A Content Analysis of Piano Functional Skills in Faber’s Piano Adventure Basic Method

• Main Authors: Kuo, Yu-Fan, 郭妤凡
• Other Authors: Cheng , Fung-Ching
• Format: Others
• Language: zh-TW
• Published: 2014
• Online Access: http://ndltd.ncl.edu.tw/handle/53657610429382507806

碩士 === 國立臺南大學 === 音樂學系碩士班 === 102 === This study aims to analyze the teaching content, curriculum planning and teaching strategies of the functional skills of “Faber” piano textbook and takes Chinese version of “Faber” piano textbook issued by Tianyin Publisher in 2005 as subject, with the analysis ranging from elementary grade to the fifth grade. Research method was content analysis; the qualitative analysis was adopted to explore the teaching content, curriculum planning and teaching strategies of the functional skills of this set of piano textbook, while the quantitative analysis was supplemented to calculate the “proportion” of sight-reading, transposition, improvisation and accompaniment in this set of textbook as well as the “times” for which the teaching strategies used. After literature discussion, exploratory data analysis, expert validity and advisor’s careful thought, three major research tools were developed, including “the overall analysis table of the content analysis of Faber piano textbook”, “the category analysis table of the content analysis of Faber piano textbook” and “functional skills analysis table of Faber piano textbook”. However, in terms of reliability and validity control, expert validity, interjudge reliability and triangulation methods were adopted for detection to improve the reliability and validity of the study. The conclusions of this study are obtained as follows based on the results and findings of this study: Firstly, the four aspects of piano functional skills of “Faber piano textbook” all exist, among which “accompaniment” occupies the highest proportion(18.9%) in teaching content, followed by “sight-reading”(7.8%), “transposition”(6.1%) and “improvisation”(5.9%).  The “accompaniment” comprises five sub categories, “block chords”, “broken chords”, “Alberti pattern”, “waltz pattern”, and “others”, and the “block chords” occupies the highest proportion.  There are three sub categories of “sight-reading” including “preparatory exercise”, “simple phrases exercise”, and “others”, and the “others” occupies the highest proportion.  There are two sub categories of “transposition” including “close key”, “distant key”, and the “close key” occupies the highest proportion.  There are three sub categories of “improvisation” including “rhythmic improvisation”, “melodic improvisation”, “synthesis”, and the “melodic improvisation” occupies the highest proportion. Secondly, the curriculum planning of piano functional skills of “Faber piano textbook” depends on the overall course content and is not planned particularly and independently. Since “transposition” and “accompaniment” link on the teaching contents of tonality and harmony, the teaching process is relatively more complete. Thirdly, functional skills of each piano of the “Faber piano textbook” have diverse teaching strategies planned systematically, among which chant accounts for the most but lacks vivid rhythm.  The teaching strategies for “sight-reading” include “chanting”, “identifying intervals and melodic contour”, “writing” and “keyboard position reminding”. The “chanting” is adopted most, while “writing” and “keyboard position reminding” are lest.  The teaching strategies for “transposition” include “melody transposition”, “five finger position reminding”, “reminding the intervals structure”, “transposing the chords”, “chanting the intervals while transposing scales”, and “integrated with rhythmic pattern exercise”. The “melody transposition” is adopted most, and “chanting the intervals while transposing scales” and “integrated with rhythmic pattern exercise” are lest.  The teaching strategies for “improvisation” include “assigning the particular notes”, “assigning a subject”, “assigning rhythmic pattern”, “assigning the dynamic” “assigning particular intervals or chords”, “moving an octave higher of lower”, “assigning to apply scale or arpeggio patterns” and “ assigning a particular tonality”. The “assigning a subject” is adopted most, while “assigning the dynamic” is lest.  The teaching strategies for “accompaniment” include “chanting”, “words illustration”, “writing”, “listening and feeling”, and “questioning”. The “words illustration” is adopted most, while “listening and feeling” is lest. Finally, researchers made recommendations based on the findings in order to provide reference for piano instructors and follow-up studies.