9 Methods, Music and More: Do These Matter with Adults? 9 種方法、音樂與更多：這些對成年人來說重要嗎？
In this chapter, we discuss materials designed specifically for music study by adults, in private or group settings, and explore how successful music facilitators accommodate the musical preferences, needs and abilities of those involved in their programs. Both recreational and serious music programs are discussed in this chapter. 在本章中，我們討論專為成人音樂學習設計的材料，無論是在私人或團體環境中，並探討成功的音樂引導者如何滿足參與者在其計劃中的音樂偏好、需求和能力。本章還討論了休閒和嚴肅的音樂計劃。
Opening Vignette 開場小品
Laura: 20-year Piano Class Participant 勞拉：20 歲鋼琴班參加者
Piano is…a hobby. It’s something that I’ve wanted to do and I have the time to do it now. I just wanted to…take it up again and see if I could go where I was a long time ago, you know, I’m still kind of working on that…if I don’t [take lessons] I just won’t go in and play like I have been and I won’t be challenged to do things. And I like the new music we get. We are always getting new books or she [the instructor] gives us handout sheets and stuff which is fun… 鋼琴是……一個愛好。這是我一直想做的事情，而現在我有時間去做。我只是想……重新開始，看看我能否回到很久以前的狀態，你知道，我仍然在努力做到這一點……如果我不[上課]，我就不會像以前那樣進去彈奏，也不會被挑戰去做一些事情。我喜歡我們得到的新音樂。我們總是會得到新書，或者她[老師]會給我們一些講義和其他有趣的東西……
In addition to Keys Magazine we have several duet books. Over the years…we’ve gone through some Alfred books like Masterwork Classics which were good too…I like the classics because the pieces never get old and you never get tired of them…We also use the AllA l l Time Favorites and that was a lot of fun. [There were] a lot of things that we recognized like Greensleeves in those books. And in the last couple of semesters we went through the [Lives of the Great Composers books. Their lives and their repertoire…was [sic] really interesting. Our teacher gives us a little bit of everything which keeps it kind of interesting and fresh. 除了《Keys Magazine》，我們還有幾本二重奏書。多年來……我們也使用過一些阿爾弗雷德的書籍，如《大師作品經典》，這些書也很好……我喜歡經典作品，因為這些曲子永不過時，你也不會厭倦它們……我們還使用了 AllA l l 時間最愛，這非常有趣。[裡面有]很多我們認識的曲子，比如《綠袖子》。在過去幾個學期，我們學習了[《偉大作曲家的生活》這些書。它們的生活和曲目……真的很有趣。我們的老師給我們一些各種各樣的東西，這讓課程保持有趣和新鮮。
(Pike, 2001, p. 143) （派克，2001，第 143 頁）
Introduction 介紹
For many of us, it is hard to imagine sticking with any hobby for twenty years, especially enrolling in a group piano class during the fall and spring semesters for such an extended period of time. Although there have been several teachers of the class in which Laura is a member, she notes that each teacher keeps it interesting (without overwhelming the group) by including a variety of repertoire. Clearly, the instructor understands what the participants in the group need, and she seeks out a variety of repertoire at the appropriate level, both solos and duets. The books referenced in the opening vignette include original intermediate classical-style pieces, arrangements of advanced piano and orchestral literature, folk tune arrangements and even older popular songs. This class is held at a local community college through their extension services, and on the Recreational Music Making (RMM)-Serious Learner continuum, if falls toward the RMM side. The point is that Laura has found the class to be a way for her to engage with music and to 對於我們許多人來說，很難想像能夠堅持任何愛好二十年，尤其是在秋季和春季學期參加小組鋼琴課這麼長的時間。雖然在勞拉所屬的班級中有幾位老師，但她指出每位老師都能通過包含多樣的曲目來保持課程的趣味性（而不會讓小組感到壓力）。顯然，這位指導老師了解小組參與者的需求，並尋找適合的多樣曲目，包括獨奏和二重奏。開頭小插曲中提到的書籍包括原創的中級古典風格作品、高級鋼琴和管弦樂文獻的編曲、民謠編曲甚至是較早的流行歌曲。這門課程在當地社區大學的延伸服務中舉行，並且在休閒音樂創作（RMM）-認真學習者的連續體上，偏向於 RMM 的一側。重點是，勞拉發現這門課程讓她能夠與音樂互動。
