國民中學藝術領域教科書歌曲教材內容分析

Abstract

本研究旨在分析以十二年國民基本教育課程綱要編撰之國中藝術領域教科書中之歌曲教材內容，探討與比較翰林版、康軒版、奇鼎版與全華版四版本24冊國中藝術領域教科書之105首歌曲教材在「歌曲說明」、「歌曲結構」、「歌詞內容」之內容與異同。研究者採「內容分析法」，並參考十二年國民基本教育課程綱要課程綱要、歌唱相關文獻，自編「國中藝術領域教科書歌曲教材內容分析類目表」作為研究工具，再以先質後量的方式，進行四版本歌曲教材內容之分析。本研究之主要發現如下： 一、翰林版歌曲教材內容著重於歌曲背景資訊之教學延伸。以齊唱曲為主；六冊音域寬度範圍約12～14個半音；曲調音階呈現具有多樣性，以大調居多；曲式架構以二段體為最多。演唱語言以華語為為主，英語次之，尚有閩南語；歌詞意涵以情感表達、景物描寫與生活記敘較多。 二、康軒版歌曲教材內容著重於呈現演出背景、曲風說明，對於歌唱技巧、活動說明所提供資訊較少。以齊唱曲為主；六冊音域寬度範圍約16～17個半音；歌曲曲調呈現單純，以大調音階為主；曲式架構以三段體、多樂段曲式為主。演唱語言以華語為主，英語次之，歌詞意涵以情感表達、正向勵志與議題融入較多。 三、奇鼎版歌曲教材內容在演出背景、教學指引的呈現具有多樣性，其中有較多的延伸活動之設計。以齊唱曲為主，尚有其他多元的演唱形式；六冊音域寬度範圍約14～15個半音；歌曲曲調大致單純，以大調音階呈現居多；曲式架構以三段體為主，其他曲式與二段體次之。演唱語言以華語為主，英語次之，尚有原住民語、閩南語歌曲；歌詞意涵以情感表達與生活記敘較多。 四、全華版歌曲教材內容在演出背景、教學指引的呈現豐富且多元；以齊唱為主，尚有輪唱曲；六冊音域寬度範圍約16～17個半音；歌曲曲調呈現注重多元面向，以大調居多；曲式架構偏好二段體與一段體。演唱語言以華語為主，英語、閩南語歌曲次之；歌詞意涵以情感表達、景物描寫與正向勵志較多。五、四版本歌曲教材皆以演出資訊、曲風說明等教學資訊居多，於音樂理論所提供之教學資訊較少；部分差異在於：奇鼎、全華在活動說明、歌唱技巧所提供之教學資訊略多，翰林、康軒對於歌唱技巧所提供之教學資訊較少。六、四版本歌曲教材皆以齊唱為主，奇鼎版織度呈現略顯多元，四版本歌曲音域範圍大約為12～17個半音；曲調音階以大調為主，全華版呈現略顯多樣性；曲式以二段體略占優勢，然整體分配趨於均衡。七、四版本歌曲教材演唱語言以華語為主，其次為英語，尚有部分本土語歌曲，客家語歌曲尚未收錄；歌詞意涵方面均以情感表達為主軸，部分差異在於全華常見於景物描寫、正向勵志，康軒多有議題探討，翰林、奇鼎則以生活記敘為主。最後，根據研究結果，提出具體建議，以作為國中音樂教師、音樂教育相關工作者、相關研究者、教科書編撰者等教學研究之參考。

This study conducted a systematic content analysis of song materials contained in four widely used junior-high arts-domain textbook series—Han-Lin, Kang-Hsuan, Chi-Din, and Chuan-Hua—compiled in accordance with Taiwan’s Curriculum Guidelines of 12-Year Basic Education. A self-developed “Song-Materials Content Analysis Checklist,” derived from the curriculum guidelines and extant vocal-music literature, was applied to 105 songs drawn from 24 textbooks. Qualitative coding was first performed for three major dimensions—song description, musical structure, and lyrical content—followed by quantitative comparison across the four series.The principal findings were as follows.1. Han-Lin – The song materials emphasized extensions of song-background information. Most pieces were unison; across the six volumes the vocal range spanned roughly 12 – 14 semitones. Keys were diverse yet dominated by major scales, and two-part form appeared most frequently. Mandarin lyrics prevailed, followed by English and a few Hokkien songs. Lyrically, the repertoire leaned toward emotional expression, scenic description and everyday narrative.2. Kang Hsuan – Content highlighted performance context and style explanation, while offering comparatively little on vocal technique or activity design. The repertoire was chiefly unison; average range per volume was about 16 – 17 semitones. Keys were largely restricted to major; three-part or multi-sectional forms predominated. Mandarin was the principal singing language, with English second. Texts focus on emotional expression, positive inspiration and issue-based themes.3. Chi-Din – Song materials displayed varied background notes and teaching cues, particularly a larger number of extension activities. Unison pieces were still the core, but other vocal textures were included. The six volumes covered ranges of roughly 14 –15 semitones. Keys remained mainly major; three-part form was most common, followed by other forms and two-part structures. Mandarin dominated, English was secondary, and several Indigenous or Hokkien songs were present. Lyrical themes emphasized emotional expression and daily narrative.4. Chuan-Hwa – Materials provided rich and varied information on performance background and instructional guidance. Most songs were unison, with occasional canons; the vocal span averages 16 – 17 semitones. Key selection was broad yet still centred on major scales, while two-part and one-part forms were preferred. Mandarin was the primary singing language, with English and Hokkien selections following. Lyrics mainly stressed emotional expression, scenic depiction and positive inspiration.5. All four series devoted most of their teaching notes to performance context and style explanation, while offering comparatively little on music-theory instruction; the chief difference was that Chi-Din and Chuan-Hwa included somewhat more guidance on classroom activities and vocal technique, whereas Han-Lin and Kang Hsuan provided relatively scant material on vocal technique.6. Unison repertoire dominated every series, though Chi-Din presents slightly more varied textures. Across six volumes, vocal ranges lay roughly between 12 – 17 semitones. Major keys prevailed overall, with Chuan-Hwa displaying modestly greater tonal variety; two-part form was marginally the most common structure, yet the four principal forms were otherwise fairly evenly distributed.7. Mandarin was the primary singing language in all four series, followed by English; only a handful of songs employed other local tongues, and no Hakka pieces were included. Lyrically, emotional expression was the shared core theme. Chuan-Hwa frequently highlighted scenic depiction and positive inspiration; Kang-Hsuan often incorporated issue-based topics; Han-Lin and Chi-Din tended to centre on everyday narratives.Pedagogical and editorial recommendations were offered for music teachers, curriculum developers, and future researchers.