流行音樂之非正式學習途徑及其對音樂教育研究與實務之啟示

The Implication from the Informal Popular Music Learning for Research and Practices in Music Education

曾靜雯(Ching-Wen Tseng)

《藝術研究期刊》 9期 (2013/12) Pp. 161-187

摘要

西方音樂教育在近二十年來積極倡議非正式音樂學習模式之研究與教學實務，關注在學校以外不同場域的各種學習模式。然而，國內音樂教育對於流行音樂的探討大部分聚焦於教學實務，至今尚未對非正式學習模式進行探究。本文旨在分析流行音樂非正式學習模式之實務，透過文獻探討，首先從正規學習與非正式學習模式的意義談起，其次探究衍生自流行音樂之非正式音樂學習途徑，繼而討論非正式音樂學習模式在教學實務可能的策略與手法，最終對國內學音樂教育提出具體可行的參考方向。研究結果指出非正式音樂學習模式的提出，肇因於知識社會學對教育議題的檢視，以及觀察流行樂手或樂團學習模式之研究背景，其基本特徵是學習發生在正規教育之外的場域，樂手靠著不同的途徑取得音樂技巧與知識，透過一連串的實踐過程學習音樂，而非特定的學習方法。非正式音樂學習模式在教學實務的可行策略，包含在課堂上運用車庫樂團或將非正式學習模式融入正規學校音樂教育。最後對於國內音樂教育研究與實務，本文認為音樂教育研究與實務應拓展新視野、音樂教育研究應建立非正式學習途徑之在地觀點、音樂教學實務應適時納入非正式學習模式、音樂師培教育應發展以流行音樂本質為基礎之課程。

關鍵字

流行音樂 ； 非正式學習 ； 非正式音樂學習 ； 音樂教育

並列摘要

During the last two decades, there has been a growing interest in the study of informal music learning, focusing on various ways of learning in difference contexts off campus. In Taiwan, however, teaching practices rather than theoretical inquiries of informal music learning are given emphasis in music education research on popular music. This paper aims at analyzing the theory and practice of informal music learning by reviewing related literature. It begins with the distinction of concepts between formal learning and informal learning, and then explores the ways of informal music learning in popular music. After discussing the practical teaching strategies of informal music learning, the study concludes with some useful notions for future music education in Taiwan. The findings of this research are stated as followed. The theoretical construction of informal music learning takes root in examining educational issues from the viewpoint of the sociology of knowledge and the ways popular musicians learning music. Informal music learning takes place outside the formal educational settings, and popular musicians acquire their music skills and knowledge by various approaches. Music is learned not by specific methodology but through a series of music practices. Teaching strategies of informal music learning involve introducing garage band in classroom and bringing informal music learning practices into the formal environment of the school classroom. This paper concludes with a proposal for four suggestions: gaining new perspectives on music research and practices, encouraging research on informal music learning from a local perspective, bringing formal learning into music teaching practices, and cultivating music teachers with a comprehensive knowledge of popular music.

並列關鍵字

popular music ； informal learning ； informal music learning ； music education