Analysis and induction of cross-field aesthetic education courses and integrated implementation of music
Project co-host Professor Lin Xiaoyu, Department of Music, Taipei City University
1. Introduction
The cross-field aesthetic education excellence pilot project has been divided into three phases since the 103rd year of the Republic of China, which are the first development phase, the second intensive cultivation phase, and the third promotion phase. The plan entered the third phase in 108 of the Republic of China, with a three-year three-phase work process. Based on the first and second phases, it developed "108 years of publicity and training-109 years of effectiveness evaluation-110 years of exchange expansion-110 years of exchange expansion" "Propaganda" plan implementation direction (Zhao Huiling et al., 2021: 6-7).
The project has accumulated results over the years, and the third phase has entered a harvest season for summarizing the development of the curriculum based on the past implementation process and results. In particular, great achievements have been made in the creation of curriculum modules and the classification of cross-field aesthetic course types, but there are also Discover the problems and challenges encountered in curriculum development.
two,The planned harvest
(1) Creation of course modules
One of the goals and highlights of the third phase is the development of cross-field aesthetic course modules. At the beginning of the implementation of the plan, an open attitude was adopted regarding what a cross-field aesthetic course should look like, allowing each school to have great space to carry out their own cross-field course experiments in response to the school's philosophy and teaching culture. As a result, the curriculum development teams of participating schools were able to explore and develop on their own within a small framework. Although a hundred flowers bloom, each has its own beauty, the school also expressed its hope that the plan can provide clearer guidance on cross-field curriculum development standards.
In order to guide the direction of the development of cross-field beauty courses and shape the theoretical nature of the project results, this project creates a unique course module, which defines the "cross-field beauty course module". The module is composed of components and forms an organic course format. A "module" is a special-purpose component composed of several components with different functions. Therefore, the course module contains several course components with different teaching functions. After selection and combination, a course plan with unique teaching objectives can be formed, and the continuous course plan forms a teaching system.
Secondly, the components and highlights of the cross-field aesthetic course module are clarified, including 1. Cross-field connotation: According to the course objectives and course type, the knowledge (ability) connotation of art and non-art subjects/fields is selected. 2. Aesthetic elements and aesthetic forms: The aesthetic elements of music such as rhythm, melody, timbre, intensity, texture, form, etc.; the aesthetic elements such as balance, harmony, contrast, gradient, proportion, rhythm, rhythm, repetition, etc. 3. Cross-field aesthetic literacy: Based on the course objectives, choose cross-field aesthetic literacy, such as aesthetic thinking, awareness and reflection, artistic participation and social action, etc. 4. Cross-field core competencies: Based on the curriculum objectives, select the corresponding core competencies in the art field and cross-field/subject core competencies from the 12-year national basic education syllabus for each field. 5. Cross-field aesthetic course structure: Based on the course goals, it is composed of course sub-components with cross-field aesthetic characteristics, including course goals, teaching material content, teaching activities, teaching strategies, teaching resources, learning assessment, etc. (Zhao Huiling et al., 2020).
The creation of the course module brings theoretical incentives to the implementation of the plan. Through its myriad phenomena in the case of "A Hundred Flowers Blooming", it forms a guide for the development of cross-field aesthetic courses in our country. With the cross-field aesthetic course module, it not only provides guidelines for planning school curriculum creation, but also maintains direction in the flexibility and leads the diversity of characteristics in the framework, promotes the growth of professional knowledge of teachers in the teaching team, and gradually expands to The integration of teaching resources in various disciplines allows students to have access to more comprehensive and complete knowledge and experience, making aesthetic education pervasive and ubiquitous in students' lives (Zhao Huiling et al., 2021a: 6), forming the fruitful results of this project.
