隨著九年一貫課程於民國九十學年度開始實施，九年一貫課程所牽涉節的教育議題也被廣泛地探討，「多元評量」便是其中之一。本文由評量之意涵談起，比較評量、測量與測驗之差別，並剖析多元評量之精神與內涵，追溯多元評量理念之源起、理據及其落實之方式。旋即探究音樂藝術之本質與教育上的之意涵，以之為基調，解析多元評量於音樂教學之意涵與實踐，進而說明真實評量於音感教學之、實作評量於演奏教學之應用、卷宗評量於欣賞教學之應用及觀察評量於情意教學之應用。 筆者主張音樂藝術之本質體現於音樂教學上，應秉持以下三原則：〈1〉聲音先於符號之教學；〈2〉音樂的元素當為音樂課程、教學與評量之主體；〈3〉美學原則是助長學生成為音樂創作者之關鍵。 多元量乃指所評量能力的豐富性或用以評量取向的方法的多樣性，所牽涉到的知識構念體系極為複雜，因而在推展上遭遇評量專業知能不足、時間耗費太多、公平性招致爭議等因素之阻力。筆者因而建議音樂教師可由以下三大方向著手，在符合音樂藝術本質之前提下，提昇多元評量落實於音樂教學之應用面： （一）評量專業化與目標化； （二）實施程序漸進化； （三）溝通多向化。

With the fact that the Integrated-Nine-Year-Curriculum is now underway in the educational scene, the issues involved are being thoroughly studied and heatedly discussed, and one of them is, the multiple evaluation approach. This article thus begins by examining the essence of evaluation per se, comparing it with those of measurement and testing. Then it studies the meaning of multiple evaluation approach, tracing its origin, theoretical foundations and possible ways for implementation. A portion of this study focuses on the meaning-searching of the musical art and its educational implication. The last part of this research deals with the practices and execution of the multiple evaluation approach in music teaching, presenting the following implementation models: for aural skills teaching the authentic assessment approach, for music performance teaching the performance assessment approach, and for the affective music learning domain the observational techniques. The researcher holds that for the essence of the musical art to be exemplified in music teaching, we need to abide by the following principles: sounds have to be taught before signs; musical elements, such as melody and rhythm, should take a central place in the planning of music curricula, teaching strategies and evaluation methods; aesthetic rules are decisive in the fostering of students’ music making ability as well as creativity. The multiple evaluation approach denotes either the evaluation of students’ multiple musical abilities or the evaluation through multiple ways. Based upon research conducted, the investigator finds the extreme complexity of the constructs involved in the notion of the multiple evaluation approach, which causes hesitation in its implementation. This hesitation comes mainly from the interplay of three factors:〈1〉lack of professional evaluation knowledge and skills,〈2〉the time-consuming nature of the approach, and〈3〉the issue of fairness. It thus brings up the conclusions that for the successful implementation of the multiple evaluation approach in music teaching, in addition to sticking to the essence of the musical art, tasks demanded on the part of teachers are as follows: evaluation process needs to be professionalized and goal-oriented; the implementation has to be gradually undertaken; the communication avenue has to be opened to all the people involved.