Dissertations / Theses on the topic 'Arts – study and teaching – scotland'
To see the other types of publications on this topic, follow the link: Arts – study and teaching – scotland.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Arts – study and teaching – scotland.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
MacIntyre, Christine Campbell. "Criterion-referenced assessment for modern dance education." Thesis, University of Stirling, 1985. http://hdl.handle.net/1893/2182.
Full textAbstract:
This study monitored the conceptualisation, implementation and evaluation of criterion-referenced assessment for Modern Dance by two teachers specifically chosen because they represented the two most usual stances in current teaching i.e. one valuing dance as part of a wider, more general education, the other as a performance art. The Review of Literature investigated the derivation of these differences and identified the kinds of assessment criteria which would be relevant in each context. It then questioned both the timing of the application of the criteria and the benefits and limitations inherent in using a pre-active or re-active model. Lastly it examined the philosophy of criterion-referenced assessment and thereafter formulated the main hypothesis, i. e. "That criterion-referenced assessment is an appropriate and realistic method for Modern Dance in schools". Both the main and sub-hypotheses were tested by the use of Case Study/Collaborative Action research. In this chosen method of investigation the teachers' actions were the primary focus of study while the researcher played a supportive but ancillary role. The study has three sections. The first describes the process experienced by the teachers as they identified their criteria for assessment and put their new strategy into action. It shows the problems which arose and the steps which were taken to resolve them. It gives exemplars of the assessment instruments which were designed and evaluates their use. It highlights the differences in the two approaches to dance and the different competencies required by the teachers if their criterion-referenced strategy was adequately and validly to reflect the important features of their course. In the second section the focus moves from the teachers to the pupils. Given that the pupils have participated in different programmes of dance, the study investigates what criteria the pupils spontaneously use and what criteria they can be taught to use. It does this through the introduction of self-assessment in each course. In this way the pupils' observations and movement analyses were made explicit and through discussion, completing specially prepared leaflets and using video, they were recorded and compared. And finally, the research findings were circulated to a larger number of teachers to find to what extent their concerns and problems had been anticipated by the first two and to discover if they, without extensive support, could also mount a criterion-referenced assessment strategy with an acceptable amount of effort and within a realistic period of time. And given that they could, the final question concerned the evaluations of all those participants i.e. teachers, parents and pupils. Would this extended group similarly endorse the strategy and strengthen the claim that criterion-referenced assessment was a valid and beneficial way of assessing Modern Dance in Schools?
2
Giroud, Jeanette. "Secondary arts teachers' perceptions of integrated arts." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1997. https://ro.ecu.edu.au/theses/1726.
Full textAbstract:
During the 1980s, research in the arts by Project Zero and Arts Propel revealed that in American schooling the areas of artistic intelligence and artistic education had been neglected. Gardner (1989) proposed a theory of multiple intelligences, suggesting that in addition to the linguistic and logical-mathematical forms, there are a number of distinct forms of intelligence that each individual may possess in varying degrees. The concept of multiple intelligences as opposed to "talent" in an art form offers the opportunity to view arts education in a new light. The original purpose of Arts Propel was to assess artistic potential in the same way that IQ or SAT instruments are designed to test scholastic potential. What began as an assessment endeavour, became a curricular undertaking and as a result, a number of educational institutions developed integrated arts approaches to arts learning, claiming that where the arts were integrated within the curriculum, higher achievement was recorded. The National Curriculum's statement on The Arts for Australian Schools (1993) included the five arts forms of dance, drama, media, music and visual arts as "Arts" components and justified this stance by clearly stating that the common statements and profiles accommodated a wide range of approaches. However, the strands of arts experience and learning - Creating, Making and Presenting, Arts Criticism and Aesthetics, and Past and Present Contexts - have the potential to provide a common framework for integration of the various forms. During the course of this research the strands have already been subject to change and are now known as Expressing, Responding and Reflecting. During the trialling phase of The Arts' Student Outcome Statements, divisions between the arts forms became apparent. Some of the issues included: attempts by arts teachers to maintain the status quo, strong boundaries between the arts, unequal representation of arts forms in schools and application of Student Outcome Statements Strands to all the arts forms. At the commencement of this research the divisions between the arts forms remained as strong as ever, yet a truly integrative approach has the potential to strengthen the place of arts in schools. This research documented ten secondary arts teachers' perceptions of integrated arts. The teachers all taught in government schools and each art form was represented by two teachers. The purpose of the research was to record arts teachers' perceptions of integrated arts at a time of rapid curriculum change. Qualitative methodology using the instrument of semi-structured scheduled interviews was the data gathering process. The interviews were audio-taped and once the data was compiled it was sent to the participants for their approval. This study found that arts teachers' perceptions of integrated arts were, on the whole, positive. Most teachers believed that an integrated arts approach would give students a deeper understanding of the arts and promote bonding between arts teachers. Teachers felt that the combination of the five arts forms into one learning area (The Arts), provided long overdue recognition of the arts as a significant learning area. Other perceived benefits included the building of strength and support, and the overcoming of isolation that characterised the arts in schools in the past. It is recommended, as a result of this study, that where possible, the physical location of the arts departments in schools should be considered during the planning stage so that arts areas are not isolated. It is also recommended that media and dance should adopt the changes, so that The Arts area of learning will not be fragmented. This can be achieved through document support which will show dance and media teachers how they can work effectively within an Arts framework. Integrated Arts programs, such as those offered by some of the schools in this study, will provide strong guidelines for future arts consolidation and enrichment in schools.
