五、試述多元文化音樂教育(Multicultural Music Education)的意涵？請舉例說明音樂 教師如何進行多元文化音樂教育？可能會面臨哪些挑戰？解決方法為何？ (12%)

2.第 13 小節鋼琴左手彈奏的曲調屬於何種音階？ (3%)

3.描述此曲轉調前，四次「我願……」動機的特性。(6%)

三、十二年國教藝術領域課綱中，在核心素養「系統思考與解決問題」項目的 國民小學教育階段具體內涵中揭示「認識設計思考，理解藝術實踐的意義」 （藝-E-A2）。請說明什麼是「設計思考」？並請舉例說明如何在小學音樂 課中，透過教學讓學生瞭解並體會「設計思考」。(8%)

四、請以下面的譜例（搖呀搖）編寫一節（40 分鐘）高年級的音樂教學活動教案。 教學內容必須涵蓋(1)認識 6/8 拍；(2)認識中國五聲音階；(3)使用中國五聲音 階創作。教案格式必須包括：單元目標、具體目標、教學活動、評量方式等項 目。(15%)

六、試述達克羅茲(Dalcroze)音樂教學法和奧福(Orff-Schulwerk)音樂教學法關於音樂 創作教學之主張？請擇一上述教學法設計音樂創作教學活動。(14%)

1.音樂教學法(4%)

2.差異化教學(4%)

八、請閱讀以下期刊摘要，試說明其研究目的、研究方法與研究結果。(12%)       This study extends Zimmerman’s research on children’s music conservation to adult listeners, investigating participants’ ability to conserve melody under different harmonic conditions. Specifically, I investigated whether listeners in the study could identify melody when primary, diatonic, and secondary chords were added (Task 1) and when melody was harmonized differently (Task 2).       Additionally, could they dissociate melody from harmony (Task 3)? Participants (N=80) listened to 34 pairs of examples and identified if the melody was the same or different in each pair. Results indicated that (a) listeners could conserve melody with addition of harmony regardless of harmonic conditions, (b) they could conserve melody when harmony was changed but were significantly better conserving melody when harmony was changed from primary to diatonic chords than from primary to secondary chords, and (c) they could dissociate melody from harmony but were significantly better with diatonic chords than secondary chords. As Task 3 was the reverse of Task 1, the finding that adult listeners conserved in one direction (Task 1) but not necessarily in the opposite direction (Task 3) and vice versa may suggest the existence of musical reversibility

二、問答題(10%) 以 Kruskal 演算法找出下圖之最小生成樹(Minimum Spanning Tree)，圖示建構過 程並計算此最小生成樹的權重(weight)。

三、簡答題（每題 5%，共 30%）1.十進位的 255，寫出其相對的(a)二進位寫法；(b)八進位寫法。