學習有
其難度有關。
四、在肢體律動中，非移位式動作較為簡易，適合於學習新的曲調特徵時使用；移位式動作具有挑戰性，需注意空間的運用以及移動的方式；操作式動作能引起學習興趣，絲巾與球為學生感知曲調特徵的重要媒介。
五、運用肢體律動於曲調音感的課程中，學生呈現良好的喜好度與參與度。
This study aimed to infuse body movement into third-grade melody ear training instruction in an elementary school. The method of action research was adopted to develop feasible instructional program in melody and to investigate the teaching process, learning effectiveness as well as the teaching reflection. 28 third-grade students were the research participants. The instructional program involved 9 instructional lessons and 3 ear training testing sessions. Ear training was regarded as one important part of music education. Since the traditional way of ear training tended to bore students and failed to arouse students’ learning interests, the researcher combined body movement with ear training so that students can embody their perception of melodic characteristics and changes. This study involved the melodic characteristics of pitch, interval, and contour. Research instruments included the teaching observation record form, teaching reflection log, interview outlines, melody ear training tests, body representation of melody perception scoring scale and learning status questionnaires. Data was then collected and analyzed. The research conclusions were drawn as follows: Firstly, it was feasible to infuse body movement into third-grade melody ear training instruction. With the training of various body movement skills, students were able to perceive and discriminate melodic changes. Secondly, when infusing body movement into melody ear training instruction, the teacher should pay attention to classroom activities time allotment and students’ order management to successfully instruct students to demonstrate melodic characteristics with their body movements. Thirdly, after the instruction of body movement-infused melody ear training, students performed best in the perception of pitch. They did not perform as well in the aspects of interval and contour. This result was thought to have to do with the very little instruction time and the difficulty level of the concept of contour. Fourthly, in terms of the various body movement forms, students found non-locomotor skills to be easier and more appropriate for them to learn new melodic characteristics. The locomotor skills were challenging for them and needed them to watch out on space utilization and moving strategies. They found the manipulative skills to be appealing and regarded the silk scarfs and balls to be important vehicles for them to perceive melodic characteristics. Finally, during the body movement-infused melodic ear training instruction, students demonstrated fair interests and participation level.
This study aimed to infuse body movement into third-grade melody ear training instruction in an elementary school. The method of action research was adopted to develop feasible instructional program in melody and to investigate the teaching process, learning effectiveness as well as the teaching reflection. 28 third-grade students were the research participants. The instructional program involved 9 instructional lessons and 3 ear training testing sessions. Ear training was regarded as one important part of music education. Since the traditional way of ear training tended to bore students and failed to arouse students’ learning interests, the researcher combined body movement with ear training so that students can embody their perception of melodic characteristics and changes. This study involved the melodic characteristics of pitch, interval, and contour. Research instruments included the teaching observation record form, teaching reflection log, interview outlines, melody ear training tests, body representation of melody perception scoring scale and learning status questionnaires. Data was then collected and analyzed. The research conclusions were drawn as follows: Firstly, it was feasible to infuse body movement into third-grade melody ear training instruction. With the training of various body movement skills, students were able to perceive and discriminate melodic changes. Secondly, when infusing body movement into melody ear training instruction, the teacher should pay attention to classroom activities time allotment and students’ order management to successfully instruct students to demonstrate melodic characteristics with their body movements. Thirdly, after the instruction of body movement-infused melody ear training, students performed best in the perception of pitch. They did not perform as well in the aspects of interval and contour. This result was thought to have to do with the very little instruction time and the difficulty level of the concept of contour. Fourthly, in terms of the various body movement forms, students found non-locomotor skills to be easier and more appropriate for them to learn new melodic characteristics. The locomotor skills were challenging for them and needed them to watch out on space utilization and moving strategies. They found the manipulative skills to be appealing and regarded the silk scarfs and balls to be important vehicles for them to perceive melodic characteristics. Finally, during the body movement-infused melodic ear training instruction, students demonstrated fair interests and participation level.
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Keywords
音感教學, 肢體律動, 行動研究, ear training instruction, body movement, action research