Author: |
張哲榕 Che-Jung, Chang |
---|---|
Thesis Title: |
學校音樂欣賞教學模式之建構與詮釋 The Construction and Interpretation of the Teaching Model for Music Appreciation Applied at Schools |
Advisor: |
吳舜文
Wu, Shun-Wen |
Degree: |
博士 Doctor |
Department: |
音樂學系 Department of Music |
Thesis Publication Year: | 2014 |
Academic Year: | 102 |
Language: | 中文 |
Number of pages: | 280 |
Keywords (in Chinese): | 音樂欣賞教學 、教學模式 、後期中等教育 、修正式德懷術 、音樂美感 、音樂行為 |
Keywords (in English): | music appreciation teaching, teaching model, post-secondary education, modified-Delphi technique, music aesthetics, music behavior |
Thesis Type: | Academic thesis/ dissertation |
Reference times: | Clicks: 246 Downloads: 38 |
Share: |
School Collection Retrieve National Library Collection Retrieve Error Report |
本研究旨在建構學校音樂欣賞教學模式,採以「修正式德懷術」為研究方法,研究者首先探討音樂欣賞教學相關文獻,並訪談教育美學、教育心理學專長之教授,以及高中音樂教師等學者專家,據以形成「學校音樂欣賞教學模式建構之調查問卷」初稿,並經由內容效度之檢驗而建立本研究實施德懷術調查之正式工具。
為使本研究之調查符合德懷術實施之規範,研究者邀請音樂教育、音樂教育美學與音樂教育心理學專長之教授各1人、普通高中音樂教師3人、職業學校及綜合高中音樂教師2人、藝術高中音樂教師1人與完全中學高中部音樂教師2人等,共11位專家參與本研究之德懷術調查。本研究問卷採五等第李克特式量表,以四分差、平均數與眾數分析各題項之趨向。經過兩次德懷術調查之實施,獲致11位專家意見之一致性,確認學校音樂欣賞教學模式及其各面向內涵,研究結論如下:
壹、 本研究建構之學校音樂欣賞教學模式其歷程包含:「確立素材組織、教學目標、評量與設備」、「首次聆聽與欣賞先備能力評估」、「各樂曲之核心概念教學」 與「學習評量與教學省思」等四項。且教學模式各歷程均包含教學步驟及其所對應之美學與心理學等三個面向,而每一面向各自具有十三項內容,總計卅九項。
貳、 本研究建構之學校音樂欣賞教學模式反映「審美教學模式」,其藉由「聆聽式的審美歷程」、「藝術作品的本質」、及「對藝術作品的聆賞回應」,分別符應原先學校音樂欣賞教學模式之「教學步驟」、「教學步驟對應之美學」與「教學步驟對應之心理學」等三個面向,其間呈現立體之交互作用與共存關係,且由前述之四項歷程漸次聚歛而完成教學,其間學生背景、音樂偏好與學校屬性等亦為教學可考量的因素。研究者並以個人為職校及綜高教師之角色,提出後期中等學校音樂欣賞教學示例,以具體詮釋所建構之學校音樂欣賞教學模式於教學實務之應用。
最後,研究者依據研究結論提出相關建議,包含音樂欣賞教學、教育行政單位、及後續研究等。
關鍵詞:音樂欣賞教學、教學模式、後期中等教育、修正式德懷術、音樂美感、音樂行為
This study aimed to constitute a teaching model for music appreciation applied at schools on the basis of the “modified Delphi technique”. With the literature on teaching music appreciation as its theoretical foundation, this study integrated opinions by interviewing professors specializing in aesthetics of education and psychology of education, as well as a senior high school music teacher. “The Delphi Questionnaire of constructing the teaching model for music appreciation applied at schools” was constructed and then modified through the content validity reviewers.
The researcher invited eleven experts as the participates of this study, including three professors representative of music education, aesthetics in music education, and psychology of music education, along with eight senior high teachers from regular, skill-based, comprehensive and specialty-based senior high schools. The quartile deviation, mean, and mode were used to analyze and clarify the tendency of items. With twice Delphi surveys, the conclusions of this study were presented as follows:
First, the teaching model for music appreciation consisted in four sequences of: “establishment of the material organization, teaching objectives, learning assessment and teaching equipments”, “assessment on the prerequisite capabilities of music appreciation via the first time music listening”, “teaching of the core concepts about music pieces”, and “ implements of learning assessment which used to reflections of the whole teaching”. Also, the teaching model for music appreciation was manifested into thirteen items each from its teaching procedure as well as the corresponding dimensions in aesthetics and psychology. There were totally 39 items deliberated in this model.
