由音樂教育哲學派典檢視臺灣音樂教育哲學觀及建構共識

Abstract

1950年代，在北美音樂教育學者的推動下，音樂教育哲學成為專業的學術研究社群，透過對音樂教育信念與活動進行批判性反思，辯證學校音樂課程之地位。近年來音樂教育哲學之論述，逐漸朝向國際比較方向發展，檢視我國音樂教育研究可知，其中較缺乏對音樂教育哲學進行自覺性與系統性之探討。

基於國際比較研究與自我瞭解的需求，本研究之目的與研究方式如下：首先，藉由文獻研究及哲學探究方式，瞭解功利主義、美感論與實踐論三種音樂教育哲學派典之內涵。其次，由政策面與實務面，瞭解我國國中小階段學校一般音樂教育所蘊含之哲學觀。更具體來看，在政策面採用編輯式分析的方式，探討97年藝術與人文學習領域課程綱要所涵示之音樂教育哲學觀；在實務面採用文獻研究方式，綜觀音樂教育實務相關之調查研究，檢視其中所顯示之音樂教育哲學觀。最後，依據前述結果編製德懷術問卷，組成諮詢小組，瞭解其對北美音樂教育哲學派典，以及我國國中小階段學校一般音樂教育哲學觀之趨向與共識。

研究結果顯示，就北美音樂教育哲學派典之內涵來看，功利主義、美感論與實踐論建構出多元的音樂教育目的與教學實踐方式，對北美音樂教育發展有深遠的影響。就我國政策面之音樂教育哲學觀來看，音樂的脈絡價值被置於最高地位，使學生「瞭解音樂與社會、文化及生活的關係」為主要音樂教育目的，另有「培養音樂審美能力」、「培養音樂創作與透過創作表達情感」，以及「培養音樂參與習慣與音樂欣賞態度」之次要目的。就我國實務面之音樂教育哲學觀來看，部分教學理念與教學實務之間有落差，如課程統整、多元評量之理念，顯示我國國中小音樂教師較少對自己的教學進行哲學反思。

透過德懷術問卷可知，諮詢委員對北美音樂教育哲學派典採取折衷態度，認為應兼採美感論與實踐論的觀點。在我國國中小音樂教育哲學觀方面，「培養音樂參與習慣與音樂欣賞態度」目的之認同度最高，也就情意目的的重要性，高於其他認知與技能的目的；認同統整理念，但主張不同藝術學科的教育目的應該分開陳述。綜觀我國各面向之音樂教育哲學觀，彼此之間缺乏一致性，有待加強溝通與整合。In the 1950s, philosophy in music education was advocated by music education researchers in North America and had been seen as a professional research group. It is used to examine basic principles and activities in music education critically, trying to identify the significance of music education in public schools. Recently, the research of philosophy in music education has gradualtely turned attention to a globalized understanding. When examinig the research of music education in Taiwan, we found that few of them elaborated on philosophical issues consciously and systematically.

In light of these concerns, the purposes of this study were as follows: first, literature review and philosophical inquirty were used to uncover the paradigms of philosophy in music education in North America, including Utilitarian, Aesthetic and Praxialism. Second, the research aimed to examine the philosophy underlying music education in elementary and junior high school in Taiwan. More specifically, a content analysis was conducted to explore music education philosophy underlined in Taiwan’s music education policy. Then, literature review was adopted to gather and analyze investigation concerned with music teaching in Taiwan. Finally, a Delphi Techniques was utilized to help reach the consensus on philosophy in music education in Taiwan.

Conclusions of this study can be drawn in three aspects: (a) the development of North American music education was deeply influenced by positions of Utilitarian, Aesthetic and Praxialism; (b) in music education policy of Taiwan, the contextual value was highlighted most. The estimite goal of music education was to improve the understanding of relationships between music and society, music and culture as well as music and life. In elementary and junior high school music teaching practices in Taiwan, there was a gap between music teachers’ beliefs and teaching; (c) by Delphi Techniques, the professors and music teachers inclined to take the sides of both Aesthetic and Praxialism’s viewpoints in music education. In addition, they all agreed with that the most important goal of music education in Taiwan was to“built up students’ habit of participating music activities and appreciating music with proper attitude.” It was found that the philosophy in music education in Taiwan tends to be in lack of consistency in policy, in teaching practices, as well as in this Delphi research.