4、請根據 Beukelman & Mirenda 於 1992 年所提出之 Milieu Teaching 中，說 明最常使用的三種教學程序。（10%）

三、視覺障礙學生在練習定向技巧時，如何運用並整合五個認知步驟？並請舉例 說明之。（20％）

1、請說明記憶的「初始效應(primacy effect)」和「時近效應(recency effect)」。 （10%）

2、請說明「適應體育(adapted physical education)」的意義。（10%）

3、請解釋何謂 transdisciplinary model。（10%）

1、此作品是屬於甚麼曲式。（3％）

2、請分段說明其調性。（5％）

3、此作品之每一樂段、樂句之終止式為何？（4％）

4、請分析 Trio 的和聲（可用鉛筆直接在譜上作答）。（8％）

二、請閱讀以下期刊摘要，說明其所使用之研究方法並評論其是否合宜？（30％） We studied music majors’ perception of intonation in accompanied solo performances of trumpet, violin, and voice. We were interested in whether listeners would judge pitch deviations of equal magnitude in the three solo performances as equivalent in intonation. Participants were 150 graduate and undergraduate music majors drawn from two large music schools and included 50 students representing each of the following areas of applied music study: voice, wind instruments, and string instruments. Listeners heard solo trumpet, violin, and soprano performances of Ave Maria (Bach/Gounod) accompanied by piano. Pitch performances of the soloists were altered in four sections of the excerpt and deviated in either the sharp or flat direction within a section by 0, 10, 20, and 30 cents relative to the accompaniment. Listeners judged pitch deviations in the flat direction as more out of tune for the trumpet than equivalent alterations of violin and voice, especially for magnitudes of 20 and 30 cents. In sharp direction changes, violin and trumpet were heard similarly and as more out of tune than the vocal soloist. Additionally, differences in pitch judgments were found between listener groups representing different areas of applied study.

三、試以辨識學習(discrimination learning)教學策略，以音調型(tonal patterns)練習 與複習舊歌之方式，設計五年級學生學習 D 大調與 d 小調（15 分鐘）之教 學。（30％）