Second, illustrated as a triangular pyramid chart, the “teaching model based on aesthetic appreciation” was used to interpret the teaching model of music appreciation in this study. Within this model, the practices of “aesthetic processes focus on the listening of music”, “listening response of the art music works”, and “essence of art music works used for teaching” respectively correspond to the preliminary dimensions of the teaching procedure as well as the corresponding dimensions in psychology and aesthetics. Furthermore, being a music teacher of the skill-based senior high school, the researcher constructed some examples for teaching music appreciation at post-secondary schools in order to interpret the teaching model which was constructed in this study from practical perspectives.
Finally, based on the conclusions of this study, certain suggestions on the teaching and the future research of music appreciation in general education were proposed.
Keywords: music appreciation teaching, teaching model, post-secondary education, modified-Delphi technique, music aesthetics, music behavior
一、 中文部份
于潤洋(1992)。音樂美學史學論稿。北京:人民音樂出版社。
方銘健(1997)。藝術、音樂情感與意義。臺北市:全音樂譜出版社。
王大順(2006)。學習理論的發展及其對教學的影響。教育理論與實踐,26(11),21-23。
王文科、王智弘(2008)。教育研究法。臺北市:五南。
王雅玄(1996)。德懷術(Delphi)在課程評鑑上之應用。教育資料與研究,25,43-46。
皮達生、龐維國譯(2005)。Gagne, R. M., Briggs, L. J., & Wager, W. W.著。教學設計原理(Principles of instructional design)。上海:華東師範大學。
朱光潛(2001)。西方美學史。臺北市:頂淵。
朱敬先(1987)。教育心理學。臺北市:五南。
池增輝(1998)。高中新課程標準與教育改革。高中教育,1,66-69。
何雪玲(2008)。奧蘇貝爾認知同化學習理論對現代教學的啟示。欽州學院學報,23(1),99-102。
余民寧(1997)。有意義的學習:概念構圖之研究。臺北市:商鼎出版社。
吳世玲(1999)。生活經驗在兒童音樂概念上的理解應用(未出版之碩士論文)。國立臺灣師範大學,臺北市。
吳政達(1999)。國民小學教師評鑑指標體系建構之研究-模糊德菲術、模糊層級分析法與模糊綜合評估法之應用(未出版之博士論文)。國立政治大學,臺北市。
吳秋琴(1993)。高中音樂欣賞教學研究(未出版之碩士論文)。國立臺灣師範大學,臺北市。
吳素倩(1987)。青少年次文化之研究:臺北市青少年之價值觀類型之實證分析。輔仁學誌,19,291-332。
吳素倩(1990)。青少年文化與次文化之變遷。臺北市:文景。
吳清山(1999)。初等教育。臺北市:五南。
吳舜文(2000)。流動的意象~從音樂欣賞課程談與「海洋」主題相關之教學
規劃。美育,116,26-39。
吳雅玲(2001)。德懷術及其在課程研究上的應用。教育研究,9,297-306。
李亦園(1984)。當前青少年次文化的觀察。中國論壇,205,9-15。
李宗薇(1999)。教學設計理論與模式的評析及應用:以師院社會科教材教法為例。(未出版之碩士論文)。國立臺灣師範大學,臺北市。
李雄揮(1979)。蔡元培美感教育思想研究(未出版之碩士論文)。國立臺灣師範大學,臺北市。
周憲(2002)。美學是什麼。臺北市:揚智文化。
林于琳(2004)。律動化音樂欣賞教學對音樂美感影響之研究(未出版之碩士論文)。國立新竹教育大學,新竹市。
林小玉(1997)。二十世紀音樂與音樂欣賞教學。載於世紀末的回顧一二十世紀音樂與音樂學研討會論文集,頁111-125。臺北市:臺北市立師範學院。
林小玉(2001)。由音樂藝術之本質探討多元評量於音樂教學之意涵與實踐。音樂藝術學刊,1,61-88。