3
Whytock, Jack. "The history and development of Scottish theological education and training, Kirk and Secession (c.1560-c.1850)." Thesis, University of Wales Trinity Saint David, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683179.
Full text
4
Paris, Lisa. "Visual arts history and visual arts criticism : Applications in middle schooling." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1240.
Full textAbstract:
Visual arts history and criticism occupy central positions in visual arts curriculum statements in Western Australia. This status is sustained by the belief that the study of visual arts history and criticism actively contributes to the education of the student as a "whole person". In reality however, rather than attending to the holistic education of students, the application of visual arts history and criticism in Western Australian schools tends to be pragmatic and instrumental - visual arts teachers often use visual art works as "learning aids" because they don't have time, interest or experience in dealing with visual arts works in any other way. While visual arts history and criticism offer the student a valuable life-skill worth acquiring for the contribution they could make to the student's autonomy and personal welfare, this understanding often seems a foreign concept for many classroom teachers. The difference between theorists' and teachers' understandings of the place and purpose of visual arts history and criticism provides an important area of inquiry requiring urgent attention. This research makes a foray into this domain with the purpose of shedding light on the content and methods used by middle school visual arts teachers and their students' perceptions of the content and methods. A qualitative descriptive study was selected for the research taking the form of semi-structured interviews with six teachers. An interview guide was used and transcripts deriving from this methodology were coded by way of reference to the original research questions and classifications which emanated from emergent themes. The teacher interviews were complemented by a questionnaire administered to one class of students from each of the six schools. Participating teachers were selected through a stratified sampling technique. Analysis of data was undertaken from a qualitative stance in the case of interview participants. Narrative-style reporting of interview content was employed to facilitate accurate representation of the teachers' perceptions of visual arts history and criticism at the middle school level. A quantitative analysis of students' questionnaires provided triangulation of methodology, ensuring greater levels of validity than would be afforded by qualitative methods alone. With pressure being applied by the impending implementation of the Curriculum Framework for Kindergarten to Year 12 Education in Western Australian Schools (1998) for the formal inclusion of Arts Responses (aesthetics, art criticism) and Arts in Society (art history), a pressing need exists for clear information about current professional practice. Findings indicated that a misalignment appears to exist between theoretical assumptions embedded in documentation supporting the implementation of the Framework and actual classroom teaching practice. The implications of such misalignment, albeit illustrated on a small scale, are that the initiatives of the Framework may not be sustainable in the longer term, precisely because they are built upon invalid assumptions about what teachers actually do. Whilst the size of the sample and scope of the research limits the generalisability of findings, this first foray may provide impetus for a more comprehensive and evaluative study at a later date.
5
Brandeis, Judy. "English language arts and media education : making links." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21197.
Full textAbstract:
The purpose of this study is to advance existing Media Education theory by looking at similarities in English Language Arts (ELA) theory and Media Education theory. The study explores similarities and differences between the two areas of study creating a broader understanding of literacy, English Language Arts, Media Education and pedagogy.In order to clarify the co-relation between English Language Arts theory and Media Education theory, I interviewed experts in both fields to shed light on how these two areas of study complement one another and where the points of difference lie. The information points to the development in theory and opportunities for research that may help teachers in training and classroom teachers integrate Media Education and ELA education.
6
Thomas, Brennan. "Composition studies and teaching anxiety a pilot study of teaching groups and discipline- and program-specific triggers /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1151207488.
Full text
7
Vroombout, Lynn. "Striking a balance between formalism and expression in visual arts practice and visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/859.
Full textAbstract:
This creative arts project is an exploration of the benefits of an approach to visual arts education that balances the need for both formal (i.e. visual arts language, knowledge of skills, techniques and processes) and expressive content. As an artist, my tendency to focus on formal concerns can override the effective of expressive content of my artworks. I recognize the potential for my artwork to become static when the expressive elements are given insufficient consideration. Whilst acknowledging the importance of formal content an increasing awareness of the value of expression in artwork has led to a philosophical re-evaluation. This in turn has impacted upon my teaching practices as a balance between formalist and expressive approaches is pursued. This creative arts project followed an action research process where I explored ways of incorporating increasingly expressive elements in my artwork. I identified and documented evidence of change. A series of visual diaries that recorded the development of ideas accompanied the creative project, as does an exegesis. Through the research I explored whether it was possible to resolve the inherent tension between formalism and expressionism in both visual arts practice (my art work) and visual arts education (my work as an art teacher). I believe the Western Australian Curriculum Framework has sufficient scope to address the need for both formalism and expression in visual arts education. This Creative Arts Project was predicated on the belief that although The Arts Outcomes made provision for the exploration of both formal and expressive concerns, in practice the focus was on form and the production of outwardly “successful” art works. Through the research project I aimed to strike a balance where the two components of art production lent their strength to each other. This was evidenced by student achievement and increased expressive content within my own artwork.
8
Jansen, Richo. "The language of arts and culture." Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/2362.
Full textAbstract:
Thesis (MPhil (Modern Foreign Languages))--University of Stellenbosch, 2007.Arts and Culture is one of the new learning areas in the grade 8 and 9 school curriculum. To understand and then express themselves in a correct and confident manner, learners need the correct terminology for Arts and Culture. The learners need more than the day to day terminology in order to participate in conversations focussing on specialised subjects such as music, dance, drama and visual arts. It is important to note that the idea is not to develop expert academics but it is an attempt to enrich children for life and give them more self confidence. The aim of this computer project is to provide an information website to assist the grade 9 learners in the Arts and Culture domain to develop the appropriate language needed in the learning area.
