本研究旨在探討運用視覺與動覺輔助七年級學生聆聽「音樂元素」與「音樂風格」成效之研究，包括不同實驗組別在「音樂元素」與「音樂風格」聆聽成效的差異，與性別及課餘音樂學習經驗對於不同實驗組別在「音樂元素」與「音樂風格」聆聽成效的影響。
本研究以臺中縣快樂（化名）國中七年級學生（N=216）為對象，研究資料之蒐集與分析以量化為主、質化為輔。量化資料蒐集方面，採不等組前後測之準實驗研究設計，隨機分配該校六個班級為實驗組與控制組。其中兩班為實驗組A，兩班為實驗組B，分別接受「視覺輔助」與「動覺輔助」的音樂聆聽教學，另兩班則為控制組，接受「傳統」音樂聆聽教學。三組學生均在參與聆聽「音樂元素」與「音樂風格」的前測之後，進行為期六週、每週兩節、每節45分鐘的實驗教學，並於教學完畢後進行後測。所得資料則以「組別與性別」、「組別與課餘音樂學習經驗」為自變數，前測分數為共變數，後測分數為依變數，進行獨立樣本二因子共變數分析。質化資料蒐集方面，以分析學生在問卷中開放性問題之回答、學生作品發表與口述學習單等資料，瞭解學生對教學的感受。
本研究之主要發現如下：
一、實驗組A對照控制組，七個音樂元素中，以「力度」、「節奏」與「織體」成效較為明顯。在音樂風格方面的成效上，四個音樂風格以「巴洛克」、「古典」、「浪漫」與「現代」均有明顯成效。
二、實驗組B對照控制組，在音樂元素的成效，七個音樂元素以「節奏」與「織體」成效較為明顯。在音樂風格方面的成效上，四個音樂風格以「巴洛克」、「古典」、「浪漫」與「現代」均有明顯成效。
三、性別與實驗組於「巴洛克」與「現代」音樂風格的成效有明顯的交互作用。
四、課餘音樂學習經驗與實驗組於「曲式」音樂元素的成效有明顯的交互作用。
五、在「音樂聆聽地圖」的繪製方面，大部分的研究對象能在表現樂曲中音樂元素特色時，呈現「非正式之圖像記譜」與「類比圖像」；聆聽樂曲之擷取時間以半分鐘左右的效果最佳；一人獨自完成一件作品，可避免分組易因某些個人主導，導致其他人無法真正參與的失衡狀態；呈現音樂元素最佳的是「曲調」與「節奏」兩項，其次依序為「力度」、「織體」、「和聲」、「音色」與「曲式」；繪製達到「充實」、「善於表現」程度的音樂風格，由高至低依序為「現代」、「浪漫」、「古典」與「巴洛克」。
六、在「音樂肢體創作」的設計方面，大部分的研究對象能在表現樂曲中音樂元素特色時，呈現「非正式之圖像記譜」與「喚起情感」；聆聽樂曲之擷取時間以半分鐘左右的效果最佳；多人合力完成肢體動作的規劃，可避免音樂元素不易於肢體動作上表現的限制，與學生對於運用肢體因放不開產生的退卻感；呈現音樂元素最佳的是「曲調」與「節奏」兩項，其次依序為「力度」、「織體」、「和聲」、「音色」與「曲式」；設計達到「充實」、「善於表現」程度的音樂風格，由高至低依序為「現代」、「浪漫」、「古典」與「巴洛克」。
七、實驗組有七成以上的研究對象對本教學抱持正面肯定態度，表示樂於接受此課程，認為不僅能幫助他們理解音樂元素與音樂風格，並且能啟發他們學習的興趣與後續學習。
最後，根據研究結果，研究者分別對「教材發展」與「未來研究」提出建議，以作為音樂聆聽教學及未來相關研究之參考。

This study aims to explore the effect of applying visual and kinesthetic aids on listening musical elements and styles in seventh graders, including the effect differences in listening to musical elements and styles, and the effect differences among different groups, gender, and extra-music learning experiences.
The subjects were seventh graders (N=216) chosen from Happy Junior High School (pseudonym).The collection of this research is principally quantitative in its nature, supported with qualitative methods. Regarding the quantitative data-collection, a quasi-experiment with nonequivalent pretest-posttest was conducted. Six classes within this school were randomly assigned as experimental and control groups. Two of the six as experimental group A, received listening teaching of “visual aids”, another two as experimental group B, received listening teaching of “kinesthetic aids”, and the other two classes as control groups, received “traditional” music listening teaching. After taking pre-tests of both “musical elements” and “musical styles”, the three groups received 6 weeks instruction, a total of 12 periods of 45 minutes, two periods per week. After the instruction was completed, the three groups took a post-test. The collected data was analyzed by two-way ANCOVA of independent samples, using “group and gender” as well as “group and extra-music learning experiences” as the independent variables, scores of pre-test as covariance, and scores of post-test as the dependent variables. As for the qualitative information, students’ perceptions of their treatment were collected via analysis of open-ended questions in questionnaires, presentation of their accomplishments, and oral interpretation of worksheets.
The major findings of this study are as follows:
1. The experimental group A showed a more significant effect than that of the control group in three of seven musical elements, “dynamic,” “rhythm” and “texture.” As for the four musical styles, “Baroque,” “Classic,” “Romantic” and “Modern,” the study revealed an evident effect.
2. The experimental group B showed a more significant effect than that of the control group in two of the seven musical elements, “rhythm” and “texture.” As for the four musical styles, “Baroque,” “Classic,” “Romantic” and “Modern,” the study revealed an evident effect.
3. The interactive effects between the gender and experimental groups on the “Baroque” and “Modern” musical styles were significant.
4. The interactive effect between the extra-music learning experiences and experimental groups in the musical elements, “form” was significant.
5. In drawing a “musical listening map,” the majority of subjects were able to display features of the musical elements with “non-formal graphical music notation” and “analog image.” The best clip time for music listening was around half a minute. A single participant who may complete a musical map, thereby avoiding other students, could lead the whole group in group work, which makes participation unbalanced for most of other group members. The best depicted musical elements were “melody” and “rhythm,” followed by “dynamic,” “texture,” “harmony,” “color” and “form.” The richness and expressiveness achieved in musical styles is “Modern,” “Romantic,” “Classic,” and “Baroque,” from the highest to lowest respectively.
6. In designing of “creative physical movement,” most participants were able to present the features of musical elements with “non-formal graphical music notation” and “evocation.” The group work for cooperation in physical action avoided the limitation of body performance in musical elements as well as unconscious body movement. The best clip time for music listening was around half a minute. The best depicted musical elements were “melody” and “rhythm,” followed by “dynamic,” “texture,” “harmony,” “color” and “form.” The musical styles depicted reaching levels of richness and expressiveness were “Modern,” “Romantic,” “Classic,” and “Baroque,” from highest to lowest respectively.
7. Over 70% of participants in experimental groups held a positive attitude towards the instruction, and felt glad to accept it. They thought it not only benefitted them in understanding the musical elements and styles, but also found it enlightened their learning interest as well as follow-up study.
Finally, based on the research results, suggestions on “teaching materials development” and “future research” were proposed as references to music listening teaching and future studies.

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