林小玉(2010)。音樂教育哲學之範疇與議題─音樂教師面對的挑戰。美育,174,5-15。
林小玉(2012)。其實我希望你懂我的心─論音樂教育心理學。美育,186,2-3。
林秀惠(2005)。檔案評量應用於高職學生音樂欣賞學習成效之研究(未出版之碩士論文)。國立臺灣師範大學,臺北市。
林其融(2005)。運用流行音樂要素導入國小高年級古典音樂欣賞之研究(未出版之碩士論文)。臺北市立教育大學,臺北市。
林逢祺(2006)。(藝術的何種知識最有價值?)述評。中等教育,57(4),146-154。
林磐聳編(2010)。全人教育百寶箱音樂卷。臺北市:國立臺灣師範大學。
邱垂堂(2003)。從音樂欣賞到藝術與人文領域的統整教學。國民教育,43(6),24-29。
紀雅真(2006)。國民中學音樂教學評量實施現況之調查研究。(未出版之碩士論文)。國立臺灣師範大學,臺北市。
姚世澤(2003)。音樂教育論述集。臺北市:偉文。
姚世澤(2003)。現代音樂教育學新論。臺北市:師大書苑。
柳一倩(2005)。批判思考教學策略應用於國小四年級音樂教學之實驗研究(未出版之碩士論文)。臺北市立教育大學,臺北市。
胡珮玟(2001)。多元文化態度與音樂偏好─以族群為面向之桃園縣國小學童調查研究(未出版之碩士論文)。國立臺灣師範大學,臺北市。
范儉民(1990)。音樂教學法。臺北市:五南。
孫晉梅(2005)。運用流行音樂提昇國小高年級音樂美感判斷力之實驗研究(未出版之碩士論文)。國立新竹教育大學,新竹市。
郝琦蕾、姜晉國(2003)。奧蘇貝爾的〝學與敎〞理論:精髓、批判及其對當前教改的啟示。杭州師範學院學報,6,113-116。
高中音樂課程(2013)。高中音樂課程暫行綱要之修訂與教材意涵探討。取自
http://ed.arte.gov.tw/uploadfile/Book/1455_sr_teach_companion2_00070024.pdf
高級工業職業學校課程標準(1964)。
高級工業職業學校課程標準(1987)。
高級中學課程標準(1971)。
高級中學課程標準(1983)。
高級中學課程標準(1995)。
高等學校學習指導要領(2003)。取自
http://www.mext.go.jp/b_menu/shuppan/sonota/990301/03122603.htm
高強華(主編)(1997)。關懷新新人類—非完全輔導與教育專輯。臺北市:國立臺灣師範大學。
教育wiki(2013)。基模。取自
http://content.edu.tw/wiki/index.php/%E5%9F%BA%E6%A8%A1(Schema)
崔光宙(1996)。音樂欣賞教學法的理論與實施。載於黃政傑主編:音樂科教學法(二)。臺北市:師大書苑。
崔光宙(2006)。壯美在音樂欣賞教學中之實施。中等教育,57(4),4-25。
張志彰(1992)。淺談青少年次文化。學生輔導通訊,20,16-18。
張春興(2002)。教育心理學(修訂版)。臺北市:東華。
張春興(2004)。教育心理學:三化取向的理論與實踐。臺北市:東華。
張哲榕、吳舜文(2011)。蓋聶之學習理論與音樂欣賞引導策略之探究─以後期中等學校音樂欣賞教學為例。在臺灣師大音樂系編,音樂『新』賞教師增能研習論文集,135-149。
張景然(1992)。青少年次文化及其病相之探討。學生輔導通訊,20,12-17。
張慈婷(1998)。批判思考在高中音樂欣賞教學之實徵研究(未出版之碩士論文)。國立臺灣師範大學,臺北市。
張德聰(1997)。青少年次文化與校園危機處理。國立空中大學社會科學系社會科學學報,4,1-26。
張蕙慧(2004)。從幾個理論觀點探討音樂教育的時代趨勢。載於鄧國雄(主編),2004音樂教育學術研討會系列一—音樂教育研究的時代趨勢與派典實例
論,4-15。
許常惠、李靜美、柯芳隆、許瑞坤(2000)。音樂欣賞。臺北:大中國圖書。
曹中保(1994)。論奧蘇伯爾認知結構同化論在教學實踐中的意義。湖北師範學院學報(哲學社會科學版),14(4),106-109。
曹惠菁(2011)。運用Ausubel學習理論協助四年級學生數學學習之行動研究(未出版之碩士論文)。國立屏東教育大學,屏東市。
梁秀玲、柯瓊榕(2007)。高中音樂教師手冊。臺北市:華興。
郭生玉(2004)。教育測驗與評量(修訂第一版)。臺北市:精華。
郭長揚(1991)。音樂美的尋求-應用音樂美學。臺北市:樂韻出版社。
陳姿光(1998)。流行音樂運用於國中音樂欣賞教學之研究(未出版之碩士論文)。國立臺灣師範大學,臺北市。
陳柏良(2004)。基於奧蘇貝爾有意義學習理論的對數涵術概念的引入教學。數學通報,4,22-23。
陳郁秀等(2000)。藝術欣賞課程教師手冊-中學音樂篇。臺北市:藝術館。
陳麗珠(1998)。臺灣省教育優先區計畫實施之評估研究:教育機會均等理念之實踐。臺中市:臺灣省政府教育廳。
彭修銀(1993)。美學範疇論。臺北市:文津。
普通高級中學必修科目「音樂」課程綱要(2008)。
普通高級中學音樂科課程綱要(2008)。
曾郁敏(1997)。國小音樂課程轉化之研究(未出版之碩士論文)。國立臺灣師範大學,臺北市。
游家政(1996)。德懷術及其在課程研究上的應用。花蓮師院學報,6,1-24。
黃光雄主編(1999)。教學原理。臺北市:師大書苑。