9
Menon, Nimi. "Schooling the imagination : an experiment in arts-based education." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79797.
Full textAbstract:
This classroom-based interpretive inquiry investigates how the teaching strategies used in a grade-three classroom in a small, private, arts-based primary school implement the arts mission of the school. Further, it explores the relationship between art subjects [music, visual arts, theater, and dance] taught in art ateliers and academic subjects taught in the classroom. The art teachers' practices and the classroom teacher's practices are conceptualized within a Vygotskian socio-cultural framework. Further theoretical background is provided by the literature from art-based curriculum studies, developmental psychology, philosophy of education, and theories of qualitative research. This inquiry challenges the traditional view of arts reflected in most North American classroom practices. The chief research participants were the classroom teacher, the arts teachers, the school's founder, and the school's Principal. The children in the school also participated in focus groups. Data collected and analyzed include 40 hours of classroom-based observations in one class over a three-month period, 12 hours of interviews with the research participants over 16 months, and documents such as course handouts and small brochures describing the school's mission. Findings indicate that the arts instructors and classroom teacher collaborate closely to develop the yearly "theme unificateur" or unifying theme. Attitudes and strategies revealed in the study fit the constructivist model of classroom instruction. Despite growing pains experienced by the school's current expansion, findings suggest that the arts instructors and the classroom instructor are not only filling the academic mission of the school, but are also (a) creating strong relationships with their students, (b) promoting self-esteem and emotional intelligence, and (c) creating artistic and cultural literacy.
10
Gibson, Susan E. "Drama praxis : Rural arts workers and lifelong learning : a phenomenological study." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2000. https://ro.ecu.edu.au/theses/1359.
Full textAbstract:
The purpose of this study is to explore and describe the experiences of a specific group of arts workers in an isolated rural community in the South West of Western Australia. These participants have all worked in the community as arts workers for an extended period of time. Through phenomenological research, the telling of these workers stories, it is anticipated that the research will highlight, strengthen and enrich the political and economic positions of these workers. The study is based on the assumptions and pre-conceptions that geographical and cultural isolation contributes to significant problems and situations such as communication that the workers can have when organising, co-ordinating and funding community arts projects. The current theories of ‘lifelong learning’ are discussed and evidenced through the experience of the research participants. Although generalisations are not appropriate based on form, style and philosophical paradigm of this research, certain implications are evidenced through the participants responses, opinions and experiences. The study is conducted within a qualitative research paradigm. Phenomenology is the methodology used in this study. As such the lived experiences and perceptions of the research participants are described. Open-ended interviews were conducted.
11
Johnston, Jerre Lynn. "ART CRITICISM: A "READING" OF THE VISUAL ARTS." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291319.
Full text
12
Mitchell, Rosamond. "An investigation into the communicative potential of teachers' target language use in the foreign language classroom." Thesis, University of Stirling, 1986. http://hdl.handle.net/1893/2554.
Full textAbstract:
This thesis describes an investigation into the capacity of foreign language (FL) teachers in Scottish secondary schools to make the target foreign language the sole or main means of communication with their pupils in the formal setting of the FL lesson. In the first part of the thesis, the reasons why FL teachers should behave in this way are explored. Relevant sociolinguistic and psycholinguistic theories are first discussed, together with their implications for FL teaching methodology. Contextual factors thought likely to influence the extent to which British FL teachers would be either willing or able to make the target language the medium of classroom communication are then reviewed. These have to do with a) the nature of the classroom as a social and sociolinguistic setting, and b) FL teachers' linguistic competence and beliefs about the nature of teaching and learning. Existing research on FL classroom interaction, and in particular on structural and functional characteristics of teacher FL talk, is also reviewed. The second part of the thesis reports an empirical study of the classroom talk of a group of teachers committed to the 'communicative approach' to FL teaching. These teachers' classroom use of French (the target FL) and English is described at several levels of detail, notably that of the teaching! learning activity and of the pedagogic move. Structural characteristics of teacher talk are also studied. Special attention is given to teachers' classroom management talk, and it is argued that the choice of French for this purpose is critical for enhancing pupils' experience of message-oriented target language use. comparison is made between the language use patterns of teachers characterised as 'High' and 'Low FL Users'; and an account is given of the discourse strategies which appear necessary to sustain high levels of FL use.
13
Burgess, Linda Kathryn. "The Sufi teaching story and contemporary approaches to composition." CSUSB ScholarWorks, 1999. https://scholarworks.lib.csusb.edu/etd-project/1533.
Full text
14
Yau, Foon-chi Lynn, and 邱歡智. "The arts and education policy: a comparison of the Hong Kong and international baccalaureate arts curricula." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37338687.
Full text
15
Choi, Ching-ha Maggie. "Perceptions of using language arts activities in teaching short stories : a case study." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36743124.
Full text
16
Choi, Ching-ha Maggie, and 蔡青霞. "Perceptions of using language arts activities in teaching short stories: a case study." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36743124.
Full text
17
Jackson, Sylvia. "The implementation of curriculum innovation : an examination of the factors affecting the use of the 'Science 5/13' project in trial schools after the trial period." Thesis, University of Stirling, 1985. http://hdl.handle.net/1893/21856.
Full textAbstract:
The central focus of this research is the implementation of curriculum innovation: this is examined by looking in detail at one particular innovation, the Schools Council project, Science 5/13, and attempting to isolate factors affecting its use. The research has been undertaken in a sample of those schools who tried out the project materials in the initial trial stages. These schools were contacted a number of years after the completion of the trials to examine the development of the project in the post trial period.
