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研究生: 吳韋蓁
Wu, Wei-Chen
論文名稱: 行動研究導向之基礎階段器樂教學跨領域課程模組設計
Designing a Cross-Disciplinary Music Instructional Module for Foundational Instrumental Learners through Action Research
指導教授: 陳明惠
Turner, Ming
楊佳翰
Yang, Chia-Han
學位類別: 博士
Doctor
系所名稱: 規劃與設計學院 - 創意產業設計研究所
Institute of Creative Industries Design
論文出版年: 2026
畢業學年度: 114
語文別: 英文
論文頁數: 295
中文關鍵詞: 跨領域教學跨藝術學習素養教育⾳樂教育MusicX 模組
外文關鍵詞: cross-disciplinary teaching, cross-arts learning, literacy-oriented education, music education, MusicX Module
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  • 十二年國民基本教育課程綱要自 108 學年度起逐年級實施以來,台灣教育部持續倡導素養導向教育,強調不同學習領域間的橫向統整,鼓勵學生將知識應用於真實生活情境中,培養自主行動、溝通互動與社會參與等終身學習能力。
    本研究根據筆者長期從事音樂教學、演奏與研究的經驗,旨在探討並發展一套針對「基礎階段」的跨領域器樂教學模式,以鋼琴學習者為研究核心,嘗試在課後音樂學習中實踐跨學科統整理念,落實素養導向教育精神。研究採行動研究法進行兩階段探究:第一階段以《彼得與狼》(2023)為主題,實施跨藝術教學設計;第二階段以《蒼鷺與少年》(2025)為主題,延續並深化跨藝術教學實踐。           
    研究對象為筆者工作室中處於基礎階段之兒童鋼琴學習者,於研究開始時其學習年資均未超過六年。研究採取質量並行之資料蒐集與分析策略,結合課堂觀察、學生作品、家長訪談與專家回饋等質性資料,以及問卷與學習成效評估等量化數據,以互補方式全面檢視跨藝術教學對學生學習歷程與家長觀感之影響。
    綜合兩階段研究過程與成果,本文迭代出MusicX 模組——一個包含「故事敘事、視覺化、多感官模擬、多媒體創作與技術基礎」五大層面的跨領域教學架構,提供樂器教育者設計跨領域或跨藝術課程的具體參照。研究期望藉此推動素養教育從學校體制延伸至非正式音樂學習場域,深化藝術素養實踐於日常。

    Taiwan’s Curriculum Guidelines of 12-Year Basic Education, implemented since 2019, emphasize literacy-oriented education and horizontal integration across learning domains. This policy encourages students to connect knowledge with real-life experiences while cultivating self-directed learning, interpersonal communication, and social participation as lifelong competencies.
    Grounded in the researcher’s extensive experience in music teaching, performance, and research, this study aims to explore and develop a cross-disciplinary model for the foundational stage of instrumental learning, focusing on piano learners. The research seeks to bridge after-school instrumental education with cross-subject integration, thereby embodying the core spirit of literacy-oriented learning. Conducted within an action research framework, the study consisted of two phases: the first, themed Peter and the Wolf (2023), constructed and implemented a cross-arts teaching design; the second, themed The Boy and the Heron (2025), refined and further developed the design into a modular framework.
    Participants were foundational-stage learners focusing on core competencies, with less than six years of study at the onset. Qualitative data from instructional observations, student artifacts, parental interviews, and expert feedback revealed that cross-arts piano instruction enhanced students’ rhythmic awareness, musical expression, creative thinking, and self-reflection, while fostering stronger motivation and engagement, complemented by quantitative results indicating measurable improvements in learning outcomes and motivation. Parents and experts affirmed the curriculum’s integrative value and feasibility. Integrating both research cycles, this study developed the MusicX Module—a cross-disciplinary framework comprising five tiers: storytelling, visualization, multisensory metaphor, multimedia creation, and technical grounding. The module provides a practical reference for educators designing cross-disciplinary curricula and extends literacy-oriented education beyond formal schooling, nurturing artistic literacy in everyday life.