黃光雄(1999a)。英國國定課程評析。中華民國比較教育學會主編,各國中小學課程比較研究(379-399)。臺北市:師大書苑。
黃秀美、張渝役(1994)。從新頒國小音樂課程說起。臺灣教育,517,26-29。
黃玟瑜(2003)。多感官音樂欣賞教學與知覺學習風格對學童學習成效之影響(未出版之碩士論文)。國立臺北教育大學,臺北市。
黃炳煌(1996)。教育改革:理念策略與措施。臺北市:心理出版社。
黃迺毓(1999)。家庭教育。臺北市:五南。
黃葳威(1997)。青少年對益智節目的回饋:一個次文化的觀察。廣播與電視,3(1),45-69。
黃靜芳(2009)。音樂要素與聆賞者因素對聆賞情緒之影響研究。(未出版之博士論文)。國立臺灣師範大學,臺北市。
楊雅惠(2006)。以意象解讀高中學生音樂欣賞反應之研究。(未出版之博士論文)。國立臺灣師範大學,臺北市。
當代青年雜誌社(1992)。傳播媒體與青少年次文化。當代青年,2(1),10-15。
葉文傑(2006)。音樂經驗本質之教育學觀點-技術與實踐智關係之詮釋性研究。(未出版之博士論文)。國立政治大學,臺北市。
維基百科(2013)。哲學。取自
http://zh.wikipedia.org/wiki/%E5%93%B2%E5%AD%A6
維基百科(2013a)。美學。取自
http://zh.wikipedia.org/wiki/%E7%BE%8E%E5%AD%A6
維基百科(2013b)。心理學。取自
http://zh.wikipedia.org/wiki/%E5%BF%83%E7%90%86%E5%AD%A6
維基百科(2013c)。社會學。取自
http://zh.wikipedia.org/wiki/%E7%A4%BE%E4%BC%9A%E5%AD%A6
廖妙柔(2006)。「音畫」輔助音樂欣賞教學對國民小學四年級學生在音樂要素學習成效上之研究(未出版之碩士論文)。國立臺北教育大學,臺北市。
劉玉玲(2005)。青少年發展—危機與轉機。臺北市:揚智。
劉芳妤(2009)。台北市國民中小學音樂教師音樂欣賞教學之後設認知研究。(未出版之碩士論文)。國立臺灣師範大學,臺北市。
劉英淑(1998)。從美國The National Standards for Arts Education介紹美國音
樂教育標準。上網日期:101年3月3日。網址:
http://study.naer.edu.tw/UploadFilePath//dissertation/l015_06_0547.htm
潘宇文(2010)。合唱音樂教育工作者之哲學理念。美育,174,34-38。
蔡育昇(2005)。CézaRévész的《音樂心理學導論》中之美學思考(未出版之碩士論文)。國立臺北藝術大學,臺北市。
蔡振家(2013)。音樂認知心理學。臺北:臺大出版中心。
鄭方靖(1997)。與小豆芽共舞-從一則實例探討音樂欣賞教學策略。國教之友,49(3),18-23。
鄭儒因(2007)。國小藝術與人文學習領域教師音樂欣賞教學態度與教學策略運用之研究(未出版之碩士論文)。國立臺南大學,臺南市。
賴宜玟(2006)。臺灣前期中等教育音樂課程之內涵與修訂過程(未出版之碩士論文)。國立臺灣師範大學,臺北市。
賴美鈴(2001)。藝術與人文領域的音樂課程設計探究。國際藝術教育學會─亞洲地區學術研討會論文集,272-280。
賴美鈴(2004)。高中課程標準修訂過程。未出版之授課講義,國立臺灣師範大學音樂系。
賴慧玲譯(2002)。Gunter, M. A., Estes, T. H., Schwab, J.著。教學模式(Instruction: A models of approach)。臺北市:五南。
賴錦松(1995)。從新舊課課標準之評比與國內基礎音樂教育之檢討展望國民小學音樂教育。屏東師院學報,8,613-654。
謝苑玫(2000)。全觀而回饋豐富的音樂教學評量設計。載於台南師範學院(主編),新世紀優質學習的經營研討會論文集(頁259-278)。臺北市:教育部。
謝臥龍、駱慧文(2005)。德懷研究。載於謝臥龍主編,質性研究(頁317-382)。台北:心理。
韓亞梅(2008)。奧蘇貝爾學習教學理論及其對教學實踐的啟示。陜西廣播電視大學學報,10(3),29-32。
簡茂發、劉湘川(1993)。電腦會議式大慧法及其在教育上之應用。資訊與教育雜誌,35,6-11。
職業學校一般科目課程標準暨設備標準(1998)。
職業學校群科課程綱要-一般科目(2009)。
顧宏偉(2008)。奧蘇貝爾有意義學習理論對高中化學教學的啟示。現代教育科學,2008(6),115-116。
Armstrong, T.(1997)。經營多元智慧。李平譯(1997)。臺北市:遠流出版公司。(原書出版年:1994年)
Gunter, M. A., Estes, T. H., & Schwab, J。教學模式。賴慧玲譯(2002)。臺北市:
五南圖書。(原書出版年:1998年)
二、 外文部份
Abeles, H. F. (1980). Responses to music. In D. A. Hodges (Ed.), Handbook of music psychology (pp. 105-140). Lawrence, KS: National Association for Music Therapy.
