十二年國民基本教育國中藝術教科書臺灣音樂教材內容分析

Abstract

本研究旨在分析十二年國民基本教育國中藝術教科書中的臺灣音樂內容，以自編之「臺灣音樂類別類目表」與「第四階段學習構面類目表」為研究工具，針對全華、奇鼎、翰林及康軒四版本教科書進行臺灣音樂類別及臺灣音樂學習構面內容分析。 研究結果如下： 一、臺灣音樂類別分布情形：四版本國中藝術教科書中，臺灣音樂類別以西式音樂占比最高，漢族傳統音樂次之，原住民音樂占比最低。在原住民族音樂部分，歌唱為主要呈現形式，而樂器及器樂曲多為伴奏。漢族傳統音樂方面，四版本皆以民歌占比最高，南北管音樂、說唱音樂及宗教音樂次之。流行音樂在西式音樂類別中占比最高，並散布於各冊，西式新音樂則以臺灣作曲家的作品為主。 二、臺灣音樂學習構面分布情形：四版本教科書臺灣音樂之學習構面皆以表現占比最高，鑑賞次之，實踐最低。表現中歌唱出現最為頻繁，演奏次之，歌唱及演奏之內容呈現於各冊中；創作最低，多於第三冊後出現。鑑賞中審美感知占比較高，且散布於各冊；審美理解較低，多安排於較高年級呈現。實踐中翰林及康軒版主要為生活應用，各出現2次，奇鼎版則是藝術參與，出現1次。 根據研究結果，本研究對教科書編輯團隊、國中音樂教師及未來研究提出建議。

This study aims to analyze the content of Taiwanese music in junior high school art textbooks under the Curriculum Guidelines of 12-Year Basic Education in the Domain of Arts. It employs self-constructed tools, namely the “Taiwanese Music Category Table” and the “Fourth Stage Learning Aspect Table”, to analyze four textbook versions: Chuan Hwa, Chiding, Hanlin, and Kang Hsuan.The findings are as follows:1. Distribution of Taiwanese Music Categories: Among the four textbook versions, Western-style Taiwanese music has the highest proportion, followed by Han traditional music, while Indigenous music has the lowest representation. Indigenous music is primarily presented in the form of singing, with instrumental music mostly serving as accompaniment. Within Han traditional music, all four versions allocate the highest proportion to folk songs, followed by Nanguan and Beiguan music, narrative music, and religious music. In Western-style Taiwanese music, popular music has the highest proportion and is distributed across all volumes, while contemporary Western-styled Taiwanese music mainly features works by Taiwanese composers.2. Distribution of Learning Aspects in Taiwanese Music: Among the four textbook versions, the highest proportion of content is allocated to Expression, followed by Appreciation, with Practice being the least represented. Within Expression, singing appears most frequently, followed by instrumental performance, both of which are present across all volumes; creation is the least covered and mostly appears from the third volume onward. In Appreciation, aesthetic perception has the highest proportion and is distributed across all volumes, whereas aesthetic understanding is less emphasized and primarily presented in higher grades. Regarding Practice, the Hanlin and Kang Hsuan versions mainly focus on life application, each appearing twice, while the Chiding version emphasizes arts Engagement, appearing once.Based on the research findings, recommendations are proposed for textbook editorial teams, junior high school music teachers, and future research directions.