18
Massie-Laberge, Catherine. "Toward a systematized pedagogy of musical expression: an observational study of instrumental teaching." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121391.
Full textAbstract:
Observational studies of instrumental teaching present limited data on the efficiency of various teaching methods (Karlsson & Juslin, 2008; Kennell, 2002). Although technology has been demonstrated to improve emotional communication (Karlsson, 2008), musicians may have a negative attitude toward using it for learning expressive skills (Lindström, Juslin, Bresin, & Williamon, 2003). More studies are needed on the structural aspects of lessons, the dynamics of social interactions, and the prospects of using computer-based instruction in teaching expression (Laukka, 2007). The aims of this thesis are to (a) explore the nature of instrumental teaching with an emphasis on expression, (b) assess how teachers and students conceptualize expression and the teaching of it, and (c) see how they appraise the use of technology in teaching expression. In order to do this, we (a) observed instrumental lessons and (b) interviewed participants (12 university undergraduate students and their teachers: n=6). Interactions from 12 lessons were analyzed based on four educational functions of language (testing, instructional, accompanying, expressive). Results showed that 18% of the lessons were devoted to students' expressive development and that teachers used mainly the verbal mode of communication, in which the outcome feedback strategy was prevalent. Questionnaire responses revealed that expression was the preferred characteristic of music performance and that it was conceived as multidimensional and that the teachers' approach was based on the "instrumental-technical" view. Strategies, such as questioning, experimenting with sound, modeling, and using metaphorical language, are suggested as efficient ways to develop students' own expression. Teachers' interest towards the use of technology to teach expression decreased after they had received information on the underlying mechanisms of the Feel-ME software used, while students' interest remained positive. A concept map that integrates informative feedback and strategies to help students develop their own expression was created as a model for explicit music expression teaching.Les études sur l'enseignement instrumental présentent un nombre limité de données concernant l'efficacité des différentes méthodes d'enseignement (Karlsson & Juslin, 2008; Kennell, 2002). Bien qu'il ait été démontré que la technologie améliore la communication émotionnelle (Karlsson, 2008), les musiciens peuvent avoir une attitude négative envers son utilisation pour l'apprentissage des compétences expressives (Lindström, Juslin, Bresin, & Williamon, 2003). Davantage d'études doivent être effectuées quant à l'utilisation de la technologie dans l'apprentissage de l'expression (Laukka, 2007). Les objectifs de cette recherche étaient (a) d'étudier la nature de l'enseignement instrumental, en particulier l'expression, (b) d'évaluer la façon dont les enseignants et les élèves conceptualisent l'expression et son enseignement, et (c) de vérifier les perceptions de l'utilisation de la technologie dans l'enseignement de l'expression. Nous avons (a) observé des leçons instrumentales, et (b) réalisés des entrevues (12 étudiants instrumentistes de premier cycle et leurs enseignants : n = 6). Les interactions entre professeurs et élèves de 12 leçons furent analysées en fonction de quatre fonctions éducatives (test, instruction, accompagnement, expression). Pour la durée totale des cours instrumentaux, 18% fut consacré au développement des compétences expressives. Les professeurs utilisaient davantage les stratégies verbales pour enseigner l'expression, plus précisément la stratégie «outcome feedback». Les réponses au questionnaire ont révélé que l'expression, caractéristique la plus appréciée, est définie comme un concept multidimensionnel. Les stratégies, telles que l'expérimentation sonore, la modélisation, les métaphores, aident à développer l'expression des élèves. L'intérêt des professeurs quant à l'utilisation de la technologie pour l'enseignement de l'expression a diminué après avoir reçu de l'information concernant le logiciel Feel-ME, tandis que celui des étudiants est demeuré positif. Un schéma de stratégies comprenant un feedback informatif est suggéré comme modèle d'enseignement systématique pour aider les étudiants à développer leur expression.
19
Niblack, Linda Marie. "Videotaping: A tool for self-evaluation in language arts processes." CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/958.
Full text
20
Cheung, Wai Wan. "Conceptions of teaching and learning held by teachers of Mandarin and Cantonese in Chinese complementary schools in Scotland." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/24444.
Full textAbstract:
The thesis explores Chinese teachers’ conceptions of teaching and learning Chinese at Chinese complementary schools in Scotland. The teachers taught either Cantonese or Mandarin, the two main Chinese languages spoken by Scotland’s Chinese communities; teaching took place on a voluntary basis at weekends; the teachers were drawn from a variety of occupations; most of the pupils were of Chinese ethnicity, with in addition some non-Chinese children. The research mainly draws on phenomenography, a research approach that investigates variation in conceptions of different phenomena as these appear to particular groups of people – in this case, teachers of Chinese in Scottish complementary schools. The variation refers to the different conceptions of teaching and learning that were identified in the group of teachers as a whole. Semi-structured interviews with each individual teacher were devised, conducted and analysed according to phenomenographic procedures. From the group as a whole six key conceptions of teaching were identified, and likewise six key conceptions of learning. In addition, the research focused on a smaller number of teachers in order to identify individual profiles in greater depth. The teacher interviews also elicited the metaphors that the teachers considered represented good teaching and learning. The interviews also served to identify the factors that the teachers considered had most influenced their conceptions, and they were complemented by qualitative classroom observations designed to identify factors that would allow the researcher to better understand the context in which the teachers had formed their conceptions. The findings showed that Mandarin and Cantonese teachers had much in common, but that also there were clear differences in particular areas that seemed to be explained both by differences in culture between Mandarin-speaking Mainland China and Cantonese-speaking Hong Kong, and also by emerging differences in power and status, with Mandarin assuming a dominant role and Cantonese showing some decline in numbers and in optimism, with some parents switching their children over from Cantonese to Mandarin. More generally, the findings suggested that the teachers were dedicated, adaptable, and different from the stereotypical perception of Chinese teachers of the sort that emphasises examinations, rote-learning and authoritarian teaching style. The teachers in the present study generally understood their pupils had multiple identities and they sought to teach in a child-centred way, and to help their pupils preserve moral values and a Chinese component of their identity through learning Chinese language and experiencing Chinese culture.
