以意象解讀高中學生音樂欣賞反應之研究

Abstract

音樂是一門聽覺的藝術，音樂欣賞即是透過聆聽的歷程來體驗音樂的美感，這其中必須增進聽的技能、增加認知的內涵，如此欣賞的層面才能達到完整，故此，欣賞活動是音樂課程中相當重要的學習活動。本研究之目的在於了解人文意涵在欣賞樂教的意義、確立意象理論、探討高中學生欣賞歷程、檢視欣賞教學內涵。研究過程立基於欣賞樂教的人文意涵、音樂意象本體論、音樂欣賞相關理論。研究過程的設計採用個案研究法，以兩階段進行研究：第一階段援引問答式問卷的數據統計以了解高中學生音樂意象建構類型的分佈取向，樣本人數有112人；第二階段則進行個別訪談以探討高中學生音樂意象建構的脈络與現象，訪談的人數有16人，最後並進行教學省思。 意象的發展是由「意」而「象」再到「意象」的過程，透過「意象融合」的聆賞歷程，在「淨化」與「內化」的轉化機制下，可以達到「全人教育」的目標，此為本研究強調欣賞樂教與人文並談的目的。此外，「意象」之理論與架構可以作為檢視學生建構脈络及欣賞教學內涵的省思與檢討。 茲將研究結果陳述如下： 研究樣本是以研究者工作職場上的高二學生為選取對象，第一階段量化的數據顯示：高中學生欣賞音樂的方式有91％的比例為「情感型」；卡方檢定各題、各類型群組間的差異皆達顯著差異水準（p<.001），確認了「情感型」建構的取向。為了解學生意象建構的脈絡，進行第二階段的個別訪談，訪談的樣本是透過第一階段問答式問卷中以「立意」之原則，選取參與訪談，檢視訪談文字稿探尋建構的脈絡，確認了多數學生欣賞音樂的歷程仍以「意」的主體思維為主要概念；至於「象」的陳述面向多為「淺層的材料」議題，至於「織體」範疇的部份，雖有資料呈現，但相關語彙不正確；為音樂下「評論」的能力，資料顯示多數學生未能達到「言之有物」的水準，足見，高中學生音樂欣賞能力有待提升。而提升高中學生音樂欣賞的能力，首先需在「象」的層面上達到應有的深度，進而透過人文化的廣度以達到情意的動力。 本研究以「意象」解讀高中學生音樂欣賞反應之研究，乃在於中國字彙具有可拆解、可融合之多元維度的詮釋面向，透過由意而象再到意象的理論運用於音樂欣賞教學，能達到下列功能：可以思考音樂本體內涵的深度與廣度；可以了解學生欣賞歷程及欣賞能力發展落點；可以檢視教科書內容的敘寫架構及教材完整性；可以檢視教師音樂欣賞教學內涵、教學方法、教學完整性及綜合教學能力。 最後，並提出「發揚人文精神的音樂欣賞課程」、「落實意象理論建構的應用」等教學及後續研究發展建議。As music is an auditory art, a sound level of music listening involves the experience of the aesthetics in the music through listening process that requires good listening skills and cognitive intension. Therefore, music listening is a relatively important learning item in the music course. Based on the humanistic concept in music appreciation, the ontology of musical Yi-Xiang (image), and the related theories of music appreciation, the aim of this study attempts to investigate the significance of teaching of music listening, to establish the Yi-Xiang theory, to explore the appreciative process of music listening in high school students, and to audit the teaching contents of music listening. This study was conducted in two phases: phase I study was trying to explore the distribution of musical Yi-Xiang in high school students based on specific questionnaires, there were 112 students enrolled in phase I study ; and phase II study was trying to investigate the developing process of musical Xi-Xiang in high school students based on individual interviews, there were 16 students and eventually to conduct an audit for the teaching in music listening. The development of “Yi-Xiang” is a continuous process, starting from “Yi” to “Xiang” and then to “Yi-Xiang” through the listening process with a conversion mechanism of purification and internalization. Its final goal is “whole-person education” with equivalent importance of music appreciation and humanism. In addition, the theory and framework of Yi-Xiang may serve as a tool to examine the developing process of music listening in the high school students and also as an audit of the teaching contents in music listening. Findings of this study are as follows: The study population was selected from the Grade 11 students in a high school where the author serves. Of the 112 study subjects, 102 (91%) had “affective type” of music listening. There was a significant difference in the distribution of intra- and inter-group of questions (p<.001). In Phase II study, individual interviews were selected based on their responses to the development of Yi in the questionnaires of phase I study. The nature of music listening in the majority of students was dominated by the thought of “Yi”, had little concept of the “Xiang”, which was mostly focusing on the issue of “superficial material”, and were of incorrect and irrelevant texture. Our study revealed that most of students were incompetent in making a comment on music and their comments failed to reach a level of “having something in content”. All of these indicated the level of music listening in high school students did require certain improvement. To improve their competency in music listening, the level of “Xiang” should be promoted first and followed by increasing the motive power of affection through humanistic extent. This study analyzed the responses of high school students to music listening based on the concept of Yi-Xiang. Basically, Chinese glossary can be integrated or separated and allows multiple-dimensional interpretation. The application of this theory with the development of Yi first, then shifting to Xiang and eventually transferring to Yi-Xiang in the teaching of music listening may help to deliberate on the connotation of music in depth and extent; to realize the appreciative process and quality of the students in music listening; to survey the descriptive framework of the textbooks and the integrity of teaching materials; and to evaluate the teaching thoughtfulness, teaching methodology, teaching completeness, and general teaching abilities in music listening for music teacher. Finally, we would like to propose “Music Appreciation Courses to Enhance Humanistic Commitments”, “Following through Applications of Yi-Xiang Theoretical Construction” for the future teaching and research objectives.