教材內涵之探討

本節依據本研究之待答問題，將作者與譯者之受訪結果分為三部分歸納與詮釋，依 序為創作或翻譯教材之背景，編選或翻譯教材之內容，對教材在教學應用之看法，以探 討《羅琳鋼琴藝術家教學法》之內涵。

壹、 創作或翻譯教材之背景

第一部分依據本研究之訪談問題，先呈現作者、譯者在創作或翻譯教材之背景的受 訪結果，再綜合兩者之受訪內容加以詮釋。

一、 作者創作教材之背景

（一） 教材理念─技巧與藝術的融合

羅琳女士的信念即教材之核心概念─鋼琴演奏者如具備肢體運用的彈奏方法，

將有助於在實現音樂詮釋的同時保持肢體放鬆。羅琳女士深信發展此種彈奏方法將 可使技巧與藝術融合，產生富有表情的音樂。

The key concept that is at the heart of my Pathways to Artistry series is my strongly held belief that for all pianists - students (of all levels) and professionals – having an informed physical approach will help all of us realize our musical goals and at the same time stay physically relaxed. I believe that the understanding and development of physical skills can lead to the fusion of technique and artistry that will help make expressive and beautiful music making possible! (C/創/1-2)

（二） 教材創作─身兼多職的影響 1. 教材作曲家（pedagogical composer）：

羅琳女士為創作教材音樂之作曲家，她善於分析學習重點並考量學生有限的技 巧能力來創作樂曲。羅琳女士經常創作聽起來比實際演奏更難的作品，使學生獲得 如同大師演奏的經驗。透過羅琳女士創作並指導這些“聽起來很難”的教材曲目，學 生能從中瞭解如何分配手臂重量彈奏，進而在真正的大師名曲而非教材曲目時，他 們同樣能以肢體運用的概念演奏。

My work as a pedagogical composer has led me to be very analytical about what is important in the writing of a pedagogical piece. In my pedagogical writing I am always taking into consideration if what I am writing is accessible to a student with limited technical development. Often when I am writing for students I try to write music that sounds more difficult than it is so the student will have that very gratifying experience of sounding like a virtuoso. As I wrote and taught many pieces that “sounded hard”

but were indeed quite accessible this led to my greater understanding of how to help distribute the arm weight effectively and to then transfer that understanding to apply to when the student advances on to truly virtuosic masterworks as opposed to pedagogical music. (C/創/1-3)

羅琳女士瞭解到學生能保持好的手型姿勢是多麼重要，特別是在創作能使學生 以舒適的手型且彈奏起來如藝術大師為目標的樂曲。這種好的手型位置即是放鬆的 姿勢，而非手指間張的很大時，此姿勢有助於良好分配手臂重量以彈奏出飽滿的聲 音。羅琳女士不僅教導學生也同樣自我要求在彈奏教材曲目甚至是困難名曲時，手 型仍須維持在舒適放鬆的 5 指音型姿勢。

In all my pedagogical music, but especially in music where the goal is to have the music fit well in the hands and sound virtuosic, I have realized just how crucial it is for the student to be able to maintain a good hand position. By this I specifically mean a position where the arm weight can be distributed well. This is usually most possible when the general position of the hand is relaxed and not opened wide to help the weight of the arm to stay focused behind the key that is depressed. In the Pathways to Artistry technique books this is referred to as the perfect position. By writing 100’s of pedagogical pieces that are in comfortable hand positions, I taught myself as well as

my students how to keep their hands in comfortable positions even when playing very difficult repertoire. (C/創/1-3)

2. 實務經驗者（Clinician）：

實務經驗對於羅琳女士而言具有極大幫助。羅琳女士活躍於各地舉辦鋼琴教學 工作坊，介紹與示範肢體性的鋼琴技巧，進而更加釐清與明確化其個人的觀念。因 為許多鋼琴教師表達對於教材出版的興趣，因而促使羅琳女士致力於創作此套以技 巧為核心概念的系列教材。

In addition to my composing, my work as a clinician has helped me a great deal. In my many workshops that I have presented specifically on technique, I have explained the physicality involved in all of the many skills - many times. Explaining and demonstrating these skills to my colleagues has brought greater clarity and crystallization of my concepts. If it weren’t for the interest that many teachers expressed in my publication of Pathways to Artistry, I probably would not have endeavored into writing a series that is technique based since I was primarily known for my pedagogical composing. (C/創/1-3)

3. 教師（Teacher）：

身為鋼琴教師是羅琳女士在創作此套教材最具影響力的層面，也使她成為以 創作教材音樂為主的作曲家。這套教材系列是羅琳女士不斷探究鋼琴技巧所尋求 的答案，學生即是這些努力的動力來源。羅琳女士為使學生對技巧語彙更加瞭解與 精熟以成為更好的音樂家與藝術家。

Finally though, it is the role of teacher that has been the most influential aspect in my writing of the Pathways to Artistry series as well as my becoming a pedagogical composer. Specifically to the Pathways series, it has been my role as teacher and my desire to find answers to help my students be the best musicians they can be that has been the greatest catalyst for my constant exploration of technique. Everything that I have been able to show my students in terms of technical understanding and mastery has helped them become much better musicians and artists. (C/創/1-3)

（三） 肢體技巧為教材的核心元素

不同於一般鋼琴教材對於技巧籠統的定義，此套教材最核心的元素為習得明確 的肢體技巧，透過清楚描述的技巧內容使學生瞭解每種觸鍵形式，更能在學完《鋼

琴技巧》時，習得四種不同的斷奏語法，包括「前臂（Forearm）」、「推離（Push-off）」、

「手腕（Wrist）」、「斷連奏（Portato）」。以及各種圓滑奏線條等技巧，例如：「手腕 由下往上繞圈轉動（under-over wrist rolls）」、「手腕繞圈轉動（rolling wrist）」、「圓 規作圖般的重心轉移（compass pivots）」等，教師須提醒學生運用特定的技巧語彙 來彈奏《鋼琴曲集》。因此，教師與學生應持續意識到在詮釋樂曲時，運用特定技 巧語彙彈奏的重要性。