21
Currie, Joni L. "Traditional and interdisciplinary teaching approaches a comparative study of teacher's attitudes toward the arts in general education /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1988. http://www.kutztown.edu/library/services/remote_access.asp.
Full textAbstract:
Thesis (M. Ed.)--Kutztown University of Pennsylvania, 1988.Source: Masters Abstracts International, Volume: 45-06, page: 2747. Typescript. Abstract precedes thesis as preliminary leaves i-ii. Includes bibliographical references (leaves 60-64).
22
Smith, Janet L. "Integrating language arts and social studies through the use of literature." CSUSB ScholarWorks, 1991. https://scholarworks.lib.csusb.edu/etd-project/736.
Full text
23
Frömel, Annette. "Using language arts in the German classroom: a case study." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31677174.
Full text
24
Roper, Robyn. "An investigation of the impact of visual culture on visual arts practice and visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/620.
Full textAbstract:
This research project is based on the premise that school students have a right to an education that assists them to "develop a sense of personal meaning and identity, and be encouraged to reflect critically on the ways in which that occurs." (Curriculum Frameworks, 1998, Values, Statement 2.2 Personal meaning: 325). Not only should education offer students a sense of well being, it should make a difference to their lives and foster an appetite for life long learning. A key ingredient that makes for a rich, fulfilling and rewarding life, is an understanding of visual culture, that according to Freedman (2003:1), "inherently provides context for the visual arts and points to the connections between popular and fine arts forms".
25
Powell, Mandy. "The origins and development of media education in Scotland." Thesis, University of Stirling, 2010. http://hdl.handle.net/1893/2550.
Full textAbstract:
This study combines analytical and narrative modes of historical enquiry with educational policy sociology to construct a history of media in education in Scotland. It uses the development trajectory of a single case, media education in Scotland's statutory education sector, to deconstruct and reconstruct a history of the institutional relationship between the Scottish Film Council (SFC) and the Scottish Education Department (SED) that stretches back to the 1930s. Existing literature describes media education in Scotland as a phenomenon located in the 1970s and 1980s. This study disaggregates media education discourse and dissolves chronological boundaries to make connections with earlier attempts to introduce media into Scottish education in the context of Scotland's constitutional relations within the UK. It employs historical and socio-cultural methods to analyse the intersections between actors and events taking place over six decades. The analysis and interpretation of the data is located in three time periods. Chapter 3 covers the period from 1929 until 1974 when, on the cusp of the emergence of the new texts and technologies of film, the SFC was established to promote and protect Scottish film culture and audio-visual technologies. During this time, the interdependence of teachers, the film trade and the educational policy-making community led to the production, distribution and exhibition of new and popular forms of text to national and international acclaim. By juxtaposing public and private documents circulating on the margins of statutory education, this chapter generates a new understanding of the importance of film and its technologies in Scotland in the pursuit of a more culturally relevant and contemporary model of education. It also describes how constraints upon Scotland’s cultural production infrastructure limited its capacity to effect significant educational change. In the 1970s, cultural, political and educational ferment in pre-devolution Scotland, created a discursive shift that gave rise first to media education and then to Media Studies. Articulating documents with wider discourses of educational and cultural change and interviews with key players, Chapter 4 describes a counter-narrative gaining momentum. The constraints of the practices of traditional subjects and pedagogies combined with the constraints on Scottish cultural production gave shape and form to the media education movement. Significantly for this study, the movement included influential members of Scottish education’s leadership class. Between 1983 to 1986, the innovative Media Education Development Project (MEDP) aimed to place media education at the centre of teaching and learning in Scottish education. This was fully funded by the SED, managed by the Scottish Council for Educational Technology (SCET) and the SFC and implemented by the Association for Media Education in Scotland (AMES). The MEDP overlapped briefly with another initiative in SCET, the Scottish Microelectronics Development Project (SMDP). During this period, Media Studies enjoyed rapid success as a popular non-advanced qualification in the upper secondary and further education sectors. Media education, however, did not. Chapter 5 explores the links between the MEDP and the SMDP through the agency of three central actors: SCET, the SFC and AMES in the context of a second term of Margaret Thatcher’s Conservative government. This study concludes that between 1934 and 1964, the SFC was a key educational bureaucracy in Scottish education. The SFC’s role as an agent of change represented the recognition of a link between relevant and contemporary Scottish cultural production and the transformation of statutory education. Between 1929 and 1982 three iterations for media and education in Scotland can be discerned. In 1983, the MEDP began a fourth but its progress faltered. The study suggests that if a new iteration for media and education in Scotland in the twenty-first century is to emerge, an institutional link between media culture, technology and educational transformation requires to be restored.
26
Metcalfe, Jason Lauth. "Examining relationship building in a donor participation program for the arts in higher education: A case study of selected members of the Medici Circle and the College of Fine Arts at the University of Arizona." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278743.