play outside of class for two decades-and there is no sign that the musical selections are about to run out anytime soon! This is exactly the type of engagement that is beneficial for adults. With carefully chosen materials that are appropriate for adults and align with learners’ needs, music instructors can facilitate long-term engaging musical experiences for adults. 在課外玩了二十年，並且沒有跡象顯示音樂選擇會很快用完！這正是對成年人有益的參與方式。透過精心挑選適合成年人且符合學習者需求的材料，音樂教師可以促進成年人長期的音樂參與體驗。
Adult Music Materials 成人音樂材料
Editions and Leveling 版本與等級提升
Regardless of the setting (private, class or rehearsal), adults benefit from playing high-quality music. Scores and parts should be easy to read, with notes and staves sized appropriately (bigger for some third-age and fourth-age learners). Pages and scores that are cluttered can slow perception, recognition of patterns and cognitive processing. Materials designed for children containing childish pictures or other superfluous design elements are generally not recommended for most adults. 無論是在私人、課堂或排練的環境中，成年人都能從演奏高品質的音樂中受益。樂譜和樂段應該易於閱讀，音符和五線譜的大小應適當（對於某些第三齡和第四齡的學習者來說，應該更大）。頁面和樂譜如果雜亂無章，會減慢感知、模式識別和認知處理的速度。設計給兒童的材料如果包含幼稚的圖片或其他多餘的設計元素，通常不建議用於大多數成年人。
When choosing lower-level or intermediate music, knowing if the students prefer simplified arrangements of challenging pieces or if they would rather play original music is important when deciding which books to use. Understanding students’ musical tastes is essential, too. As one woman once told me, “I’ve played a lot of the arrangements that my teacher likes but they are too dissonant. I want something that I can relate to, something that I can hear in my mind. Maybe that’s why I like the classics.” Of course, by classics she was speaking about pop tunes from the ’ 50 s and '60s. 在選擇低級或中級音樂時，了解學生是否偏好挑戰性作品的簡化編曲，或是他們更願意演奏原創音樂，對於決定使用哪些書籍是很重要的。理解學生的音樂品味也至關重要。正如一位女士曾告訴我：“我演奏了很多我老師喜歡的編曲，但它們太不和諧了。我想要一些我能夠產生共鳴的東西，一些我能在腦海中聽到的東西。也許這就是我喜歡古典音樂的原因。”當然，她所說的古典音樂是指 50 年代和 60 年代的流行曲。
Another student once shared the following with me during an interview. 另一位學生曾在面試中與我分享了以下內容。
[My teacher gives me] books that are useful. I have found some in the music stores and [laughter] naturally I always got stuff that was too hard and I would struggle and struggle and struggle and when I finally told [my teacher] how frustrated I was she said, “I did not buy this book!” [laughter] And I think her selection process works a lot better than mine…if I buy stuff and bring it in she will help me with it, but I learned the hard way how frustrating that is! [我的老師給我] 有用的書。我在音樂商店找到了一些，[笑聲] 自然我總是拿到太難的東西，我會掙扎、掙扎、再掙扎，當我終於告訴[我的老師]我有多沮喪時，她說：“我沒有買這本書！”[笑聲] 我覺得她的選擇過程比我的好得多……如果我買了東西帶來，她會幫我，但我是經過艱難的方式才學會這有多沮喪！
(Pike, 2001, p. 119) （派克，2001，第 119 頁）
This student’s point about frustration is important. Facilitators who choose appropriately leveled music, which offers the right amount of challenge for which students have been technically and musically prepared, are more likely to have satisfied students than those who don’t consider the level of the music carefully. While there are numerous anthology books on the market, those that contain a variety of repertoire styles that are leveled (often preparatory through level 10, matching the Associated Board of the Royal Schools of Music or Royal Conservatory of Music curricula) are often excellent choices for adults. These scores contain minimal editing, and they are designed for students of all ages. 這位學生關於挫折的觀點非常重要。選擇適當難度音樂的指導者，能夠提供學生在技術和音樂上已經準備好的挑戰，往往能讓學生更滿意，而那些不仔細考慮音樂難度的指導者則不然。市場上有許多選集書籍，但那些包含各種風格的分級曲目（通常從準備級到 10 級，與英國皇家音樂學院或皇家音樂學院課程相匹配）通常是成人的優秀選擇。這些樂譜的編輯最少，並且設計適合各年齡段的學生。