Abeles, H. F., Hoffer, C. R., & Klotman, R. H. (1984). Foundations of music education. New York: Schirmer Books.
Abeles, H. F., Hoffer, C. R., & Klotman, R. H. (1995). Foundations of music education (2nd ed.). New York: Schirmer Books.
Abril, C. R., & Flowers, P. J. (2007). Attention, preference, and identity in music listening by middle school students of different linguistic backgrounds. Journal of Research in Music Education, 55(3), 204-219.
Abril, C. R. (2005). Multicultural dimensions and their effect on children's responses to pop songs performed in various languages. Bulletin of the Council for Research in Music Education, 165, 37-52.
Adler, M., & Ziglio, E. (1996). Gazing into the Oracle: The Delphi Method and Its
Application to Social Policy and Public Health. London, Jessica Kingsley Publishers.
Apel, W. (1969). Harvard dictionary of music (2nd ed.). Cambridge, MA: Belknap Press.
Aronoff, F. W. (1969). Music and Young Children. New York: Holt, Rinehart and Winston.
Ausubel, D. P., & Fitzgerald, D. (1961). The role of discriminability in meaningful verbal learning and retention. Journal of Educational Psychology, 52, 266-274.
Ausubel, D. P., & Yourself, M. (1963). The role of discriminability in meaningful parallel learning. Journal of Educational Psychology, 54, 331-336.
Ausubel, D. P. (1960). The use of advance organizers in the learning and retention of meaningful verbal material. Journal of Educational Psychology, 51, 267-272.
Ausubel, D. P. (1963). The psychology of meaningful verbal learning. New York: Grune & Stratton.
Ausubel, D. P. (1968). Educational psychology: A cognitive view. New York: Holt, Rinehart & Winston.
Ausubel, D. P. (1978). In defense of verbal learning. Educational theory, XI, 15-25.
Barrett, J. R., McCoy, C. W., & Veblen, K. K. (1997). Music in the interdisciplinary
curriculum: Sound ways of knowing, New York:Schirmer Books.
Bartlett, D. L. (1996). Physiological responses to music and sound Stimuli. In D.A. Hodges (Ed.), Handbook of music psychology (2nd ed.) (pp. 343-385). San Antonio, TX: IMR Press.
Benjamin, W. E. (1984). A theory of musical meter. Music perception, 1, 355-413.
Berlyne, D. E. (Ed.). (1974). Studies in the new experimental aesthetics: Steps toward an objective psychology of aesthetic appreciation. New York: Halsted Press.
Beyer, L. E., & Apple, M. W. (1998). The curriculum: Problem, politics, and possibilities. Albany, New York: State University of New York Press.
Bloom, B. S. (1956). Taxonomy of educational objectives : the classification of educational goals. Handbook 1: Cognitive domain. New York : David Mckay.
Bloom, B. S., Engelhart, M. D., Furst, E. J., Hill, W. H., & Krathwohl, D. R. (Eds.) (1964). Taxonomy of educational objectives: The classification of educational goals. (Handbook Ⅱ: affective domain). New York: David McKay.
Brake, M. (1985). Comparative youth culture. London: Routledge & Kegan Paul.
Brittin, R. V. (2000). Children's preference for sequenced accompaniments: The influence of style and perceived tempo. Journal of Research in Music Education, 48(3), 237-248.
Bronowski, J. (1978). The visionary eye. Cambridge: M. I. T. Press.
Brophy, T. S. (2000). Assessing the developing child musician: A guide for general music teachers. Chicago: GIA.
Clinton, J. D. (2003). The effect of critical thinking instruction in music listening on fifth-grade students' verbal description of music (Unpublished doctoral dissertation). The University of Arizona, Arizona.
Coffman, A. R. (1949). The effects of training on rhythm discrimination and rhythmic action (Unpublished doctoral dissertation). Northwestern University: Chicago.