Full textAbstract:
High quality relationships between philanthropic organizations and their donors are central to the success of development and fund raising practices. The purpose of this study was to examine what components in a philanthropic relationship influence "relationship building" between a philanthropic organization and its donor base. A philanthropic program supporting the fine arts in higher education was used as the basis for a case study. Theories relating to philanthropy and social psychology were used to guide the research. Eight donors were interviewed and qualitative research methods were employed to analyze the data. Results indicated that creatively communicating the results of a donor's involvement, building a social and/or advocacy reference group, and utilizing dynamic leaders in donor relations valuably contribute to building high quality philanthropic relationships.
27
Brooks, Wendy Louise. "In search of a place for the arts: A case study of creative arts pedagogy in the 21st century classroom." Thesis, The University of Sydney, 2010. http://hdl.handle.net/2123/7722.
Full textAbstract:
This thesis documents the investigation of the implementation and development of a creative arts program, situated within a school environment of both physical and philosophical transformation. In conjunction with an extensive building program, major changes to the school’s physical learning environments were reflected in pedagogical changes which incorporated an adoption of the Quality Teaching framework, as well as those relevant to 21st century educational thought. Observation, individual and focus group interviews were carried out by the creative arts teacher-researcher. The analysis of material culture and documents provided data for this ethnographic case study. Physical aspects of the learning environment were explored, and found to affect not only students’ learning experiences and engagement, but also their comfort and ownership of the creative arts program. Further investigation into the learning environment considered the creative arts program in relation to the Quality Learning Environment dimension of Quality Teaching, documenting evidence of each of the elements therein. Varying degrees of student engagement, an important element, were evidenced within the program. Attempts to incorporate features of the insider classroom were hindered by a number of classroom relocations. However, its pertinence to both creative arts and to 21st century education was noted. Accommodation of the creative arts program within an open learning space resulted in major changes to both content and practice. These changes included the incorporation of higher order thinking skills and the utilisation of technology within the program, as well as significant changes in the role of the teacher.
28
Betts, John David. "Art as mediation for learning: The Arts Integration Program." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186865.
Full textAbstract:
This study is based on the Arts Integration Program, a series of lesson outlines utilizing fine arts experiences (dance, music, theatre, and visual arts) to teach core curriculum subjects. The study took place over two years in six schools, combining qualitative and quantitative research methods to determine: if learning actually took place concurrently with the program's lessons; how the classroom learning environment was affected; and what teachers who use the Arts Integration Program lessons for the first time report about the experience? The study was continued into a second phase based on results of the first. In the development of an Arts Integration Program teacher-mentor model, two teachers from the first year of the study worked with new teachers in their schools who were beginning to use the program. This second phase of the study asked: What is involved in establishing a successful teacher-mentor model with the Arts Integration Program? And, How do the lessons effect the classroom learning environment? Lesson outlines and arts integration techniques are described and results from the Content Area Tests and the Perceived Self-efficacy, Attitude, and Linguistic Domain Questionnaire from both phases of the study are presented. The evolution of the Arts Integration Program Teacher-mentor Model is also described. The process of implementing the program in each school was documented through teacher journals, observations, interviews, and videotapes. The aesthetic reaction that Vygotsky (1971) wrote about seems to be present in these children. Their teachers each report having a more cohesive and supportive classroom environment as a result of the theatre lessons. They all noted improvement in the childrens' communication, expressive and receptive, skills. There is also evidence of transfer into other academic areas. The study showed the more successful Arts Integration Program Teacher-mentor model to be: (1) At least a one-year. (2) Concentrating on one, or two, arts areas. (3) With teacher observing teacher. (4) Regular meeting to plan and discuss. (5) Videotape and review for teachers and students. Plans for future implementation of the Arts Integration Program and ideas for further study are presented.
29
White, Alisha M. "Artistic Frames: An Arts-Based Study of Teachers’ Experiences with Arts-Integrated English Language Arts for Students with Dis/abilities." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/msit_diss/98.
Full textAbstract:
This arts-based, qualitative investigation focused on high school English teachers of students with learning dis/abilities (Baglieri & Knopf, 2004) who used visual arts integration (Eisner, 2002) to find out how teachers experience using visual arts in English and what their experiences mean (Zoss & White, 2011) in order to understand why certain experiences stood out for the teachers as being important. I framed the study theoretically with complexity theories of teaching and learning (Davis, Sumara, & Luce-Kapler, 2008), while combining aspects of sociocultural theory (Smagorinsky, 2001; Vygotsky, 1978; Wertsch, 1991), cognitive pluralism (John-Steiner, 1997) and Dewey’s notion of experience (1934/1980). The teacher participants were three high school English teachers employed at an independent school for students with learning dis/abilities. A/r/tography (Irwin & Springgay, 2008; Springgay, Irwin, & Kind, 2005, 2008) influenced my methodology in that I created visual art to theorize the data and my experiences conducting the study. I collected data during spring and summer 2011. Data sources included participant observation and field notes (Dewalt & Dewalt, 2002), photography (Coover, 2004; Harper 2000, 2002), teachers’ visual texts (La Jevic & Springgay, 2008), artifacts (Prior, 2003), and interviews (Smagorinsky, 2008; Smagorinsky & Coppock, 1994). I used qualitative methods of coding analysis (Charmaz, 2006; Ezzy, 2002; Saldaña, 2009) and visual analysis (Riessman, 2008; Rose, 2001), as well as arts-based methods for educational research (Cahnmann-Taylor & Siegesmund, 2008). This study fills a gap in empirical research in both English education and special education by examining English teachers integrating art in classes for students with dis/abilities. Furthermore, understanding how teachers experience visual arts integration can inform methods courses for teaching secondary English educators.
