三、十二年國教藝術領域課綱中，在核心素養「系統思考與解決問題」項目的國民小學教育階段具體內涵中揭示「認識設計思考，理解藝術實踐的意義」（藝-E-A2）。請說明什麼是「設計思考」？並請舉例說明如何在小學音樂課中，透過教學讓學生瞭解並體會「設計思考」。(8%)

八、請閱讀以下期刊摘要，試說明其研究目的、研究方法與研究結果。(12%) This study extends Zimmerman’s research on children’s music conservation to adult listeners, investigating participants’ ability to conserve melody under different harmonic conditions. Specifically, I investigated whether listeners in the study could identify melody when primary, diatonic, and secondary chords were added (Task 1) and when melody was harmonized differently (Task 2). Additionally, could they dissociate melody from harmony (Task 3)? Participants (N=80) listened to 34 pairs of examples and identified if the melody was the same or different in each pair. Results indicated that (a) listeners could conserve melody with addition of harmony regardless of harmonic conditions, (b) they could conserve melody when harmony was changed but were significantly better conserving melody when harmony was changed from primary to diatonic chords than from primary to secondary chords, and (c) they could dissociate melody from harmony but were significantly better with diatonic chords than secondary chords. As Task 3 was the reverse of Task 1, the finding that adult listeners conserved in one direction (Task 1) but not necessarily in the opposite direction (Task 3) and vice versa may suggest the existence of musical reversibility

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