「校園古琴音樂會」作為通識教育輔助課程的設計及其實施成效

古琴為我國傳統音樂文化之寶庫，也是目前世界唯一能成為學科的「琴學」。自2003年底起已明列聯合國「人類口述和非物質文化遺產」，然而長期以來在學校教育與課程上相當疏忽，以致知者甚少。筆者擬定校園古琴音樂會計畫，到四所大學校園演出，作為通識課程的補充，以增師生的通識素養。校園古琴音樂會的構想類似講座，每場展演約兩小時。節目內容與方式包括五部分：（1）專人簡報介紹琴樂、琴器、琴譜；（2）演出，並配有導聆；（3）中場休息延伸為琴譜、琴器展示，讓聽眾上臺撫弄，派琴友們示範、解疑等；（4）終場琴歌教唱；（5）現場填寫問卷。演出曲目跨越東漢到現代，每場稍有不同，另有伴奏樂器。問卷共分八題，四場有效卷518份，結果顯示出席者最多為本校學生。雖然本校師生聽過、親歷過的人數比例特少，聽眾對本活動的接受度仍極高，反應非常熱烈；幾乎所有的人都認為獲益良多。會後熱烈期盼學校能多舉辦與古琴有關的學習活動，證明了本音樂會確實引發了聽眾想要再學習與了解的動機。本研究確立了「校園古琴音樂會」作為通識教育輔助課程的成效。在實施過程中，發現大學校園做這類輔助課程的缺失、問題與瓶頸，值得反省並改進。

關鍵字

大學；古琴；通識教育；輔助課程；音樂會

並列摘要

Since antiquity, Guqin has been the first among the four liberal arts, and is the treasure-house of our traditional musical culture. It is also the only instrument that merits its own zither-ology in the world as of now. It has been listed among the World’s Intangible Cultural Heritage by the UNESCO since 2003, yet it has been perennially neglected by our school system at college level. No courses are dedicated to this unique instrument. As a result, it reamins relatively unknown. In this paper, the author draws up a project for Guqin performance to be staged on four campuses, which serves as a supplement to general education (Gen Ed, here after) with an aim to enhance the cultural taste of the faculty and students alike. The project of ”Campus Guqin Performance” is construed as a series of forums of 2 hours each. Each performance consists of 5 parts: (1) A presentation on the music, the instrument, and the score; (2) the performance accompanied by a guide to listening; (3) intermission punctuated by the display of the instruments, encouraging the audience to touch it with demonstrations and explanations by guqin specialist; (4) the teaching of guqin songs at the end; (5) questionnaires to be completed on the spot. The repertoire includes scores from the Eastern Han to the present, and varies slightly from one performance to another, which is accompanied by other musical instruments. A self-developed questionnaire consists of 8 items was distributed, and 518 valid data from four performances were collected and analyzed. The results show that most of those attended were from the campus, but rarely did they had previous encounter with Guqin music before. The audience, however, displayed high receptivity and enthusiasm. After the performance, the audience showed a sense of fulfillment. They harbored high expectations of future performances, a sure sign of the audience’s wish to a further inquiry into the subject. This study has proven the value of the ”Campus Guqin Performance” as a supplementary course in Gen Ed. In the process, it also exposes the defect and problems of practicing such supplementary courses in current campus.