(two) Cross-field aesthetic course types
From hundreds of course cases, this plan summarizes five course types: 1. Activation courses: apply art knowledge, strategies, resources and activities to assist and activate the teaching of other non-art subjects. 2. Intersecting courses: Gather the knowledge structure or aesthetic commonality at the intersection of other disciplines and the art field to develop integrated courses. 3. Issue-based courses: Examine the relationship between the art field and society, culture, environment and ecology, and develop multi-cultural and other issue-based courses that include different disciplines. 4. School-based courses: With school-based courses as the main axis, we develop school-based courses, special courses, flexible courses, theme courses, community courses, etc. in different disciplines. 5. Window-based courses: In the form of other non-school courses, such as cross-field aesthetic day reading, etc., activities such as expression, appreciation, and practice focusing on local art and cultural activities, environmental ecology, media characteristics, international visits, etc. are carried out style courses (Zhao Huiling et al., 2021b).
The analysis of the above five types of courses is of great significance because it is the result of summarizing hundreds of cross-field aesthetic education course cases. It is unique to this project, rooted in Taiwan’s educational environment, and obtained through actual implementation. The findings are enough to become a reference trend for individuals or teams interested in cross-field curriculum development, thereby touching on the diverse perspectives of curriculum development and pressing a feasible start button for each curriculum design.
3. Project Challenges: Phenomenon and Problems Reflected in Curriculum Review Opinions
After receiving the curriculum examples developed by each school, this project will send the internal and external committee members of the project to review them based on the indicators established by the project, and provide quantitative and qualitative feedback. The review committee members strongly affirmed the curriculum innovation achievements of each cooperative school, but the plan also summarized the areas that the committee members mentioned need to be improved (Zhao Huiling et al., 2021a: 201-202):
(one)Curriculum
The internal and external curriculum case review committee's suggestions for curriculum improvements include: 1. Strengthening the connection between subjects and art subjects; 2. Showing more teaching and learning results, and the teaching and reflection process prepared by teachers; 3. Structure It should be more systematic and have a deeper connection with the unified theme; 4. For students at different stages, it can match different learning focuses.
(two)teaching aspect
The internal and external course case review committee's suggestions for improvements in teaching include 1. Explaining the co-preparation and collaboration methods of the teacher team; 2. The connotation of aesthetic course learning should be strengthened; 3. The relevance of activities and comprehensive activities can be strengthened ; 4. It can improve the correspondence between teaching material content and teaching activities.
(three)Evaluation area
The internal and external course case review committee's suggestions for improvements in assessment include: 1. Assessment should correspond to the course objectives; 2. Assessment methods, timing of use and how to implement them can be explained more clearly; 3. Regarding student learning, The implementation strategies and standards of assessment should be further strengthened; 4. The teacher team can evaluate and review the specific performance of the course after class.
(Four)Promotional area
The internal and external course case review committee's suggestions for improvements in promotion include 1. When citing unique off-campus resources, it may be difficult for schools in other regions to copy; 2. The course content should be presented completely to facilitate promotion; 3. It is appropriate to strengthen students Present feedback with parents; 4. Who should be considered for promotion? How to promote? It will contribute to mutual transformation thinking in more disciplines.
From the above, it can be seen that the review committee members strongly affirmed the efforts of the cooperative schools to develop innovative curriculum cases, and also raised high expectations: in the curriculum, they encourage better connections between academic subjects and art subjects, and pay attention to the integration of curriculum at different stages. Differentiation and systematicity; in teaching, it is reminded not to weaken the connotation of aesthetic course learning, and the teacher team's preparation and collaboration methods should be detailed to facilitate the inheritance and sharing of experience; in assessment, pay attention to the connection between assessment and curriculum and The use of assessment results also mentions professional assessment requirements such as rationalization of assessment timing; in promotion, it is encouraged to target promotion targets and clarify the purpose of promotion, and present course materials truthfully and in detail to facilitate promotion. I believe that if we carefully examine and reflect on these review opinions, we will be able to avoid common blind spots in cross-field curriculum design and create examples that are in line with the spirit of the times, social expectations, and student experience.
Four , Observations and suggestions on the development of cross-field aesthetic courses
Based on the author’s observations while participating in the project, the following are some suggestions to help with cross-field curriculum development:
(1) Factors spanning time
Most cross-field courses are developed by a team of school teachers. Because they involve cooperation between art and non-art subject teachers, the conditions for the success of cross-field courses such as joint lesson preparation are greatly limited by the time factor. Therefore, it is even more important how the school arranges joint lesson preparation time and how the teacher team finds time and space where they can discuss together. Once the time factor is overcome and there is more time for mutual discussion and brainstorming, the finished product of the course is often amazing.
