實踐人文關懷與美感體驗之音樂通識課程教學設計－以音景單元為例

Course Design of Music General Education in Realizing Humanistic Concern and Aesthetic Experience- In the Case of Soundscape Unit

王維君(Wei-Chun Wang)

《關渡通識學刊》 7期 (2011/12) Pp. 1-22

https://doi.org/10.6477/KGEJ.201112.0001

摘要

通識教育強調全人格教育並傳承人類文化最核心最關鍵的遺產，其核心精神在於培養學生適當的文化素養、生命智慧、分析思辨能力、表達溝通技巧，以及終身學習成長的動力。不僅有健全知識，更能瞭解自我存在的意義，尊重不同生命與文明的價值，成為具有人文關懷的世界公民。二十世紀後半期，強調人文關懷及探討人類與環境互動之環境意識興起，音景議題亦有重大研究發展。基於通識精神中的人文關懷與世界觀，將音景單元納入音樂通識課程中。本音樂通識課程服膺美國音樂教育哲學家David Elliott的「實踐哲學」，強調音樂教育中學生的主動參與行動的重要性，並以認知運行構成音樂體驗的基礎而設計音景單元。音景單元之設計是以四大主題「詩中之聲情」、「音景觀察與採集」、「節奏即興音景遊戲」及「音景故事創作」，搭配深入淺出的課堂講授及創意小組活動循序進行。並且依各主題的屬性，運用多元評量方式來檢核認知、情意、技能各範疇之學習成果。本論文將以音景單元的四大主體為主軸，探討單元目標、教學策略、與多元評量方式。（1）「詩中之聲情」連結中國古典詩詞與文化，領略古詩詞的意境與文字之美；藉由詩詞中文字的描述，強化對聲音的認知，並藉此定義音景；更進一步探索音景中的自然音與人文社會之文化音。（2）「音景觀察與採集」中田野調查與紀錄，幫助學生發掘學校所在之社區或城市的音樂文化內涵及音景特色；從環境的體驗與保存中，學習欣賞及尊重不同的文化族群與特質，並激發對文化承傳的使命。（3）「節奏即興音景遊戲」組織身邊俯拾可得的音色素材之集體創作，學生將所理解與認知之音樂構成元素與理論，轉化成即興創作；演奏節奏音響作品的同時，亦結合肢體的律動與視覺的傳達，以引發對音樂及五感之探索與嘗試，增進對自我肢體與感官的認知與體驗。（4）「音景故事創作」將自己採集的聲音元件，結合音樂藝術之表達與科技媒體之運用，構思並創作屬於自己的生命故事。

關鍵字

音樂通識課程 ； 教學設計 ； 音景 ； 人文關懷 ； 美感體驗

並列摘要

General education emphasizes on the importance of holistic education and passing on most valuable human heritages. The spirit of general education is to cultivate the students' cultural accomplishment, the wisdom of life, analytical ability, communication skills, and the momentum of lifetime learning. As the world citizen with humanity concern, students are not only taught to be knowledgeable but also being able to understand the meanings of self existence and respect the values of different cultures. In the late 20th century, there was a rise in environmental awareness that emphasized humanity concern and discussed the interaction between human being and the environment. This general education course complies with the praxial philosophy proposed by American music educator David Elliott that stresses the importance of active participation and action for music learning of students. The soundscape unit was composed according to cognition process that covered 4 main themes: sound sensation in poetry, soundscape observation and collection, improvised rhythmic soundscape game, and soundscape scenario production. Lectures and group activities were designed accordingly. Multivariate evaluation was applied to check the study outcome associated with cognition, affection, and techniques. This paper discussed the objectives of individual elements, strategies for teaching and the concept of multiple assessment based on the 4 main themes. ”Sound sensation in poetry” linked traditional Chinese poetry to the culture and promoted understanding artistic conception. Soundscape was formed by the cognition of sound that strengthened by characters in the poetry. Natural sound and manmade sound associated with local cultures were further identified. For ”soundscape observation and collection”, students were asked to explore soundsacpe at the neighborhood of campus by making field investigation and documentation. They learned to appreciate and respect different cultures when participating in the activities. ”Improvised rhythmic soundscape game” was designed to re-organize materials that can be found around. The students made improvised production combined with rhythmic body movements and visual media based on theories they learned in the class. It was aimed to stimulate all human senses and to explore the associate of body movement with sound. ”Scoundscape scenario production” was designed to let the students develop the collected sound elements into innovated works as representations of themselves. Combining sound and music with other media or special technical effects was encouraged.

並列關鍵字

Music general course ； teaching design ； soundscape ； humanity concern ； aesthetic experience