30
Cannaday, Bruce D. "Basic concepts of industrial technology." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/458486.
Full textAbstract:
The purpose of this creative project was to develop a three dimensional model that would assist Industrial Technology Educators describe contemporary concepts of communication, construction, manufacturing, and transportation. The creative project was designed to appreciation of Industrial Technology. It also assisted them in developing problem solving techniques.A model community and activity packet were developed. The model community was the central focus for analysis. The concepts represented in the model community are reinforced with activities in the activity packet.
31
Whelan, Jane. "Teaching visual arts through distance education : an evaluation of the program Anyone can draw." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1997. https://ro.ecu.edu.au/theses/908.
Full textAbstract:
The problem under investigation is concerned with the teaching of drawing through distance education. Traditionally drawing has occupied a central position in visual art teaching and learning and is still regarded as a significant area of visual arts education. In the visual arts curriculum of Western Australia, drawing, which is included in the broader term visual inquiry, is regarded as the foundation for studio practice. It is therefore appropriate to include drawing as part of every visual arts teaching program. The correspondence mode of teaching, which has a text-base, is a more formal style of teaching art than the responsive teaching that normally occurs in an art class. Through distance education it is difficult to encourage drawing skills either through remediation or extension without creating a burden of extra work for the students. This is due to the design of the course booklets in projects which schedule the drawing lesson as one of many the student is required to complete in a semester. The projects culminate in a final studio product, thus emphasising that drawing remains a step towards the product.
32
Dockstader, Cherie Jolene. "Writing in the middle : a qualitative study of seventh grade language arts teachers /." [Boise, Idaho] : Boise State University, 2009. http://scholarworks.boisestate.edu/td/5/.
Full text
33
Beeshligaiiyitsidi, Roberto Randall 1943. "IMPROVING VISUAL ARTS PROGRAMS FOR NAVAJO STUDENTS THROUGH DISCIPLINE-BASED ART EDUCATION." Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/276522.
Full textAbstract:
This thesis will promote an understanding of discipline-based art education in conjunction with some methods of Navajo culture for the purpose of teaching the visual arts. How the Navajo child responds to natural objects, and to those objects of the Southwest he or she identifies as works of art, is shaped by the culture of the Navajo child. The methods that the Native American teacher has already attained of the Navajo culture would exercise discipline-based art education and could provide a much-needed vehicle by which to converge the theoretical bases of the profession.
34
Carder, Lou Anne. "A teachers' guide to integrating middle-grade science into language arts." CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/646.
Full text
35
Honig, Valerie Amelina. "Cultivating Aristotelian rationality through the arts : a philosophical and practical perspective." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32916.
Full textAbstract:
This thesis presents a description of a five-month project involving the educational unit of a large urban museum and its interaction with a group of elementary-aged students from a disadvantaged community. The description is framed within a philosophic premise that puts emphasis on aesthetic experience. Within this framework, I argue that aesthetic experience can be a valuable component in the development of a range of human faculties---intellectual, affective and imaginative. Moreover, borrowing from Aristotle's conception of rationality, I maintain that only when an individual cultivates and employs all his or her faculties can he or she be considered a rational individual. With this perspective in mind, in the final section, I argue that non-traditional educational projects emphasizing aesthetic experiences, such as the one examined in this study, can enhance an educational system that makes knowledge acquisition its priority.
36
Van, Blerk Susan. "Teachers' perceptions of the implementation of the arts and culture learning area in the senior phase." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/627.
Full textAbstract:
Teachers are the primary implementers of a curriculum as they need to bring the curriculum to life in the classroom. In order to optimize the success of the implementation of a specific curriculum, it is necessary to monitor the experiences of the educator in the classroom and in drawing conclusions from the data gained, make recommendations for the continued improvement of implementation. As mentioned earlier, Fullan’s reference (1991:117) to the significant effect of teachers thoughts on the implementation gave rise to the central research question, namely to determine teachers’ perceptions about the implementation of the Arts and Culture learning area at a particular school ‘Perceptions’ however, is a subjective concept and thus any form of quantitative research would appear to be inappropriate. Based on the above it was decided to approach this investigation qualitatively and so this project was done within the qualitative paradigm.
37
Duncan, Margot. "Visual arts, technology and education : how can teaching and learning in high school visual arts classrooms be enriched by the use of computer technology?" Thesis, Queensland University of Technology, 1995. https://eprints.qut.edu.au/36494/1/Duncan_36494.pdf.
Full textAbstract:
Whilst a variety of studies has appeared over the last decade addressing the gap between the potential promised by computers and the reality experienced in the classroom by teachers and students, few have specifically addressed the situation as it pertains to the visual arts classroom. The aim of this study was to explore the reality of the classroom use of computers for three visual arts highschool teachers and determine how computer technology might enrich visual arts teaching and learning. An action research approach was employed to enable the researcher to understand the situation from the teachers' points of view while contributing to their professional practice. The wider social context surrounding this study is characterised by an increase in visual communications brought about by rapid advances in computer technology. The powerful combination of visual imagery and computer technology is illustrated by continuing developments in the print, film and television industries. In particular, the recent growth of interactive multimedia epitomises this combination and is significant to this study as it represents a new form of publishing of great interest to educators and artists alike. In this social context, visual arts education has a significant role to play. By cultivating a critical awareness of the implications of technology use and promoting a creative approach to the application of computer technology within the visual arts, visual arts education is in a position to provide an essential service to students who will leave high school to participate in a visual information age as both consumers and producers.