These days, it is easier than ever for musicians (and non-professional musicians) to publish content and sell it via popular e-commerce or personal websites. Adult students may be drawn to self-published materials that promise to teach them how to play quickly and easily. Music facilitators might peruse music stores and websites periodically to become acquainted with books that are on the market so they can advise students against purchasing poorly sequenced and musically weak materials and lead them toward better sources of music. Reputable music companies and institutions such as Alfred, Hal Leonard, Kjos, ABRSM, RCM and others are more apt to have leveled materials in the form of methods and repertoire anthologies that might be useful for adult students. 如今，音樂家（以及非專業音樂家）比以往任何時候都更容易通過流行的電子商務或個人網站發佈內容並銷售。成人學生可能會被自我出版的材料所吸引，這些材料承諾能夠快速且輕鬆地教會他們如何演奏。音樂指導者可能會定期瀏覽音樂商店和網站，以熟悉市場上可用的書籍，從而能夠建議學生避免購買編排不當和音樂性較弱的材料，並引導他們尋找更好的音樂來源。像阿爾弗雷德、哈爾·萊昂納德、基奧斯、ABRSM、RCM 等知名音樂公司和機構更有可能提供分級材料，這些材料以方法和曲目選集的形式出現，對成人學生可能會有幫助。
Supplemental Accompaniments and Backing Tracks 補充伴奏和伴隨音軌
When choosing methods and anthologies, consider whether these come with accompaniment tracks, compact discs or online digital resources that can serve as helpful asynchronous tools for adult students when they are practicing and learning at home. Backing tracks and accompaniments help students to stay steady and internalize the pulse. They also fill out accompaniments, which are often orchestrated, making the musical experience when playing with them quite satisfying for many. Many files allow for tempo manipulation so that students can practice with the accompaniment even before they reach the goal tempo. 在選擇方法和選集時，考慮這些是否附帶伴奏音軌、光碟或在線數位資源，這些可以作為成人學生在家練習和學習時的有用非同步工具。伴奏音軌和伴奏幫助學生保持穩定並內化節拍。它們還填補了伴奏，這些伴奏通常是編曲的，與它們一起演奏時的音樂體驗對許多人來說相當令人滿意。許多檔案允許調整節奏，以便學生在達到目標節奏之前就能與伴奏一起練習。
Some books may not have sound files but have duet or accompaniment parts printed on the score or available separately. Adults who have spouses, siblings, friends or even children and grandchildren who play piano often enjoy performing these together. They can be used during the lesson too, but many adults do play with others outside of the studio, so be sure to ask about potential musical partners at home (as they may not think to share this information with the teacher). 有些書籍可能沒有音頻檔案，但在樂譜上印有重唱或伴奏部分，或單獨提供。擁有配偶、兄弟姐妹、朋友，甚至子女和孫子女的成年人，通常喜歡一起演奏這些曲目。這些曲目也可以在課堂上使用，但許多成年人確實會在工作室外與他人一起演奏，因此一定要詢問有關家庭中潛在音樂夥伴的情況（因為他們可能不會主動與老師分享這些信息）。
Beginning Methods 初學方法
Beginning method books are typically used by students for the first year or so of study. The availability of such adult-friendly resources varies depending on the instrument. In the piano area, every major publisher has a beginning method book for adults, and these can be further subcategorized for private or group lessons. Here is a partial list of beginning methods for adults in piano. 初學法書通常是學生在學習的第一年左右使用的。這類適合成人的資源的可用性因樂器而異。在鋼琴領域，每個主要出版社都有針對成人的初學法書，這些書籍可以進一步細分為個別或團體課程。以下是針對成人鋼琴的初學法書的部分清單。
Individual Piano Instruction (Alphabetical Order) 個別鋼琴教學（按字母順序）
Adult Piano Adventures: All-in-One Piano Course, revised edition (books 1 & 2)-comprehensive beginning method with online digital content; published by Faber Piano Adventures 成人鋼琴冒險：全合一鋼琴課程，修訂版（第 1 冊和第 2 冊）-綜合初學者方法，附有線上數位內容；由 Faber 鋼琴冒險出版
Alfred’s Basic All-in-One Piano Course (books 1-3) - older comprehensive beginning method; published by Alfred 阿爾弗雷德基本全合一鋼琴課程（第 1-3 冊） - 較舊的綜合初學者方法；由阿爾弗雷德出版
Bastien Piano for Adults (books 1&21 \& 2 )-comprehensive beginning method with online digital content; published by Kjos 巴斯蒂安成人鋼琴（書籍 1&21 \& 2 ）-綜合入門方法，附有線上數位內容；由 Kjos 出版
