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研究生:李盈葒
研究生(外文):Ying-Hong Li
論文名稱:口譯教學評量:與音樂表演評量之比較研究
論文名稱(外文):Conference Interpreting training Assessment: Lessons from Music Performance Assessment
指導教授:陳子瑋陳子瑋引用關係
指導教授(外文):Tze-Wei Chen
學位類別:碩士
校院名稱:國立臺灣師範大學
系所名稱:翻譯研究所
學門:人文學門
學類:翻譯學類
論文種類:學術論文
論文出版年:2009
畢業學年度:97
語文別:中文
論文頁數:135
中文關鍵詞:教學評量口譯音樂表演
外文關鍵詞:educational assessmentinterpretationmusic performance
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口譯學校的評量考試為一複雜的議題,一方面必須能夠衡量學生表現、檢視教學成效,另一方面還必須與市場接軌,採用符合專業標準的評量規準。有鑑於過去對此議題的討論為數不多,且缺乏實證研究的檢驗,本研究欲打破變以往口譯界慣用的研究習慣,改採跨領域的方式,尋找可供口譯評量參考學習的對象。

研究選定音樂表演作為對照的對象,首先就兩者的活動特質、活動概況以及活動要素逐一比較,歸納出兩者共同具有的活動基本特性,以奠定後續比較兩者評量制度的基礎。之後分別就其教學評量的研究進展作一回顧,並進行統整、分析與比較。結果顯示,口譯評量與音樂教學評量的發展過程中皆討論了類似的議題,可就評分人、評量規準、評分訓練及評分作業各面向切入。綜觀比較結果,音樂表演在各個議題層面的討論與研究皆比口譯來得豐富,本研究提出以下建議:
一、 口譯界可參考音樂評量流程模型,制定屬於口譯評量的流程模型,以全面檢視口譯評量過程中的各個影響要素。
二、 音樂評量研究中所使用的實證檢驗方式及統計工具可供口譯參考,以發展更具科學實驗精神、信效度兼具的研究方法。
三、 口譯界有關評量規準的討論似有朝音樂界模式發展的趨勢,研究人員可思索影響口譯評量的因素,是否也如同音樂表演一般,除了技術性的元素之外,個人特質或風格也占有一定的比重。
Interpreter assessment is a complicated subject faced by many interpretation training schools. On one hand, the assessment must clearly evaluate student performance and educational attainment, yet, at the same time, it must not ignore the expectations of the marketplace while actively striving to meet professional standards. However, past research into this topic has been scant and research methods lacking. As such, this present study will use an interdisciplinary approach in hopes of finding an assessment model that may be used within the context of interpreter educational training.
This study first compares two activities: musical performance and interpretation. Their respective general characteristics, performance processes, and role of agents are compared. Results show both activities share some commonalities, which serve as ground for further comparisons – regarding performance assessment. Developments in interpretation and musical performance assessments are then analyzed and compared. Results indicate that the two fields occupy common ground on several issues, from assessment judges, performance criterion, to training of judges and assessment procedures. This study also finds that research into music performance assessment has been taken to a greater depth than corresponding research in the filed of interpretation. Based on above findings, this study proposes the following suggestions for future development in interpretation assessment:
1. Based on the music performance assessment process model, an interpretation assessment model can be established. This model is comprehensive enough to take into account the many factors that might influence assessment results.
2. Research methods and statistical tools used in musical performance assessment are tools that can be used in the field of interpretation assessment in future experiments and studies.
3. Discussions concerning the selection of criterion in interpretation assessment often parallel their counterparts in the filed of music performance. Interpretation research can look into whether factors affecting assessment results are similar to that of a musical performance, i.e. whether there exists influences outside of purely technical factors – such as individual characteristics and styles – which influence judges’ perception and performance assessment.
