A Research on Curriculum Development Model constructed for Discipline-Based Music Education

• Main Authors: Hsueh.Su-Yueh, 謝素月
• Other Authors: Ou.Yung-Sheng
• Format: Others
• Language: zh-TW
• Published: 2005
• Online Access: http://ndltd.ncl.edu.tw/handle/60042447883604153514

博士 === 國立台北師範學院 === 教育政策與管理研究所 === 93 === A Research on Curriculum Development Model constructed for Discipline-Based Music Education Abstract This research’s objective is to explore the principles and practicality of the Discipline-Based Music Education (DBME) originating from the Discipline-Based Art Education (DBAE). To accomplish this, I launched a local- friendly DBME curriculum model. This was assisted by a group of specialists, scholars and teachers in this field who worked hand in hand in an Action Research -based principal. That is, to actualize the DBME curriculum model in one music class. I then observed and collected necessary data to be analyzed and evaluated. Upon reflection, I drew the experiences and identified the research outcome in terms of its advantages and disadvantages as well as its practicality and restrictions. Last but not least, I integrated the research outcome into a DBME curriculum development that is suitable for the current primary school landscape. Suggestions for future primary school music education are also included in this thesis. They are depicted as the following: Conclusion What is the principles of Discipline-Based Music Education（DBME）? The DBME emphasizes the importance of essence and value of music. Its main aim is to help students developing their ability of understanding and recognizing the value of music. Music education should be embedded within the Common and Aesthetics education sphere. Its contents should include the following: music production, music history, music criticism, and music aesthetics. The objectives of DBME are to foster students with the skills corresponding and sharing ideas and resources when making and responding to music; to understand and recognize the essence and value of music, and finally to grasp the historical and cultural background of various musical genre. By emphasizing on concrete, rich and open-minded teaching plans along with the curriculum of continuity and sequence, teaching activities can be changed according to different teaching environments. Learners can be assessed through the process of how they give description, interpretation, judgment and thematic restoration. A localized DBME curriculum development model and its contents Curriculum Objectives 1.To provide students with opportunities to explore different musical materials in order to develop and enrich one’s perception of life through the process. 2.To encourage students listening to music from different music traditions, cultures and styles and develop the skill of analyzing and appraising what they hear. They should be acquainted with such aspects of historical or cultural background as will enable them to appreciate the music in context and be willing to participate in various musical activities. 3.To enable students to make links between what they learn from class and their personal life. It does so by introducing music in a way that students are able to expand their experiences beyond the classroom. Outlines of Curriculum This outline program of study sets out the principles of music production, music history, music criticism, and finally music aesthetics. The continuity, sequence, and integrity of each program will be emphasized to comply with the characteristic of a “Spiral Curriculum” model. “Interdisciplinary Integration” and “Postmodern Curriculum” materials will also be added. Curriculum Implementation 1.The activities within class should enable students to explore the structural, expressive, and stylistic potential of the elements of music and to be able to perform with technical control and expressive capability. These skills will be consolidated with students’ appreciation of music history and aesthetics of music. 2.Teachers should interact with students and be sensible of students’ individual needs. Musical activities should be introduced in a multiple approach whilst reflections are helpful when making future teaching plans. 3.Assessment is conducted in a multiple manner, which includes performance assessment and portfolios assessment. 4.The evaluation process includes description（check）,interpretation（feedbacks）, judgment （evaluation）and thematic（restructured）, etc. Evaluation of DBME curriculum model Advantages 1.To be able to help students understand the meaning and value of music and to establish the basic concepts of music aesthetics. 2.To be able to foster students’ analyzing skills which offer a foundation for further music appraising development. 3.To enable students’ basic music-making and responding skills. 4.To be able to encourage teachers and provide them with opportunities to develop their skills of curriculum integration. 5.To be able to maintain the completeness of the subject and give consideration to the curriculum integration at the same time. Disadvantages 1.Teachers are themselves taught in a different way in the past thus they are habitually resistant to new ideas and changes. 2.It is challenging for teachers to integrate various music-making skills illustrated in the DBME curriculum mode due to the complicated nature of composition. 3.Teachers’ ability to respond flexibly emphasized by the DBME model risks losing the key concept of the lesson. 4.The DBME theory can be incomprehensive to some teachers due to complicated theory. Practicalities 1.The DBME curriculum model is best implemented from junior classes. 2.The DBME curriculum model can be integrated into any subjects. 3.The DBME curriculum model can be integrated into other “Thematic Integration”-related subject. 4.A school-based DBME curriculum model can be experimenting in the future. Suggestion 1.On teachers: to strengthen teachers’ skills of planning a lesson and being open-minded. 2.On school : to promote the idea of “ comprehensive music education” in order to establish the step-by –step approach to curriculum reform and to achieve the goal of a “ school-based” curriculum. 3.On education-related researchers: for prospective researchers, I suggest that different research methodologies can be applied. Latest issues can also be integrated into the research of DBME curriculum development model. Therefore, the findings of the DBME model can be tailored to meet different needs. 4.On local authorities: to encourage and offer funding for DBME curriculum development model’s research and experiments. Keywords: Discipline-Based Music Education (DBME), Curriculum Development Model, Music Criticism, Curriculum praxis