Hal Leonard Piano Library Adult Piano Method (books 1 & 2) - comprehensive beginning method with digital accompaniment tracks; useful improv activities included; published by Hal Leonard Hal Leonard 鋼琴圖書館 成人鋼琴方法（第 1 冊和第 2 冊） - 綜合性的初學者方法，附有數位伴奏曲目；包含實用的即興活動；由 Hal Leonard 出版
Play Piano Now! Alfred’s Basic Adult Piano Course (book 1)-less comprehensive than the original all-in-one course; quicker pace; published by Alfred 現在彈鋼琴！阿爾弗雷德的基本成人鋼琴課程（第一冊）- 比原本的全合一課程更不全面；進度較快；由阿爾弗雷德出版
Returning to the Piano: A Refresher Course - review book, not for beginners, includes practice and performance tempo CDs; published by Hal Leonard 回到鋼琴：進修課程 - 書評，非初學者適用，包括練習和表演速度的 CD；由 Hal Leonard 出版
Group Piano Instruction (Alphabetical Order) 團體鋼琴教學（按字母順序）
Alfred’s Group Piano for Adults (books 1 & 2) - comprehensive volumes, each designed for two semesters, for music majors with digital MIDI files; published by Alfred 阿爾弗雷德成人團體鋼琴（第 1 冊和第 2 冊） - 綜合卷，每本設計為兩個學期，適合音樂專業學生，附有數位 MIDI 檔案；由阿爾弗雷德出版
Alfred’s Group Piano for Adults Popular (books 1&21 \& 2 ) - arrangements of popular tunes and lead lines; accessible for adults of all ages; published by Alfred 阿爾弗雷德成人團體鋼琴流行曲（書籍 1&21 \& 2 ）- 流行旋律和主旋律的編曲；適合各年齡段的成人；由阿爾弗雷德出版
Piano 101 (books 1&21 \& 2 ) - course for non-music college majors, one book per semester; accessible for adults of all ages; published by Alfred 鋼琴 101（書籍 1&21 \& 2 ）- 非音樂專業大學生的課程，每學期一本書；適合所有年齡的成年人；由阿爾弗雷德出版
Piano for the Developing Musician, 6th edition (book with media content) - comprehensive text for music majors, designed for four semesters; published by Schirmer 《發展中音樂家的鋼琴》，第六版（含媒體內容的書籍） - 為音樂專業學生設計的綜合教材，適用於四個學期；由 Schirmer 出版
Piano Fun for Adult Beginners (book and supplements of pop tunes, Broadway tunes, etc.) - created for RMM classes, eight-week modules; published by Hal Leonard 成人初學者鋼琴樂趣（流行曲、百老匯曲等的書籍和補充材料） - 為 RMM 課程創建，八週模組；由 Hal Leonard 出版
Beginning methods for most other instruments (that aren’t self-published) tend to be originally intended for school band or orchestral programs, but as these do not have extensive pictures and the font is generally large and clear, these work for many adults. Such methods include Essential Elements (for strings, band instruments and voice, published by Hal Leonard) and Suzuki School books (for various stringed instruments, published by the International Suzuki Association and for piano published by Alfred). 大多數其他樂器（不包括自出版的）入門教材通常最初是為學校樂隊或管弦樂團計劃而設計的，但由於這些教材沒有大量圖片，字體通常較大且清晰，因此對許多成年人來說也適用。這些教材包括《基本要素》（適用於弦樂器、樂隊樂器和聲樂，由 Hal Leonard 出版）和鈴木學校書籍（適用於各種弦樂器，由國際鈴木協會出版，鋼琴書籍由 Alfred 出版）。
When evaluating method books for use in private lessons or classes, facilitators should look at the sequencing of materials, the amount of reinforcement of each concept, pacing, musical selections (original compositions and arrangements and how well these match, or reinforce, the concepts presented in each unit), technique and other skills (such as sight reading and perhaps harmonizing for piano) and accompaniments (for the teacher to play or via digital audio files). Adult methods often have more text and explanation than children’s methods, so be sure this is clear, legible and succinct. Self-published, teach yourself-to-play methods tend to be very text heavy. 在評估用於私人課程或班級的方法書時，指導者應考慮材料的排序、每個概念的強化程度、進度、音樂選擇（原創作品和編曲，以及這些作品與每個單元中所呈現的概念的匹配或強化程度）、技巧和其他技能（如視譜和可能的鋼琴和聲）以及伴奏（供教師演奏或通過數位音頻檔案播放）。成人方法通常比兒童方法有更多的文字和解釋，因此要確保這些內容清晰、易讀且簡潔。自我出版的自學方法往往文字量很大。
Duets and Ensemble Music 二重奏與合奏音樂
