臺灣與大陸高中音樂教科書性別意識型態之內容分析

本研究旨在分析臺灣與大陸高中音樂教科書之性別意識型態，以內容分析為研究法，使用曾靜雯（2017）「高中音樂教科書性別意識型態」之類目表，分析教科書之性別比例、性別刻板印象、性別關係。教科書樣本為臺灣「三民」、「新文京」、「謳馨」，與大陸「人民音樂」、「湖南文藝」、「廣東花城」，共6版12冊。本研究之結論如下：（一）性別比例：兩岸圖片、課文、作曲者部分皆以男性為主，性別比例失衡。臺灣以T3版最為懸殊，T2版差距最小且其女性人物課文較值得借鑒。大陸以M1版最為懸殊，M2版女性比例略高於男性，M3版女性人物課文較值得借鑒。（二）性別刻板印象：兩岸男性所涉及之音樂專業類型與活動類型皆多於女性，女性之專業類型以歌唱為主，男性以作曲為主；女性之活動類型以歌唱與弦樂演奏為主；男性以擊樂演奏與弦樂演奏、歌唱為主。臺灣T1與T3版、大陸M2版本性別刻板印象較明顯。（三）性別關係：兩岸課文與歌詞內容皆以平等為主，主從關係則以女性從屬男性為主，課文主要表現為女性為男性的妻子、侄女等；歌詞主要表現為女性等待、苦戀男性等。臺灣T1版主從關係較多，大陸暫時未顯現主從關係。（四）兩岸之差異：性別比例方面，雖兩岸性別比例皆失衡，但臺灣教科書中女性之比例略高於大陸；性別刻板印象方面，臺灣教科書中女性所涉及的音樂專業類型多於大陸；性別關係方面，課文部分大陸因內容較少尚未出現主從；歌曲部分兩岸平等與主從之類別與原因大致相同。最後，研究者根據上述結論對教科書編輯、教師、未來研究提出建議。關鍵詞：性別意識型態、音樂教科書、高中、兩岸。

關鍵字

性別意識型態；音樂教科書；高中；兩岸

並列摘要

This study intends to analyze gender ideology of music textbooks in high schools of Taiwan and Mainland China through content analysis. It analyzes gender ratio, stereotypes and relations of textbooks using Tseng Ching-wen’s (2017) Category List of Gender Ideologies in Music Textbooks of High Schools. Samples of textbooks exist in six editions and twelve versions, including Sanmin, New Wun Ching and Ouxin of Taiwan as well as People’s Music, Hunan Literature and Art, and Guangdong Hwaseong of Mainland China, In this study, conclusions are reached as follows: 1. Gender ratio: Cross-strait pictures, lessons and composers mostly focus on males, so gender imbalance exists. In Taiwan, the most striking disparity is seen in the T3 Edition, while the gaps are the smallest in the T2 Edition, where text about female figures are more worth learning. In Mainland China, the gaps are the most evident in the M1 Edition, and females occupy a little higher proportion than males in the M2 Edition; text regarding female figures in the M3 Edition are more worth learning. 2. Gender stereotypes: In both Taiwan and Mainland China, males get involved in more types of music specialties and activities. Females and males mostly specialize in singing and composition respectively; most females participate in singing and orchestra performances, while males mostly take part in percussion and orchestra performances as well as singing. Gender stereotypes are relatively prominent in the T1 and T3 editions of Taiwan as well as the M3 edition of Mainland China. 3. Gender relations: Lessons and lyrics are mainly about equality in both Taiwan and Mainland China, where females are subordinate to males in most cases. In the text, females are mostly wives, sisters and nieces of males; in lyrics, females wait for and are obsessed with males. In the T1 edition of Taiwan, there are some subordinations, which are not seen in Mainland China for the time being. 4. Cross-strait differences: Although gender imbalance exists in both Taiwan and Mainland China, there are more females ratio in textbooks of Taiwan than those of Mainland China. In terms of gender stereotypes, females get involved in more music specialities in textbooks of Taiwan compared with Mainland China. Concerning gender relations, no subordination is detected in text of Mainland China which cover less content. Songs are generally the same in terms of cross-strait equality, subordination type and reasons. At last, the researcher puts forward suggestions concerning textbook editors, teachers and future research based on above conclusions. Keywords: Gender Ideology, Music Textbooks, High Schools, Cross-strait.