(2) Curriculum development starts with care and caution
Once the curriculum structure is determined, the teaching direction will take shape and will not be easy to change. Just as learning begins with caution, curriculum development must also begin with caution. That is, before the course topics and teaching materials are finalized, there should be sufficient time for brainstorming to find the best cross-field course path among various possibilities; especially We should carefully consider the connection and systematization of art field courses and academic courses, and construct meaningful connections between the two types of subjects. This will surely benefit students, inspire the community, and give back to the local area.
(3) Early development of assessment tools
Assessment issues are a constant concern raised by the teaching plan review committee members. Some of the reasons are that courses in the arts field and subject courses have different concepts of assessment; some are that the positioning of assessment has been ignored in the course development process, so that the assessment link has been neglected. Ignore or pass by hastily. Although curriculum development is not ultimately based on the evaluation of students' performance, arranging appropriate evaluation mechanisms can not only help teachers collect learning results to facilitate curriculum revision, but also stimulate students' learning motivation and focus on learning goals. Therefore, the development of assessment tools should be planned early to avoid being ignored or hastily passed up due to failure to deploy in advance.
(4) Make good use of existing resources and think about optimization trends
This project has currently accumulated more than 900 course examples, many of which are high-quality and inspiring. It also provides different conditions for filtering courses. You can easily click on the learning stage, art field, subject area, and cross-field courses on the website. Type, cross-field aesthetic literacy, core literacy in the art field, cross-field aesthetic course goals(https://www.inarts.world/courses/)Wait to find the developed examples under the set search conditions. It is recommended that you make more use of existing resources and make good use of existing resources. However, if you think about the optimization direction according to the teaching ecology of each school, you can find new opportunities for innovation in the footsteps of your predecessors.
five,An integrated perspective of music in cross-disciplinary courses
Over the years since this project has been implemented, we have been facing a phenomenon: among art disciplines, visual arts account for the majority of curriculum development cases, while music and performing arts-related course cases are relatively rare. This article analyzes the SWOT status of music in cross-field courses and proposes possible directions for integrating music into cross-field courses. We look forward to the development of more music-related cross-field courses so that the unique auditory artistic beauty of music can be integrated into cross-field courses. , enrich students’ aesthetic experience and learning experience.
(1) The role of music in cross-field curriculum developmentSWOTanalyze
The author proposes a SWOT analysis of music in cross-field curriculum development, hoping to help those who are interested in participating in cross-field curriculum design and implementation understand the advantages, disadvantages, opportunities and threats of music in cross-field curriculum development, and recognize the advantages and analyze the disadvantages. Seize opportunities and neutralize threats.
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S (strength) * Auditory art has the power of rendering, and its integration into the curriculum can arouse learning motivation. *The teaching materials are diverse, can connect different eras and regions, and are easily connected with students' lives. *Easy to integrate learning goals such as cognition, emotion and skills, as well as learning aspects such as performance, appreciation and practice. *Onsite teachers mostly have music expertise and are irreplaceable. |
W (weakness) *Compared with visual arts and performing arts, the symbolic representation threshold that needs to be overcome in teaching material categories such as music score recognition is higher. *Music teachers are often tasked with guiding music teams to participate in competitions or present results, etc., which puts them under great time pressure. *Problems in the teaching field, such as the relatively time-consuming nature of music evaluation, need to be overcome. * Due to their insistence on music professionalism, music teachers may be less willing to collaborate with others on cross-disciplinary courses. |
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O (opportunity) *The requirements of the 12-year national education for the implementation of cross-field courses and the promotion of commissioned projects such as the Cross-field Aesthetic Education Excellence Pilot Plan have become incentives for the implementation of cross-field courses. *Under the declining birthrate, schools have created an atmosphere in which they strive to reform their curriculum to attract students. *The development of teachers’ professional communities is conducive to the formation and operation of joint preparation mechanisms. *The advancement of science and technology has promoted the humanization and integration of music teaching, providing assistance in cross-domain courses. |
T (threat) *We still hear from time to time the social concept that music is not a subject and requires time investment, which affects schoolwork, etc. *There are many small schools, and teachers in these schools often have to hold multiple positions and are faced with the situation that there are only a few people who can work together. *Non-music-specialized teaching teachers are less confident or even avoid adopting music subjects in cross-disciplinary courses. *Even if music is included in cross-disciplinary courses, music is often used as a teaching tool for each subject and the essence of the subject is weakened. |
(2) The particularity of music
As an art and a subject of school education, music can be skillfully integrated into cross-disciplinary courses if its characteristics can be mastered.