Adults who participate in classes or groups can benefit from working on duets and other ensembles. Parts can be of equal difficulty or may be of varying difficulty levels, and they can be for the same instruments, the same family of instruments or mixed ensembles. Before choosing and assigning ensembles, know the abilities of the students in your classes but don’t assume that partners and small groups need to be playing at the same level; pairing a more advanced student with a less advanced student for duet rehearsal can be motivating and fun for both. 參加課程或小組的成年人可以從合奏和其他合奏中受益。各部分的難度可以相等，也可以有不同的難度級別，並且可以是相同的樂器、同一家族的樂器或混合合奏。在選擇和分配合奏之前，了解你班上學生的能力，但不要假設夥伴和小組需要在相同的水平上演奏；將一位更高級的學生與一位較低級的學生配對進行二重奏排練，對雙方來說都可以是激勵和有趣的。
Duets and ensembles have many benefits for adult music students. They are musically satisfying (if well written because individual parts are easier than the whole, and together the piece sounds full and complete), they improve listening and technical skills and they are motivating since no one wants to let down the group by being unprepared. In larger classes, I might double up on the ensemble so that there are two people playing each part. This reduces the stress level, in case one person makes a mistake. I recall one group of older adults who had been playing together for years. They had an inside joke that went something like this: when someone made a mistake, that person would stick their elbow out as if to say, “that wasn’t me, it was my partner sitting next to me.” Of course, no one could keep a straight face and laughter typically ensued. This light-hearted camaraderie kept the stress level low as we worked on challenging ensembles and reminded everyone in the group that mistakes happen-a lot! 二重奏和合奏對成人音樂學生有許多好處。它們在音樂上令人滿意（如果寫得好，因為個別部分比整體更容易，而合在一起的作品聽起來完整而豐滿），它們提高了聽力和技術技能，並且具有激勵性，因為沒有人想因為準備不足而讓團體失望。在較大的班級中，我可能會將合奏人數加倍，讓每個部分有兩個人演奏。這樣可以減輕壓力，以防某人犯錯。我記得有一組年長的成年人已經一起演奏了多年。他們有一個內部笑話，大致是這樣的：當某人犯錯時，那個人會伸出手肘，好像在說：“那不是我，是我旁邊的夥伴。”當然，沒有人能保持嚴肅，通常會引發笑聲。這種輕鬆的友誼讓我們在處理具有挑戰性的合奏時保持低壓力，並提醒團體中的每個人，錯誤是常有的事！
Duets are typically student-driven during performance, while ensembles may be led by the facilitator (as conductor) or by one of the student members. When adults have the opportunity to work together on music, without the facilitator, they learn how to communicate about music and make compromises. I’ve met with many students who practice duets with their partner weekly (outside of the lesson). Some teachers overlap private lessons with duet partners so they each share some of their lesson time with the other and they benefit from teacher coaching during that time. In my group piano classes, I often like to let adults rehearse ensembles in groups of four through their headphones and microphones. I can listen in and offer advice when needed, but I typically assign roles to each student so that 二重奏在表演時通常由學生主導，而合奏則可能由引導者（如指揮）或其中一位學生成員來主導。當成年人有機會在沒有引導者的情況下一起合作音樂時，他們學會如何溝通音樂並做出妥協。我遇到過許多每週與伴侶練習二重奏的學生（課外）。一些教師將私人課程與二重奏夥伴重疊，讓他們各自分享一些課程時間，並在此期間受益於教師的指導。在我的小組鋼琴課中，我經常喜歡讓成年人通過耳機和麥克風以四人小組排練合奏。我可以隨時傾聽並在需要時提供建議，但我通常會為每位學生分配角色，以便
no one person is in charge of everything, but everyone has to listen for something. Roles might include conductor (counting in, keeping time), orchestrator (choosing musical soun _(d){ }_{d} settings on digital keyboards), music critic (listening for dynamics, articulation, balance) and cheerleader (listening for everything that the group played well). After a set period of time, the group can play for me (via headphones) or for the entire class (Pike, 2021). 沒有人負責所有事情，但每個人都必須聆聽某些東西。角色可能包括指揮（計數、保持節奏）、編曲者（在數位鍵盤上選擇音樂聲音設定）、音樂評論家（聆聽動態、發音、平衡）和拉拉隊員（聆聽團隊表現良好的所有部分）。在一段時間後，團隊可以為我演奏（通過耳機）或為整個班級演奏（Pike, 2021）。