    Abstract ii 摘要 iii TABLE OF CONTENTS iv LIST OF TABLES viii LIST OF FIGURES ix CHAPTER 1 INTRODUCTION 1 1.1 Research Background 1 1.2 Research Motivation 2 1.3 Research Objectives and Questions 4 1.4 Key Terminology 6 1.5 Scope and Conceptual Framework 8 CHAPTER 2 Literature Review 9 2.1 The Essence and Efficacy of Music Education 9 2.2 Music Education Practices in Taiwan's Foundation Stage 11 2.2.1 Formal Music Education Context 11 2.2.1.1 The Arts Domain Guidelines 13 2.2.1.2 The Arts Talent Specialisation Area Curriculum Outline 22 2.2.2 The Four Music Mainstream Instruction 30 2.2.3 Alternative Music Education Context in Taiwan 32 2.3 Theoretical Foundations of Cross-disciplinary Learning 35 2.3.1 Theories and Cognitive Frameworks of Cross-disciplinary Learning 35 2.3.2 Conceptualization of Cross-disciplinary Music Instruction 37 2.4 Global and Local Practices in Cross-disciplinary Music Education 41 2.4.1 Global Practices in Cross-disciplinary Music Education 41 2.4.2 Local Practices in Taiwan 47 2.4.3 Synthesis and Identification of Research Gap 52 CHAPTER 3 Methodology 55 3.1 Research Context and Participants 55 3.1.1 Participant Selection and Purposive Sampling Criteria 56 3.2 Action Research Design 58 3.2.1 Phase One: Peter and the Wolf (2023) 58 3.2.2 Phase Two: The Boy and the Heron (2025) 60 3.3 Data Collection and Sources 64 3.3.1 Investigation of Musical-Academic Connections (Objective 1) 65 3.3.2 Assessment of Intervention Effectiveness (Objective 2) 67 3.3.3 Expert Consultation on Module Design (Objective 3) 70 CHAPTER 4 Findings and Analysis 72 4.1 Mapping Conceptual and Pedagogical Patterns 73 4.1.1 Thematic Mapping of Musical Elements Across Academic Domains 73 4.1.2 Pedagogical Strategies and Curriculum Practices in Cross-Disciplinary Music Integration 84 4.2 Evaluating Learner Engagement and Pedagogical Impact 87 4.2.1 Phase One: Peter and the Wolf (2023) 88 4.2.1.1 Student Learning Background Context 88 4.2.1.2 Student Artifacts and Learning Dialogues 91 4.2.1.3 Post-Performance Evaluations and Reflections from Experts, Students and Parents 107 4.2.1.4 Cross-Disciplinary Effects Synthesis from Post-Performance Reflective Forum 121 4.2.2 Phase Two: The Boy and the Heron (2025) 126 4.2.2.1 Pre-course Parental Expectations and Cross-arts Readiness 126 4.2.2.2 Students’ Learning Journey Log 133 4.2.2.3 Teacher-Researcher: Participatory Observation Journal 140 4.2.2.4 Final Cross-Arts Outputs and Interpretive Insights 148 4.3 Toward a Cross-Disciplinary Music Instruction System 178 4.3.1 Design in Action: The Instructional Module 179 4.3.2 Expert Consultation Scope 186 4.3.3 Expert Feedback and Recommendations 188 CHAPTER 5 : Discussion and Conclusion 192 5.1 Discussion: Integrative Interpretation across Research Questions 193 5.2 Implication for Practice 196 5.3 Research Contribution 197 5.4 Research Limitation and Suggestions for Future Research 201 REFERENCES 203 Appendix A Peter and the Wolf 216 A.1 Pre-course Interview Questions 216 A.1.1 Amy’s Parent Transcript 216 A.1.2 Ally’s Parent Transcript 217 A.1.3 Betty’s Parent Transcript 218 A.1.4 Coco’s Parent Transcript 219 A.1.5 Denise’s Parent Transcript 220 A.1.6 Eric’s Parent Transcript 221 A.2 Performance Assessments Outcome from Experts 223 A.2.1 Expert A Evaluation Sheet 223 A.2.2 Expert B Evaluation Sheet 226 A.2.3 Expert Evaluation & Feedback Consent Form 230 A.3 Survey Responses from Students and Parents on “Peter and the Wolf” Course 231 A.3.1 Students’ Questionnaire Responses 231 A.3.2 Parents’ Questionnaire Responses 233 A.4 Post-Performance Reflective Forum 236 A.5 Parent Consent Form for Student Participation in Action Research 238 Appendix B The Boy and the Heron 241 B.1 Pre-course Interview Questions 241 B.1.1 Result of Interviewee BB’s Mother 242 B.1.2 Result of Interviewee JJ’s Mother 244 B.1.3 Result of Interviewee NN’s Mother 246 B.2 Students’ Self-Discovery and Reflective Sheet 248 B.2.1 Student BB 248 B.2.2 Student JJ 250 B.2.3 Student NN 252 B.3 Participatory Observation Form 254 B.3.1 Pre-Selection Teaching Observation Records (Week 1-4) 254 B.3.2 Post-Selection Teaching Observation Records (Week 5-12) 257 B.3.2.1 BB: A Girl of Fire 257 B.3.2.2 JJ: Ask Me Why 262 B.3.2.3 NN: Ask Me Why 266 B.4 Post-course Interview Questions 271 B.4.1 BB’s Parent Transcript 271 B.4.2 JJ’s Parent Transcript 273 B.4.3 NN’s Parent Transcript 275 Appendix C Expert Interview For MusicX Module 277 C.1 Expert Interview Protocol for Module Evaluation 277 C.1.2 Expert Interview Consent Form 278 C.1.3 Expert Interview Transcript 279 C.2 Parameter Correspondence Table for Cross-Disciplinary Instruction (Bilingual Version) 283 C.3 The MusicX Module for Instrumental Teachers’ Interface (Bilingual Version) 284

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