Conway, C. (2002). Curriculum writing in music. Music Educators Journal, 88(6), 54-59.
Couper, M. R. (1984). The Delphi technique: Characteristics and sequence model. Advances in Nursing Science, 7(1), 72-77.
Cusano, J. M. (2005). Music specialists' beliefs and practices in teaching music listening (Unpublished doctoral dissertation). Indiana University, Indiana.
Cutietta, R. A., & Stauffer, S. (2005). Listening reconsidered. In Elliott, D. J. (Ed.). Praxial music education: Reflections and dialogues. New York: Oxford University.
Dainow, E. (1977). Physical effects and motor responses to music. Journal of Research in Music Education, 25, 211-221.
Dasilva, F., Blasi, A., Deed, D. (1984). The sociology of music. Notre Dame. IN: University of Notre Dame Press.
Deutsch, D. (1999). The psychology of music (2nd ed.). San Diego, CA: Academic Press.
Dewey, J. (1934). Art as experience. New York: Capricorn Books.
Dick, W. (1996). The Dick and Carey model: Will it survive the decade? Educational Technology Research and Development, 44(3), 55-63.
Dittemore, E. (1970). An investigation of some musical capabilities of elementary school children. In E. Gordon (Ed.), Experimental research in the psychology of music (Vol. 6, pp. 1-44). IA: Iowa State University Press.
Dowling, W. J. (1973). The perception of interleaved melodies. Cognitive Psychology, 5, 322-337.
Dowling, W. J., & Harwood, D. (1986). Music cognition. Orlando, FL: Academic Press.
Eagle, C. T., Jr. (1971). Effects of existing mood and order of presentation of vocal and instrumental music on rated mood responses to that music (Unpublished doctoral dissertation). The University of Kansas, Lawrence.
Elliott, D. J. (1995). Music matters: A new philosophy of music education. New York: Oxford University Press.
Fahety, V. (1979). Continuing Social Work Education: Results of a Delphi Survey. Journal of Education for Social Work, 15(1), 12-19.
Farnsworth, P. R. (1969). The social psychology of music (2nd ed.). Ames, IA: Iowa State University Press.
Finnäs, L. (1989). How can musical preferences be modified? A research review. Bulletin of the Council for Research in Music Education, 102, 1-59.
Frega, A. L. (2000-2001). Aesthetic response to music as measured by the CRDI: A cross-cultural replication. Bulletin of the council for research in music education, 147, 61-65.
Frith, S. (1987). Towards an aesthetic of popular music. In R. Leppert and S. McClary (Eds.), Music and society (pp. 133-149). Cambridge, UK: Cambridge University Press.
Fung, C. V. (1994). Undergraduate nonmusic majors’ world music preference and multicultural attitudes. Journal of Research in Music Education, 42(1), 45-57.
Gabrielsson, A. (1982). Perception and performance of musical rhythm. In M. Clynes (Ed.). Music, mind, and brain (pp. 159-169). New York: Plenum Press.
Gabrielsson, A. (2001). Emotions in strong experiences with music. In P. N. Juslin & J. A. Sloboda (Eds.), Music and emotion: Theory and research (pp. 431-449). New York: Oxford University.
Gagne, R. M. (1968). Learning hierarchies. Educational Psychologist, 6(1), 2-9.
Gagne, R. M. (1973). Learning and instructional sequence. In Kerlinger, F. N., (Ed.) Review of research in education. Itasca, MN: F. E. Peacock.
Gagne, R. M. (1974). Essentials of learning for instruction. Hinsdale, IL: The Dryden Press.
Gagne, R. M. (1985). The conditions of learning (4th ed.). New York: Holt, Rinehart & Winston.
Gaston, E. T. (1968). Music in therapy. New York: Macmillan.
Green, L. (1997). Music, Gender, Education. Cambridge: Cambridge University Press.
Gregory, D. (1989). Using computers to measure continuous music responses. Psychomusicology, 8, 127–134.
Hamm, C., Nettl, B., & Byrnsidel, R. (1975). Contemporary music and music cultures. New Jersey: Englewood Cliffs.
Hargreaves, D. J., & North, A. C. (1999). The function of music in everyday life: Reading the social in music psychology. Psychology of Music, 27, 71-83.
Hargreaves, D. J., & North, A. C. (Eds.) (1997). The social psychology of music. Oxford, UK: Oxford University Press.
Harrell, J. G. (1986). Soundtracks, a study of auditory perception, memory, and valuation. Buffalo, NY: Prometheus Books.
Hebb, D. O. (1949). The organization of behavior. New York: Wiley.
Hevner, K. (1935). Expression in music: A discussion of experimental studies and theories. Psychological Review, 42, 186-204.
