遊藝生命的詠嘆調－全人理念於音樂劇場課程之實踐

全人音樂教育的概念遠在古希臘時期就已成型。研究者參酌羅馬學者波埃提烏斯之全人音樂理念、二十世紀卡爾奧福的「完全劇場」、與凱勒及魏德曼的「基礎音樂戲劇」，發展成結合音樂、語言、舞蹈、戲劇的音樂劇場之音樂教育形式。本音樂劇場通識課程，以音樂劇場理論為教學主題、音樂劇場實作為媒介，讓學生透過對音樂的探索、演奏、演唱、創作之過程，將抽象的知識轉化為堅實的認知概念，進而以音樂自我表達。藉由戲劇中的扮演與反思，促進學生人格成長與有效學習；並引導學生透過戲劇情境去進入學習的主題，以發展其對相關議題的深度瞭解。本課程架構是以主題式的貫穿，融合授課教師課堂講授、樂曲教唱、聲音及肢體的開發、專家演講、專題製作、小組討論，參訪活動以及其他課堂活動與創作，並與社區及第三部門交流。課程內容前段有兩大主軸，一為經典作品的研究，以累積其創作的靈感與養份；二為展演能力與技術的培養。後段則是實際製作演出音樂劇。秉持奧福「原始自然」的精神，以學生為學習中心，以其潛能與意願為前提，安排每個人在團體中發揮其專長，由全體共同參與完成綜合式音樂劇場之展演。研究結果發現經過理論與實作之交互印證學習，學生的學習成果有效達成課程目標。

關鍵字

全人理念；樂教育；音樂劇場

並列摘要

The concept of holistic music education has been formed since ancient Greece. Employing concepts from the Roman philosopher Boëthius' holistic music theory, Orff’s idea of ＂Total Theater＂, and Keller & Widman's ＂Elemental Music Drama＂, the author developed a musical theater course that integrated music, language, dance and drama as a model for music education. In ＂Musical Theater＂, a general education course which applies theories in musical theater to practice, students could transform abstract knowledge into solid cognitive concepts by exploring, performing, and creating music, using music as a means for further self-expression. Through theatrical role-play, the course also enabled self-reflection in students, prompted them to further develop their characters, learn more effectively, and develop an in-depth understanding of relevant issues. Organized thematically, the curriculum followed a theme-based structure that includes a variety of activities, such as lectures from the instructor and guest speakers, singing tutorials, vocal and physical training, special projects, group discussions, field trips, in-class activities and interaction with local communities and the third sector. The first half of the course can be divided into two segments. Part One involves the study of classics in musical theater to give students the materials and inspirations for their own compositions. Part Two gave students practical skills that they can employ in their final presentations. In the second half of the semester, the course focused on the real production of an original musical. Base on the notion of Orff’s ＂The Elemental,＂ the author designed a student-centered project taking individual potential and willingness into consideration, in which students could exert their specialties and cooperatively produce a comprehensive musical play. Student feedback and assessment results indicate the combination of theory and practice in the class had enabled students to achieve the desired learning outcomes and meet the course objectives.