Conductors and leaders of larger groups often cannot involve the adult music participants in rehearsal processes like those described above; however, inviting participant feedback and evaluative comments (rather than simply telling them what to fix or what you hear from the podium) is a meaningful way to allow students to be more involved i_(n)i_{n} the rehearsal process and to encourage them to develop their listening, evaluative and communication skills. 指揮和大型團體的領導者往往無法讓成人音樂參與者參與上述的排練過程；然而，邀請參與者提供反饋和評估意見（而不僅僅是告訴他們該修正什麼或你從指揮台上聽到什麼）是一種有意義的方式，可以讓學生更積極地參與排練過程，並鼓勵他們發展聆聽、評估和溝通技巧。
Below is a list of useful piano ensemble books that have worked well with adults of all ages in my group piano classes. If you teach another instrument, compile your own list of music that works with adults and rotate through it regularly. 以下是一些對我小組鋼琴課中各年齡層成人有效的鋼琴合奏書籍的清單。如果你教授其他樂器，可以編輯自己的成人音樂清單並定期輪換使用。
Piano Ensembles that Work with Adults (Alphabetical Order) 成人鋼琴合奏（按字母順序排列）
Alfred Basic Piano Library Ensemble, books 1-3 阿爾弗雷德基礎鋼琴圖書館合奏，第一至第三冊
Alfred Basic Piano Library Christmas Ensemble, books 1-3 阿爾弗雷德基本鋼琴圖書館聖誕合奏，第一至第三冊
Alfred Group Piano for Adults Ensemble, books 1-2 阿爾弗雷德成人合奏鋼琴，第一至第二冊
Hal Leonard Student Piano Library Piano Ensembles, books 1-5 哈爾·萊昂納德學生鋼琴圖書館鋼琴合奏，第 1-5 冊
Hal Leonard Student Piano Library Christmas Piano Ensembles, books 1-5 哈爾·萊昂納德學生鋼琴圖書館聖誕鋼琴合奏，第 1-5 冊
Ogilvy Piano Ensembles, multiple levels, 300+ individual pieces 奧吉爾維鋼琴合奏，多個級別，300+ 獨立作品
Ensemble Music for Group Piano, 4th edition (Lyle & Haydon, Stipes Publishing) 合奏音樂：團體鋼琴，第 4 版（萊爾與海登，斯泰普斯出版）
World Gems: International Folksongs for Piano Ensembles (O’Grady, Hal Leonard) 世界寶石：國際民謠鋼琴合奏（O’Grady，哈爾·萊昂納德）
Myklas & Willis publishing have numerous duets and trios for multiple players at one piano Myklas & Willis 出版社有許多適合多位演奏者在一台鋼琴上演奏的二重奏和三重奏
Various Anthologies and Specialized Skill Books 各種選集和專業技能書籍
In the piano discipline, there are numerous books available that provide ample repertoire for working on specific skills, as noted above. Adult students often enjoy working on specialized music skills, such as improvisation and melodic harmonization, or on arrangements of specific styles, genres or music from bygone eras. 在鋼琴學科中，有許多書籍可供選擇，提供豐富的曲目以便於專注於特定技能，如上所述。成人學生通常喜歡專注於特定的音樂技能，例如即興演奏和旋律和聲，或是特定風格、類型或過去時代的音樂編曲。
For improvisation, Pattern Play (books 1-6) and Chord Play (books 1-5) by Forrest Kinney published by the Royal Conservatory of Music and Creative Chords: Keyboard Improvisation Method (books 1-2 with additional digital content) by Bradley Sowash published by Kjos are books that work well for adults of all ages. A useful book for adults beginning to work with lead lines is Lead Lines and Chord Changes by Ann Collins published by Alfred. There are many other fake books and easier lead line books on the market that can be used with adults of all ages. Instructors should preview these before adopting them to ensure that the chords needed to harmonize the melodies are accessible to the students. 即興演奏方面，Forrest Kinney 的《Pattern Play》（第 1-6 冊）和《Chord Play》（第 1-5 冊），由皇家音樂學院出版，以及 Bradley Sowash 的《Creative Chords: Keyboard Improvisation Method》（第 1-2 冊，附加數位內容），由 Kjos 出版，都是適合各年齡成人的書籍。對於開始學習主旋律的成人來說，Ann Collins 的《Lead Lines and Chord Changes》，由 Alfred 出版，是一本有用的書籍。市場上還有許多其他的假譜和較簡單的主旋律書籍，適合各年齡的成人使用。教師在採用這些書籍之前應先預覽，以確保和聲旋律所需的和弦對學生來說是可及的。