Hevner, K. (1936). Experimental studies of the elements of expression in music. American Journal of Psychology, 48, 246-268.
Holden, M. C., & Wedman, J. F. (1993). Future issues of computer-mediated communication: The results of a Delphi study. Educational Technology Research and Development, 4(1), 5-24.
Jackson, S. L. (1963). Ear and rhythm training. Music Educators Journal, 50(1), 133-135.
Jorgensen, E. R. (2003). Transforming music education. Bloomington, IN: Indiana University press.
Kaplan, M. (1990). The arts: A social perspective. Rutherford, NJ: Fairlegh Dickinson University Press.
Kellly, A. V. (1990). The national curriculum: A critical review. London: Paul Chapman.
Killian, J. N. (1990). Effect of model characteristics on musical preference of junior high students. Journal of Research in Music Education, 38, 115-123.
Kinnear, J. (1994). What science education really says about communication of science concepts. Paper presented at the annual meeting of the International Communication Association. (ERIC Document Reproduction Service No. ED-372-455)
Knieter, G. L. (1971). The nature of aesthetic experience. In Toward an aesthetic education. Washington, WA: Music Educators National Conference.
Krumhansl, C. L. (1983). Perceptual structures for tonal music. Music perception, 1, 28-62.
Krumhansl, C. L., Bharucha, J. J., & Castellano, M. A. (1982). Key distance effects on perceived harmonic structure in music. Perception & Psychophysics, 32, 96-108.
Landa, L. N. (1983). The algo-heuristic theory of instruction. In C. M. Reigeluth (Ed.), Instructional-design theories and models: An overview of their current
status. Hillsdale, NJ: Lawrence Erlbaum Associates.
Langer, S. (1953). Feeling and form: A theory of art. New York: Charles Scribner’s Sons.
Levitin, O. J. (1999). Memory for musical attributes. In P. R. Cook (Ed.), Music, cognition and computerized sound: An introduction to psychoacoustics (pp. 209-227). Cambridge, MA: MIT Press.
Lipscomb, S. D. (1996). Cognitive organization of musical sound. In D. A. Hodges (Ed.), Handbook of music psychology (2nd ed.) ( pp. 133-175). San Antonio, TX: IMR Press.
Lundin, R. W. (1967). An objective psychology of music. (2nd ed.). New York: Ronald Press.
Lundin, R. W. (1985). An objective psychology of music (3rd ed.). Malabar, Florida: R. E. Krieger.
Lychner, J. A. (1998). An empirical study concerning terminology relating to aesthetic response to music. Journal of Research in Music Education, 46(2), 303-319.
Madsen, C. K. (1997). Focus of attention and aesthetic response. Journal of Research in Music Education, 45(1), 80-89.
Madsen, C. K. (1998). Emotion versus tension in Haydn's symphony No. 104 as measured by the two-dimensional continuous response digital interface. Journal of Research in Music Education, 46(4), 546-554.
Madsen, C. K., Brittin, R. V., & Capperella-Sheldon, D. A. (1993). An empirical method for measuring the aesthetic experience to music. Journal of Research in Music Education, 41(1), 57-69.
Marguerite, M. (1996). Development of a workshop to improve adult music listening skills (Unpublished doctoral dissertation). Teachers College, Columbia University,
Mayer, R. E. (1981). The promise of cognitive psychology. New York: Freeman.
McCrary, J. (1993). Effects of listeners' and performers' race on music preferences. Journal of Research in Music Education, 41(3), 200-211.
Merriam, A. P. (1964). The anthropology of music. Northwestern University Press.
Meyer, L. B. (1956). Emotion and meaning in music. Chicago: University of Chicago Press.
Miller, R. F. (1992). Affective response. In R. Colwell (Ed.), Handbook of research on music teaching and learning (pp. 414-424). New York: Schirmer.
Morrison, S. J., & Yeh, C. S. (1999). Preference responses and use of written descriptors among music and nonmusic majors in the United States, Hong Kong, and the Republic of China. Journal of Research in Music Education, 47(1), 5-17.
Morrison, S. J. (1998). A comparison of preference responses of white and African-American students to musical versus musical/visual stimuli. Journal of Research in Music Education, 46(2), 208-222.
Murry J. W., & Hommons, J. O. (1995). Delphi: A versatile methodology for
conducting qualitative research. The Review of Higher Education, 18(4),
423-436.
Mursell, J. F. (1956). Music education, principles and programs. Morristown, NJ: Silver Burdett.
Mursell, J. L. (1937). The psychology of music. New York: W. W. Norton.
National standards for arts education(1994).
Nettl, B. (2000). An ethnomusicologist contemplates universals in musical sound and musical culture. In N. L. Wallin, B. Merker, S. Brown (Eds.), The origins of music (pp. 463-472). Cambridge, MA: MIT Press.
