本研究從一位初任幼師的困境為起點，雖然接受過師培訓練，卻在正式進入職場後，對於擔任幼師一職的能力和專業感到質疑，個體歸究原因為自身專業知識不足，因而報考研究所，並認定問題得以輕易解決，直到訪談在學前教育領域已工作二十幾年的蘇老師，才開始思索幼師角色對於自身之意涵，同時意識到個體於專業認同上出現危機，至此展開探索之旅程！ 本研究採質化研究中的敘說方法，從個體幼年生活「故事」寫起、受教的經驗與感受、如何成為幼師的歷程，以及之後擔任「家園」裡的「母親」，透過書寫、行動和反思之不斷循環歷程，期望了解自身對幼師角色之體認與如何形構幼師之專業認同。 本研究整理出幼師個體之實踐智慧： 1.孩子基礎教育應透過正確的飲食習慣和運動養成勤勞之慣性，以健康身體為基礎，透過與人事物互動後反思、參解，提升人格與心性的平穩。 2.跳脫傳統教育迷思，重建健康之教育生態環境，也才有可能培育出身心健康的個人。 3.幼師專業認同形構之漸進循環模式：抉擇、磨合、蜜月、危機期。 4.影響幼師專業認同演化之因素，包括：母職外表、專業技能、教育活動意涵、職業角色價值與自我核心價值。符應倪鳴香研究的幼師職業認同三部曲，「塑形-堆砌-自我引導」由外而內之演進。 5.幼師專業認同演化歷程中，受到外在現實社會與理想上專業認定兩者的價值衝突，最終須回歸到幼師自身的個人核心價值導引。

「討論」對參與者在擴展知識面、增強理解力和判斷力各方面均能產生積極的作用；然而實務工作者發展出許多的討論操作策略，卻少有理論解釋的說明。更要緊的是，一旦「規定了討論就是對話」能否觸及教育場域中討論的實質經驗問題。準此，本論文研究目的為：（一）理解討論教學與教育實踐智慧的相關論述；（二）探索教育場域中討論的實質「經驗」問題；（三）闡釋教育場域中討論經驗的教育實踐意涵；（四）回應討論作為教育場域中實踐智慧開展的可能性；（五）援引理論向度提供實務操作之前瞻性。 本研究以現象學方法進行訪談與提取主題，首先給予討論經驗的一般性描述，再就主題的相關理論基礎進行論述呈現。後於探究教育場域中討論經驗所涉及的開放性、責任與對話三項主題而有以下六項發現：一、開放性具有「即興」的特質；二、討論場域中的成員透過說話構作現實性；三、討論場域中意義的「開放性」之所緣；四、討論場域中關於「責任」的“被看”與“看”；五、「遊戲概念」提供教育場域中的討論現象一種操作上的理論說明；六、釐清討論經驗的開放性、責任與對話三者的關係。 本研究結論包括：一、「有用性」的「無對象性」，需要實踐智之決斷；二、開放性、責任、對話三者需要實踐智之調和；三、討論的經驗是「朝向不確定的預先投身」或「朝向自身的可能性而投企」；四、對於討論場域中常見的「啞然、霎時無法回應」現象給出的一種解釋；五、討論作為教育實踐智慧的具體操作典型。最後研究建議則為：一、加入「語言-身體性」議題之綜合討論，作為後續研究之引線；二、進一步探究開放性、責任、對話三者在時間結構上的實踐意涵，或許可茲回應黑爾德指出實踐智所具有之實踐導向、反思判斷力及其來自「時間偶然性」與「互為主體性」兩項根本難題，給予一種參考路徑。本研究預期貢獻則著眼於闡述討論適可作為教育實踐智慧的具體操作典型，援引理論向度以提供討論實務操作之可能性、前瞻性。 / Having a discussion can play an active role in expanding the knowledge of participants and enhancing their understanding and judgment. However, many discussion-operating strategies have been developed yet a few theoretical interpretations have been made. What is more, whether the essential experience problems discussed in education field can be involved once “discussion is dialogue” is prescribed? Therefore, this study aims to: (I) understand and discuss the arguments relevant to teaching and educational Phrόnesis[practical wisdom]; (II) probe into essential experience problems discussed in the educational field; (III) interpret the implications of discussing educational practices to the educational field; (IV) respond to the possibility of considering “discussion” as a factor in the development of Phrόnesis in the educational field; (V) refer to the theory of dimension in providing insights for practical application. This study forms a discussion and summarizes the theme using the Phenomenological Method. First, it gives a general description of the discussion and proceeds to discuss and present the relevant theoretical basis for the theme. Later, it probes into three themes related to the discussion in the educational field; namely, openness, responsibility, and dialogue. The results summarized in six points are as follows: I. Openness implies “improvisation”; II. Participants in the discussion create reality through dialogue; III. The aspect of openness in a discussion; IV. To Discuss “being seen” and “seeing” in the concept of “responsibility”; V. The “play concept” provides a theoretical interpretation of the discussion in the educational field; VI. The need to clarify the relationship of openness, responsibility and dialogue in a discussion. The conclusions of the study are: I. “No-object nature” of “the availability” requires judgment and decision based on Phrόnesis; II. Openness, responsibility and dialogue demand the need for Phrόnesis; III. The discussion of experience is “the pre-projection