運用心像練習對於鋼琴視奏準確性、背彈流暢性與時間穩定性之成效

練習是每個演奏者在技能學習過程中，最重要且不可或缺的部份。然而，在沒有身體動作或聲音的情境下，演奏者以心像練習的認知方式學習演奏技巧，一直為音樂教育所關注的重要議題。為了探討心像練習對於提升鋼琴演奏者之表現成效，本研究利用單一個案研究法之跨行為多基準線設計，針對一位主修鋼琴的音樂系大專學生，實施三階段之心像練習：基線期實施靜默讀譜；介入期進行第一階段聲音回饋、第二階段加入動作回饋、第三階段加入哼唱回饋之心像練習；撤回期則回歸靜默讀譜。研究結果顯示，在「視奏準確性」方面，基線期時表現穩定維持30%至40%之間，而在介入期進行三階段心像練習後，具有顯著的提升效果，視奏準確性接近90%，介入期結束後下降至70%，但撤回期仍維持上升趨勢。在「背彈流暢性」方面，基線期在33%至55%之間，在介入期間(第二、三階段)，背彈流暢性呈現顯著上升趨勢接近90%，在停止心像練習回饋後下降至70%，但撤回期仍高於基線期水準。在「時間穩定性」方面，基線期在75-93%之間，介入期(第三階段)呈現顯著上升趨勢至接近100%。撤回期間，時間穩定性下降至88-90%，但仍略高於基線期。本研究證明心像練習對演奏者的「視奏準確性」、「背彈流暢性」與「時間穩定性」皆具有顯著提升表現之成效。依據結果，本研究提出理論與實務上的建議，以作為教學實務與未來研究之參考。

關鍵字

心像練習；視奏準確性；背彈流暢性；時間穩定性；跨行為多基準線設計

並列摘要

Practice is the most important and indispensable parts to each player in the process for learning skills. However, the player based on the cognitive way of imagery practice learns playing skills, which have been an important issue in the concern of music education under the condition of no body movements or sounds. To discuss imagery practice for improving the performance of piano players, this study can use a single-case research methodology in multiple baseline design across behaviors to implement the three-stage imagery practice for a music college student majoring in piano. In this study, the baseline period can carry out the silent reading. The intervention period can perform in the first, second, and third stages, which are auditory feedback, motor feedback, and humming feedback, respectively. The withdrawal period can return to the silent reading. The results of the study showed that in the terms of the “Accuracy of Piano Playing”, indicating the performance remains stable between 30% and 40% during the baseline period. During the intervention period, a significant effect after the three-stage imagery practice is for improvement where the accuracy of piano playing is close to 90%, and was decreased to 70% for the end of this period, but it still maintains an upward trend during the withdrawal period. In terms of the “Fluency of Memorization”, the baseline period is between 33% and 55%. During the intervention period (the second and third stages), the fluency of memorization can reveal a significant upward trend, which is close to 90% and it can decrease to 70% after stopping the feedback for imagery practice; nevertheless, the withdrawal period is still higher than the baseline level. In terms of the “Time Consistency”, the baseline period is between 75% and 93%. During the intervention period (the third stage), it shows an important upward trend to close to 100%. During the withdrawal period, the time consistency can decrease between 88% to 90%, but it is still slightly higher than the baseline period. This study demonstrated that imagery practice for the “Accuracy of Piano Playing”, “Fluency of Memorization”, and “Time Consistency” of the players can obviously improve the performance. According to the results, the study provides the theoretical and practical suggestions as a reference for teaching practice and future research