本文呈現教師與學生於通識課堂中，針對2014年普遍被認為是「太陽花學運」代表歌曲《島嶼天光》，運用現象學的方法爬梳音樂論述發展中，在行動參與者心裡所召喚的詩意想像。詩意想像（poetic imagination）的理論借用自近代心理學大師佛洛伊德（M. Freud）及現象學家海德格（M.Heidegger）描述藝術家創作藝術作品時所需之心理動力。課程中運用現象學的研究方法，首先以「直覺」的方法讓學生描述樂曲的整體感覺；其次，運用「懸置」與「回歸事物本身」的概念，將樂曲結構做脈絡分析，並選取此曲最特殊的「靜默」樂段，來進行自我書寫；第三，針對歌曲中最有感觸的詞語，進行意向性的討論；最後，引導學生綜合對前三者的激盪，提出超越自我生活經驗及與社會世界互動的詩意關係。學生跨越課堂與運動在音樂詩意想像中凝聚世代主體性，以隱晦的潛意識裂隙為開端，戲劇性地將隱藏於生活世界已見之物轉換為未曾想像過的洞見。使觀者在詩意想像的空間中，投射自身的經驗以理解藝術作品的表現，參與了「詩人（藝術家）所訴說的宛若我心」的詩意創造狀態。

The purpose of this paper is to explore the musical poetic imagination in ＂Island's Sunrise,＂ which was the anthem for Sunflower Movement in Taiwan, by using phenomenological method to discuss with students in the general education curriculum. Poetic imagination theory is borrowed from the modern masters of psychology, M. Freud, and of phenomenology, M. Heidegger, who describe the process of the psychological dynamic revelation of the artwork. Both Freud and Heidegger think poets begin with the unknown, which are unconscious or open. Through the poetic imagination, people reveal the truth from their own experience and respond to the works of art as ＂I am what the poet sees.＂ The discussion is followed by 4 processes of Clark Moustakas' phenomenological research methods. It starts from ＂Epoche,＂ putting prejudgments aside and writing down personal intuition. Secondly, it uses ＂phenomenological reduction＂ method to help students understand the harmonic structure and the special ＂silent＂ moment of the song. The third process is imaginative variation by asking students to choose a sentence from the lyrics to analyze the intention and relating it to their own/individual experience. Finally, we integrate the former three processes to let the students understand the importance of poetic imagination in music and the strong affect social movement songs had on the people.