There are numerous anthologies of popular hits and tunes from various time periods available. With my older piano students, I have found the Popular Performer Series (consisting of numerous books with about ten arrangements grouped into categories such as the 1940s, 1960s, Broadway music or movie music) and the Simply Series (featuring arrangements of music by composers such as Gershwin or Mancini) published by Alfred to be particularly effective as the arrangements are elementary, intermediate or early advanced levels and the tunes are familiar to the students. 有許多來自不同時期的熱門歌曲和旋律的選集可供選擇。對於我的年長鋼琴學生，我發現阿爾弗雷德出版的《熱門表演者系列》（包含多本書籍，每本約有十首編曲，按 1940 年代、1960 年代、百老匯音樂或電影音樂等類別分組）和《簡易系列》（特色是由格什溫或曼奇尼等作曲家的音樂編曲）特別有效，因為這些編曲屬於初級、中級或早期高級水平，且旋律對學生來說非常熟悉。
Evaluating Materials for Adult Lessons and Classes 評估成人課程和班級的教材
The lists of piano music in this chapter are not comprehensive, and new materials, arrangements and music arrive on the market regularly. Therefore, adult facilitators should find time to explore new materials, try a few new resources each semester and create a resource list of effective music to use with adult students. Categorizing materials for use by adults in specific life stages can be helpful for certain resources (such as Popular Performer 1940s) or by style and genre of music for those adults who have specific musical tastes and preferences. I find that visiting publisher exhibit booths at state and national conferences is an excellent time to look at (and even play) new music, and I budget to add new musical teaching collections to my library annually. 本章中的鋼琴音樂列表並不全面，新的材料、編曲和音樂定期上市。因此，成人指導者應該找時間探索新材料，每學期嘗試幾個新資源，並創建一個有效音樂的資源列表，以便與成人學生使用。根據成人在特定生活階段的需求對材料進行分類，對某些資源（如《流行表演者 1940 年代》）或根據音樂風格和類型進行分類，對於那些有特定音樂品味和偏好的成人來說，都是有幫助的。我發現，在州和全國會議上參觀出版商的展位是查看（甚至演奏）新音樂的絕佳時機，我每年都會預算將新的音樂教學集添加到我的圖書館中。
When evaluating music for potential effectiveness with adults, in addition to categorizing the material, considering some of the criteria listed above can be helpful. Details about resources that have been reviewed can be stored on a spreadsheet for easy reference. Consider evaluating the edition for clarity, the repertoire for level, comprehensiveness of styles, original music or arrangements, and check for supplemental digital and audio resources. Consider keeping lists of method books (noting their strengths, weaknesses, comprehensiveness, sequencing and pacing) and duets or ensemble music that your adult students would enjoy and benefit from learning. Also, maintain a resource list of music and books that can be used for specialized music making such as improvisation, lead lines, jazz books or other styles of music that your adult students might request. Some people find that completing an evaluation form for method books is helpful for comparing one book to another. See Figure 9.1 for a method book evaluation template. 在評估音樂對成人的潛在效果時，除了對材料進行分類外，考慮上述一些標準也會有所幫助。已審查資源的詳細信息可以存儲在電子表格中以便於參考。考慮評估版本的清晰度、曲目水平、風格的全面性、原創音樂或編曲，並檢查是否有補充的數位和音頻資源。考慮保留方法書的清單（註明其優點、缺點、全面性、排序和節奏）以及成人學生會喜歡和受益於學習的二重奏或合奏音樂。此外，維護一份音樂和書籍的資源清單，以便用於專門的音樂創作，如即興演奏、主旋律、爵士書籍或其他成人學生可能要求的音樂風格。有些人發現，填寫方法書的評估表對於比較一本書與另一書籍是有幫助的。請參見圖 9.1 以獲取方法書評估模板。
Conclusions 結論
