Content Analysis of the Soprano Recorder Teaching Materials in Taiwan.

• Main Author: 何榮華
• Other Authors: 林小玉
• Format: Others
• Language: zh-TW
• Published: 2007
• Online Access: http://ndltd.ncl.edu.tw/handle/21700161632019399806

碩士 === 臺北市立教育大學 === 音樂教育學系碩士班 === 95 === The purpose of this study was to analyze the contents of soprano recorder teaching materials in Taiwan. By the method of content analysis, the researcher attempted to investigate their contents and characteristics, and compare the sameness and differences among these materials between various analysis categories. The subjects of this study included 27 versions of commercially available published soprano recorder teaching materials. Based upon literature review, he researcher developed the research instrument “Content Analysis Table of Soprano Recorder Teaching Materials.” Qualitative as well as quantitative analysis was both adopted to accomplish research purposes. Conclusions of this study are as follows: Regarding the basic information, the top publishing nationality was Taiwan. Years of publishing centered around 1990 to 2000. Backgrounds of authors mostly had something to do with recorder teaching. Great differences were observed between versions in volume number, page number and price. Instructional information was found to be insufficient. The most common size was 30×21 cm2. Cover page was mostly with color while inside pages were in large black and white. Target reader was in the majority of elementary school level. Instructional methods included private teaching to group teaching. Prerequisite learning ability was set for mostly the beginners. Most of these materials proposed compiling goals. On the introduction of recorder basis, about all of them addressed recorder playing fingering. Words about the body parts of the recorders could be found in most versions. These teaching materials seldom or never covered knowledge about the recorder family or the recorder maintenance. Greater differences were identified in other aspect. When it comes to music learning activity design, music theory learning content was found to be abundant and closely related to recorder playing techniques. The appearance frequencies were of great difference between versions. The most common delivery approach of music theory was the sporadic one. Instructional design could be said to be in lack and of great similarity among versions. Preparatory exercises that most versions addressed and appeared mostly were those for tonguing, with broken-chord exercises to be the least spotted. Preparatory exercises could be found in most versions, while the number of it formed a big difference between versions. Instrumentation included least instrumental ensemble; foreign music exceeded native works in quantity. Great differences were found concerning the introduction of musical works’ origin and style. When it comes to recorder playing techniques and approaches, the posture for recorder holding was introduced mostly through words as well as pictures. The most addressed techniques included fingering, tonguing intonation, while they least covered left thumb skill. They mostly proposed tonguing intonations of du, tu, do, to. Not many versions introduced the tonguing movement. Slight difference could be observed in articulation and rhythm-tonguing learning. These materials were generally in lack of statements about finger movement and left thumb skill, as well how preparatory exercises could be used for transmitting old fingering to new fingering. Baroque fingering was favored, with the number of 16 fingering to be the majority. The beginning note is , the initially-introduced fingering notes were → → . Finger covering numbers were mostly from few to more. Greater differences between fingering sequences were spotted as lessons went by.