Ortmann, O. (1926). On the melodic relativity of tones. Psychology Monographs, 35, 1-35.
Parente, F., & Anderson-Parente, J. (1987). Delphi inquiry systems. Judgmental Forecasting, New York: John Wiley & Sons, 129-156.
Portnoy, J. & Portnoy, J. (1963). Music in the life of man. New York: Holt, Reinhart, and Winston.
Price, H. E. (1986). A proposed glossary for use in affective response literature in music. Journal of Research in Music Education, 34(3), 151-159.
Rabinowitz, M. (1988). On teaching cognitive strategies: The influence of accessibility of conceptual knowledge. Contemporary Educational Psychology, 13, 229-234.
Radocy, R. E., & Boyle, J. D. (1997). Psychological foundations of musical behavior (3rd ed.). Springfield, IL: Charles C. Thomas.
Radocy, R. E., & Boyle, J. D. (2003). Psychological foundations of musical behavior, (4th ed.). Springfield, IL: Charles C. Thomas.
Reigeluth, C. M., Leshin, C. B., & Pollock, J. P. (1992). Instructional strategies and tactics. Englewood, NJ: Educational Technology Publications.
Reimer, B. (1970). A philosophy of music education. Englewood Cliffs, NJ: Prentice Hall.
Reimer, B. (1989). A philosophy of music education (2nd ed.). Englewood Cliffs, NJ: Prentice Hall.
Reimer, B. (1997). Music education in the twenty-first century. Music Educators Jounral, 84(3), 33-38.
Reimer, B. (2003). A philosophy of music education: Advancing the vision (3rd ed.). Englewood Cliffs. NJ: Prentice Hall.
Revesz, Geza. (1970). The psychology of a musical prodigy. Connecticut: Greenwood Press.
Scherer, K. R., & Zentner, M. R. (2001). Emotional effects of music: Production rules. In P. N. Juslin & J. A. Sloboda (Eds.), Music and emotion: Theory and research (pp. 223-248). New York: Oxford University.
Schoen, M. (1940). The psychology of music. New York: Roland Press.
Schubert, E. (1996). Enjoyment of negative emotion in music: An associative network explanation. Psychology of Music, 24, 18-28.
Schuell, T. J. (1988). The role of transfer in the learning and teaching of music: A cognitive perspective. In C. Flower (Ed.), The Crane Symposium: Toward an understanding of the teaching and learning of musical performance. Potsdam: College of the State University of New York.
Schutten, M. L. (1987). Musical preferences: A new approach to investigate its structure and development. Bulletin Council of Research in Music Education, 91, 160-165.
Schwadron, A. A. (1967). Aesthetics: Dimensions for music education. Washington, DC: Music Educators National Conference.
Shehan, P. K. (1985). Transfer of preference from taught to untaught pieces of non-Western music genres. Journal of Research in Music Education, 33(3), 149-158.
Sidnell, R. (1987). The dimensions of research in music education. Bulletin Council for Research in Music Education, 90, 3-14.
Sloboda, J. A. (1985). The musical mind: The cognitive psychology of music. Oxford, UK: Clarendon Press.
Small, C. (1998). Musicing: The meanings of performing and listening. Hanover, NH: Wesleyan University Press.
Stafford, M. E., Jenckes, L. B., & Santos, S. (1997). Hispanic children's recognition of languages and perceptions about speakers of Spanish, English, and Chinese. Bilingual Research Journal, 21, 255-271.
Stubley, E. V. (1992). Philosophical foundations. In R. Colwell (Ed.), Handbook of research on music teaching and learning (pp. 3-20). New York: Schirmer.
Taetle, L., & Cutietta, R. (2002). Learning theories as roots of current musical practice and research. In Colwell, R. (Ed.) The new handbook of research in music teaching and learning. (pp. 279-298). New York: Oxford University Press.
Tait, M. J. (1992). Teaching strategies and styles. In R. Colwell (Ed.), Handbook of research on music teaching and learning (pp. 525-534). New York: Schirmer.
Terhardt, E. (1987). Gestalt principles and music perception. In W. A. Yost & C. S. Watson (Eds.). Auditory processing of complex sounds (pp. 157-166). Hillsdale, NJ: Erlbaum.
Theresa, D. M. (1998). The kinesthetic dimension of the music listening experience (Unpublished doctoral dissertation). Northwestern University: Chicago.
Young, P. T. (1973). Feeling and emotion. In B. B. Wolman (Ed.), Handbook of general psychology (pp. 749-771). Englewood Cliffs, NJ: Prentice-Hall.
Zimmerman, M. P. (1971). Musical characteristics of children. Reston, VA: Music Educators National Conference.