第一章 緒論………………………………………………………..…..1
第一節 研究背景……………………………………………….….1
第二節 研究動機與對象……………………………………….….3
第三節 研究問題與目的……………………………………….….5
第四節 論文架構……………………………………………….….5
第二章 口譯與音樂表演活動之比較……………………………..…..7
第一節 活動特性……………………………………………….….7
一、無形性…………………………………………………...….8
二、不可分割性……………………………………………...….8
三、變異性…………………………………………………...….9
四、易逝性…………………………………………………...….9
第二節 口譯與音樂表演活動概述…...………………….………..9
第三節 活動三要素………………………………………..……...11
一、文本………………………………………………..……...11
(一) 傳播媒介………………………………….……..12
(二) 內容架構…………………………………….…..13
(三) 小結………………………………………….…..14
二、訊息傳遞者…………………………………………….....14
(一) 資訊處理………………………………………...16
(二) 專家表現的發展階段……………………….…..18
(三) 組成技巧……………………….………………..20
(四) 專家與新手的比較…………………….………..29
(五) 小結……….……………………………………..32
三、聽眾…………………….…………………………………33
(一) 不同聽眾族群…………………….……………..33
(二) 影響聽眾感知因素…………………….………..36
(三) 小結…………………….………………………..38
四、總結……………………..………………………………...38
第三章 口譯與音樂表演教學評量概述………………………..……39
第一節 教學評量概述……………………………………….…...39
一、教學評量分類…………………………………………….39
(一) 教學評量目的………..……………………….…39
(二) 評量者………………..…………….……………41
二、教學評量的發展……………………………..…………..43
三、實作評量……………………………..…………………..45
第二節 口譯評量……………….……………………………….47
一、口譯品質相關研究………..……………………………..47
(一) 口譯活動參與者的感知與期待…………….…..49
(二) 口譯評量規準…………………………………...55
二、口譯訓練學校之教學評量…………………………….....57
(一) 評量規準………………………….……………..58
(二) 評分人………………………….………………..61
(三) 評分訓練………………………….……………..62
(四) 評分作業………….……………………………..62
第三節 音樂評量………………….…………………………….64
一、音樂評量發展……………………..……………………..65
(一) 個別規準評量制度的內容……………………...66
(二) 針對個別規準評量制度的批評.………………..68
(三) 未來研究方向……….…………………………..71
二、音樂評量流程模型…………..…………………………...73
(一) 釐清評量目的與評量對象……………………...75
(二) 音樂與非音樂因素………………….…………..76
(三) 表演者與評分者特質……………….…………..78
(四) 評量結果的分析與利用…………….…………..79
三、小結……………..………………………………………...80
第四章 口譯評量與音樂表演評量的比較與討論………………..…83
第一節 口譯與音樂表演評分制度異同…………….………….84
一、評分人………………..…………………………………..85
二、評分規準……………………..…………………………..86
(一) 建立評量規準……………………………….…..86
(二) 整體表現評量制度與個別規準評量制度……...87
三、評分訓練….……………………………………………...89
四、評分作業與程序….………………………………………91
五、小結….…………………………………………………...93
第二節 借鏡音樂表演評量研究….…………………………….93
一、建立評量流程模型……………………………..………..93
(一) 口譯情境脈絡……………………….…………..95
(二) 語言與非語言因素………………………….…..96
(三) 口譯表現…………………………….……….….96
(四) 口譯員與評分者特質………………………..….96
(五) 評量目的…………………………..…………….97
(六) 評量規準與評量工具…………………………...97
(七) 評量過程……………………..………………….97
(八) 最終評量………………………………..……….98
(九) 資料分析………………………………..……….98
(十) 結果利用………………………………..……….98
二、研究方法………………………………..………………...99
三、活動本質與評量的關係……………………………..….100
第三節 音樂評量研究的啟示………………………..………..102
第五章 結論……………………………………………………..…..105
第一節 研究結果……………………………………………....105
一、口譯與音樂表演活動的比較……………………..……105
二、口譯與音樂表演教學評量概述……………………..…107
三、口譯與音樂表演教學評量比較與討..…………………109
四、小結…………………………………..…………………110
第二節 研究限制與建議…………………….…………………111

參考文獻…………………………………………….………………...113
中文書目……………………………………….………………...113
英文書目……………………………………….………………...114
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