The Pathways to Artistry series is the only “method” that I know of that emphasizes the acquisition of specific physical skills as the most central element of the series. In the methods that I am aware of - from all publishers, physical skills are not described in depth. Generally students will be told that staccatos are short and legato is smooth and this is the extent of the description. In my series, each technique is described in depth - both to what the sound is like that is to be produced as well as in the physical movements one makes to attain that sound. Thus - a student who has gone through level 1, 2 and 3 of my technique books knows how to produce a wide variety of staccato touches: Forearm (short and bouncy sound) Push -off(short, but with after- ring) , Wrist (gives a great individuality to each note) Portato (sticky note, gives a great character to the slightly detached sound.) Similarly, the students will have a clear understanding on how to unite notes to create a wide variety of legato shapes - such as under-over wrist rolls, rolling wrist, compass pivots, etc. Additionally, a student who uses the companion books - Repertoire and/or Masterworks is constantly reminded to employ these very specific skills. For a student who combines using the Pathways to Artistry Technique books with the Pathways to Artistry Repertoire and/or Masterwork books, the student will be reminded in every single piece to use the specific technique skills to play their piece effectively. So the student and teacher are constantly made aware of the importance of using specific physical vocabulary to attain a musical result. (C/創/2-1)

二、 譯者翻譯教材之背景

（一） 初識的機緣與共鳴

楊博士說明與作者─羅琳女士的初識機緣，因為彼此具有相似的教學理念與熱 忱而結為好友。之後，羅琳女士在一場演講中，從介紹鋼琴名曲使用之彈奏技巧，

再連結至此套教材的技巧內容，強調學生在初學階段如接觸此套教材，即可習得任

何曲目運用之技巧類型。楊博士對這場講座內容感到十分震撼，並肯定此套教材的

擔任其教材之中文翻譯工作。楊博士考量個人長年旅外生活，希望能藉著翻譯的機 會，將這套富有學習價值的教材在臺灣傳承，並對祖國有所回饋與貢獻。

大概七八年前左右，羅琳老師說她在美國到處演講，[華人]老師有些人英文不 是這麼好，可是他們還是非常希望能夠使用這套教材，所以她問我有沒有這個 興趣幫她翻譯，我本來是有點猶豫，因為我平常上課很忙所以時間也不多，可 是我非常相信這套教材的價值，它可以用到學生來幫他們解決很多的問題。我 心裡也想我出國很久了，一直沒有在臺灣有什麼具體的貢獻，我除了每年回來 會去不同學校指導大師班之外，我覺得好像自己也已經到了一個階段，想要為 臺灣留下一點什麼東西，我覺得這麼多年在美國受到這些訓練，有這麼多的經 驗在教學方面，我希望我的這個經驗能夠經過某種方法，傳承給下面這個階段 的孩子們，所以後來我想一想，我就答應她了……。(T/翻/1-2)

三、 《羅琳鋼琴藝術家教學法》之背景

（一） 以學生為中心的教材理念

作者創作此套教材之初衷是為能解決多數學生遭遇之技巧問題，此套教材以鋼琴技 巧為核心，建立學生對肢體運用之技巧語彙觀念，這些技巧訓練能使學生自初學階段即 掌握任何曲目之必備技巧類型。此套教材希望能使學生運用放鬆的肢體來發展對技巧的 理解，且有助於學生進行音樂的詮釋。

譯者身為資深鋼琴教授，在多年的教學經驗中發現學生經常遭遇手腕無法放鬆彈奏 的問題，初次接觸教材時，譯者對於其肢體運用的概念產生強烈的震撼，第一種技巧類 型─「有彈性的手腕」更使她深感共鳴，且認同此套教材能真正解決學生的技巧問題。

（二） 孕育中文版教材

羅琳女士在她所舉辦的教學工作坊，經常針對鋼琴技巧進行介紹與探討，由於與會 的鋼琴教師期盼她能將技巧觀念出版成一套教材，促使羅琳女士完成此套教材創作。之 後，由於許多華人教師使用教材的語言需求，羅琳女士遂決定發行中文版教材，並邀請 楊博士擔任此套教材之中文翻譯工作。

譯者在臺完成大學學業並赴美深造後，即長年旅居於美國並活躍於當地之鋼琴教學 與演奏領域。作者與譯者兩人為結識多年的好友，譯者在接獲翻譯邀約時，原先考量個

人因工作繁忙可能無法勝任該職，然而，由於長年旅外生活未能在臺灣有所回饋與貢獻，

希望能透過翻譯工作為臺灣盡上一己之力。譯者極為重視翻譯的工作，堅持以最高標準 要求其翻譯品質，更在出版過程肩負遠遠超過翻譯的工作，身兼校稿審訂以求最好的出 版成果，希望能將此套富有學習價值的教材在臺灣傳承，以幫助更多的鋼琴學子，可見 譯者對於翻譯工作具有教育傳承的使命感。

貳、 編選或翻譯教材之內容

第二部分依據本研究之訪談問題，先呈現作者、譯者在編選或翻譯教材之內容的受 訪結果，再綜合兩者之受訪內容加以詮釋。

一、 作者編選教材之內容

（一） 必備之基礎技巧─「有彈性的手腕」與「有力的手指」

羅琳女士基於對學生最必要且易使用的技巧類型編排與選擇教材內容，在《鋼

羅琳女士基於對學生最必要且易使用的技巧類型編排與選擇教材內容，在《鋼