Today, there are more musical materials that are more readily available and multifarious than ever before. Adult music students have easy access to printed and online resources and may be eager to try music that looks interesting. However, they will only meet with success if the music is at the appropriate level. Thus, adult music facilitators need to stay abreast of music, methods, anthologies, ensemble music and other resources more than ever. Evaluating resources against checklists of physical and musical needs of adults in your studio (such as clarity, large-print scores or arrangements of specific classical pieces or for specific groups of instruments) and keeping these evaluations in a reference file or spreadsheet can ease the workload as you prepare curricula and choose materials prior to each semester. Armed with knowledge about the special needs and diverse interests of adult learners and considering accommodations that need to be made across the lifespan, music facilitators and ensemble leaders can make excellent choices that will allow all participants in their programs to engage fully in the music-making experience. 今天，音樂材料比以往任何時候都更加豐富且易於獲得。成人音樂學生可以輕鬆訪問印刷和在線資源，並可能渴望嘗試看起來有趣的音樂。然而，只有當音樂達到適當的水平時，他們才能獲得成功。因此，成人音樂指導者需要比以往任何時候都更了解音樂、方法、選集、合奏音樂和其他資源。根據您工作室中成人的身體和音樂需求（例如清晰度、大字體樂譜或特定古典作品的編排或特定樂器組的編排）來評估資源，並將這些評估保存在參考文件或電子表格中，可以減輕您在每學期準備課程和選擇材料時的工作量。掌握成人學習者的特殊需求和多樣化興趣的知識，並考慮在整個生命週期中需要做出的調整，音樂指導者和合奏領導者可以做出優秀的選擇，使他們計劃中的所有參與者都能充分參與音樂創作的體驗。
Andragogy in Action 成人教育實踐
1 Choose one or two beginning method books for your instrument that you think will work well with adults. Evaluate each of these carefully for comprehensiveness, musical content, sequencing, pacing and appropriateness for adult students. Use the evaluation template (Figure 9.1). 選擇一本或兩本適合成人的樂器入門教材，評估每本書的全面性、音樂內容、編排、進度及對成人學生的適宜性。使用評估模板（圖 9.1）。
2 Choose a duet or ensemble piece that you could assign to your adult students. Plan how you will prepare the adults to learn their individual parts and then rehearse it together with their peers. They may require coaching so try to set them up for success. 選擇一首二重奏或合奏曲目，您可以指派給您的成人學生。計劃如何準備成人學習他們的個別部分，然後與同儕一起排練。他們可能需要指導，因此請嘗試為他們創造成功的機會。
Figure 9.1 Template for evaluating adult method books (adapted from Pike, 2017). 圖 9.1 評估成人教材的模板（改編自 Pike，2017）。
3 Identify two or three anthology or repertoire collections for your instrument. Evaluate each for clarity, leveling of the music, comprehensiveness of repertoire and other criteria that will be important to consider before assigning the book to one of your adults students (or your class). Make a list of strengths and weaknesses and how you might compensate for possible weaknesses (perhaps through supplementary materials, technical exercises or other materials). 3 確定兩到三本適合您樂器的選集或曲目集。評估每本書的清晰度、音樂的難度、曲目的全面性以及在將書籍分配給您的成人學生（或您的班級）之前需要考慮的其他標準。列出優勢和劣勢，以及您可能如何彌補可能的劣勢（例如通過補充材料、技術練習或其他材料）。
References 參考文獻
Pike, P. D. (2001). Leisure piano lessons: A case study of lifelong learning (Order No. 3018335). ProQuest Dissertations & Theses A&I. (304716668). Retrieved from https://search-proquest-com. libezp.lib.lsu.edu/docview/304716668?accountid=12154 Pike, P. D. (2001). 休閒鋼琴課程：終身學習的個案研究 (訂單號碼 3018335)。ProQuest 論文與學位 A&I。 (304716668)。取自 https://search-proquest-com。libezp.lib.lsu.edu/docview/304716668?accountid=12154
Pike, P. D. (2017). Dynamic group-piano teaching: Transforming group theory into teaching practice. Routledge. Pike, P. D. (2017). 動態團體鋼琴教學：將團體理論轉化為教學實踐。羅特利奇。
Pike, P. D. (2021). Teaching adults in group-piano settings: Facilitating the musical process. Piano Magazine, 13(2), 36-45. Pike, P. D. (2021). 在團體鋼琴教學中教導成人：促進音樂過程。鋼琴雜誌，13(2)，36-45。
Useful Reference Books for Teachers of Adults 成人教師的實用參考書籍
Chung, B., & Dillon, B. (2009). Recreational music making handbook for piano teachers. Alfred. 鍾，B.，& 狄倫，B.（2009）。鋼琴教師的休閒音樂創作手冊。阿爾弗雷德。
Marris, B. E. (2000). Making music at the piano: Learning strategies for adult students. Oxford. Marris, B. E. (2000). 在鋼琴上創作音樂：成人學生的學習策略。牛津大學出版社。