towards unsure direction”, or “dedication into resoluteness towards the self-feasibility”; IV. An interpretation of the “inanity of immediate response” comes up frequently in the discussion; V. A discussion is perceived as a typical concrete model for educational Phrόnesis. Finally, this study recommends the following: I. Participate in a comprehensive discussion of “language-body”, as a basis for future research; II. Continue to explore the practical implications of openness, responsibility and dialogue to time structure, or promise to respond K. Held on his words that Phrόnesis has practical direction and reflective judgment, and respond to two difficult problems from “time contingency” and “inter-subjectivity”, to give a reference or approach. This study aims to contribute to the idea of “discussion” as a suitable and typical concrete model for educational Phrόnesis. It also refers to the theory of dimension to provide the feasibility and for practical application.

本研究旨在探討音樂經驗的教育實踐意涵，採取理論分析的方法，探究音樂教育哲學典範的衝突根源，在技術與實踐智的關係詮釋中，闡述音樂經驗的教育實踐本質。 回顧音樂經驗本質的理論脈絡，古希臘以強調和諧、淨化、教化的音樂倫理學與發展以娛樂目的的音樂美學為主，近代則以知覺解釋的心理學與本質描述的現象學為主。就音樂經驗的知識本質而言，從功效、審美到實踐的北美音樂教育哲學典範，基本上是從技術走向實踐、從一元走向多元、從穩定走向不穩定的價值典範。 綜合研究結論，就音樂的教育實踐途徑而言，技術造成一種手段與目的的對象化關係，實踐智則建立手段與目的合一的自我知識，前者發展音樂認知的科學方法，後者開拓音樂意義的可能性。當然，本研究並不否定技術存在的價值，而是從一種存有美學來關照音樂經驗中的意義可能性，在審美無區分的自我陶養經驗中，音樂同時是一種教育實踐，實踐智典範與技術的本質最終在教育實踐意義裡相通，而倫理學與美學在音樂經驗中彼此共融。 / The purpose of this study was to explore the significance of educational practice in the nature of musical experience. The theoretical analysis was applied to inquire the cause of the conflicts among the different philosophical paradigms of music education and the hermeneutic analysis of techne and phronêsis was used to explain the educational essence of musical experience. Based on the context of the essential theory of musical experience, there were two ways in the ancient Greece: the musical ethics and the aesthetics of music. The musical ethics emphasized the metaphysical speculation about harmony, purification, and cultivation; while the aesthetics of music developed the science of experience on the aim of pleasure. In the modern history, the psychology and the phenomenology were the main research approaches of musical experience. The former explained the music perception; the latter described the nature of musical experience. Regarding the essential standpoint of musical knowledge, the trend of the philosophical paradigm of music education (utilitarian, aesthetic and praxis) developed in North America was a value paradigm that was from technique to practice, singular aspect to multiple aspect, and steady situation to unsteady situation. In conclusion, from the standpoint of educational practice, the technical way reified the relationship of the means and the purposes, and the practical way (self-knowledge) was a way of two-in-one; the former developed the scientific methods of musical cognition, the latter developed the possibility of musical meaning. Certainly, the value of techne was not denied, but more concerned the meaning’ possibility of musical experience, that was to say, music as an educational practice of self-cultivation in the aesthetic non-differentiation, the paradigm of phronêsis and the nature of techne were eventually the same one in the significance of educational practice, and the ethics and the aesthetics were two-in-one in the musical experience.