- Auditory art: music is related to sound, from the production, conduction, reception and formation of music to the receiver's feelings, perceptions, cognitions, emotions, etc., and is related to concepts such as sound waves, feelings, analysis, and emotional reactions. , which can be combined with subjects or fields such as physics, comprehensive studies, social studies, and Chinese language.
- Time art: Music is about time, especially rhythm-related concepts - such as basic beat, meter, duration, rhythmic pattern, tempo, which are closely connected with the sense of time, so It is closely connected with concepts such as integers, fractions, and cycles related to numbers, and can be consistent with the principles of repetition and comparison in mathematics, biology, and other artistic fields.
- Performing arts: The presentation of music is related to the stage and presentation, so Jufan can be linked to stage backgrounds, props, characters, body parts, typhoons, and viewing etiquette, and can be combined with comprehensive, school-based courses, performing arts, visual arts and other subjects, fields, or Integration of school activities.
- Organized art: The organization of music is diverse, regular and changeable, and can be connected with the aesthetic principles of various disciplines; but it also has a modern sense of improvisational music, which can be combined with concepts such as mathematical probability, permutation and combination.
- There are many aspects of art: music is both objective and subjective, both agglomeration or diffusion, emphasizing both cognition and skills as well as emotion. It includes diverse teaching materials such as musical knowledge, musicality, score recognition, singing, performance, creation, appreciation, etc., as well as people's Life, society, and culture are all inseparable, so there is a profound echo with subjects in social-related fields such as history, geography, and citizenship.
(3) How to grasp the opportunity of implementing music in cross-field courses
Based on the aforementioned SWOT analysis of music in cross-domain courses and the particularity of music, the author believes that the opportunities for the implementation of music in cross-domain courses are as follows:
- Make good use of the inherent advantages of music and weaken the inherent disadvantages of music: Each teacher has rich experience in participating in music. Through listening, feeling, association, imagination, and practice, there are many touching moments interacting with various types of music. Although musical notation is an important musical symbol, sound is also an actual auditory code. As long as you make good use of the inherent advantages of music and use simple teaching strategies such as "listening and comparison" or media integration such as "information integration", you can strengthen the meaning of music. The inherent advantages make cross-field courses more intense and warm.
- Grasp the opportunities external to music and resolve the threats external to music: At this time when cross-fields are valued and clearly listed in the curriculum, we should make good use of this opportunity. Through co-preparation of courses and other methods, we will consolidate the cross-fields within the school and establish a curriculum development team to reduce the hard work of teachers working alone. For external threats that are detrimental to music integration, such as music that is not subject to examination and requires time investment and affects schoolwork, it is appropriate to gradually resolve it through the assistance of online teaching and other skills and resources.
five, Conclusion
The cross-field aesthetic education excellence pilot project takes national aesthetic education as the goal and cross-field as a means. The connection between art field subjects and non-art field subjects has sown seeds in many campuses. It is expected that it will blossom and bear fruit in a corner of students' lives in the future, helping Students realize the value of self, the connection of knowledge, the beauty of life and the abundance of life.
This article focuses on the creation of curriculum modules in the third phase of the project and the findings and challenges in the classification of cross-field aesthetic course types. It also analyzes the SWOT of music in the development of cross-field courses and proposes how to master the integration of music in cross-field courses. opportunity.
The cross-field aesthetic education curriculum is not developed for development, but is piloted for students' comprehensive learning. We believe that behind every effort, we will reap the wonderful fruits of cross-field education in art, knowledge, life, and culture for students in the future.