38
Merrill, Jean Collins. "Eureka: A gold rush play integrating the performing arts into elementary social studies curriculum." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2566.
Full textAbstract:
The purpose of this project is two-fold. The first purpose is to explore the benefits of incorporating the arts in the education of all students. Incorporating the arts into other curricular areas enhances learning and makes it more meaningful to the student. The second purpose is to develop a performance program that brings the California Gold Rush era and the cultural diversity of that period of history alive.
39
Coats, Tonya Cherie. "Using technology in language arts to motivate students." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2479.
Full textAbstract:
This project will serve as a media rich tool to aid students and teachers in the classroom. It is designed to examine whether or not a computer based learning environment motivates and helps fourth grade at-risk students in vocabulary development. The project included creating a guide in Macromedia Authorware to help educators develop a multimedia environment in the classroom.
40
Chan, Miu-kuen, and 陳妙娟. "An evaluative study on the learning of creative thinking in visual arts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B35312099.
Full text
41
Lund, Kimberley Ann 1955. "Transition from artist to artist teacher: A case study of graduate student studio teaching." Thesis, The University of Arizona, 1993. http://hdl.handle.net/10150/292007.
Full textAbstract:
This work is a qualitative inquiry, using naturalistic, descriptive methods of educational anthropology to form a case study of the teaching and learning environment in a particular graduate teaching assistant's (GTA) University Foundations drawing classroom. Data reveal relationships, patterns and forms in the GTA's teaching behaviors, classroom phenomena and the student's learning behaviors. Inferences are drawn from the descriptive data and hypotheses are formulated that concerns itself with how the particular graduate student teaches studio art and why. By recording a GTA's personal pedagogical evolution and investigating the assumptions and values that underlie the process, the researcher has discovered general characteristics of university visual arts teaching for structuring knowledge in that area. Conclusions are education in the arts is personality driven, good teaching is a sustained and willful act and curriculum must be sequentially ordered for optimum student learning.
42
Buckley, Signe A. "Integrating literature and illustration in seventh and eighth grade language arts curriculum." CSUSB ScholarWorks, 1992. https://scholarworks.lib.csusb.edu/etd-project/615.
Full text
43
Holt, David Arthur. "Art in primary education : a study of the generalist as teacher of the visual arts." Thesis, University of Exeter, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329887.
Full text
44
Miller, Michael Douglas. "A history of aesthetic education in the visual arts from 1872 to 1945 in British Columbia." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26888.
Full textAbstract:
The search for the, presence of aesthetic education in the visual arts and its connection to history in the formative part of British Columbia's development, up to 1945, was the intent of this study. I propose that aesthetic education has been present in the public schools of British Columbia through most of the time span of this study. The time span 1872 to 1945 was chosen as a logical time frame for the study; the inception of the public school system to its total reorganization, both physically and financially, following the Cameron report (1945).
A thorough review of the documents written by the Department of Education; Annual Reports of the Public Schools, Curricula for Public Schools, Programmes of Studies, and surveys were all read for traces, snippets, innuendos, and allusions to, the subject of this study.
Loral and general histories as well as histories of education were read in search of connecting webs of commonality. International and intercontinental "movements" in the visual arts were examined to see any connection with the development of aesthetic education in the visual arts in British Columbia.
The unstable economy of British Columbia, based as it is on primary resource extraction and international markets, has had Its effect on the development of British Columbia and its public schools. Being a geographically convoluted region with isolated pockets of population, ease of transportation between points in British Columbia has also shown its influence on the educational system.
The Department of Education was aware of international movements in aesthetic education in the visual arts, but the finances of the Individual 649 active school districts varied from a few wealthy city districts to hundreds of impoverished rural districts. The type of teacher training also played a major part in the growth of aesthetic education. On paper then it seemed as though the pupils of British Columbia's Public Schools were receiving a contemporary aesthetic education, but in fact this idea was only a dream in many areas of British Columbia.Education, Faculty of
Graduate
45
Irwin, Rita Louise. "The practical knowledge of a fine arts supervisor in educational change : a case study." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/29235.
Full textAbstract:
Few naturalistic studies exist that take an in-depth look at the lifeworlds of consultants and supervisors. This single case study describes and interprets the practical knowledge of an exemplary Fine Arts Supervisor. In this study, the investigator acted as a participant-observer while "shadowing" Ruth Britten (a pseudonym) over a four month period. Data were derived through field research techniques, and were subjected to data analysis and interpretation.
Drawing upon a body of literature dealing with the nature of practical knowledge, this study concludes that a supervisor's practical knowledge is different from a teacher's practical knowledge in two important ways. First, curriculum implementation replaces curriculum development in the five commonplaces found in teacher practical knowledge: self, instruction, curriculum development, subject matter, and milieu. Second, the political knowledge context forms a major addition to the five orientations defined by Elbaz regarding teacher practical knowledge: theoretical, social, personal, situational, experiential. A third conclusion underlies the above: Elbaz's conceptual framework for a teacher's practical knowledge proved to be a useful starting point in determining a supervisor's practical knowledge.
Practical knowledge is constructed upon rules of practice, practical principles, and images. In this study, these forms revealed the dialectical nature of much of Ruth's practical knowledge. Two constructs or landscapes of imagery became apparent, one being the empowerment and power of teachers, and the other, bureaucratic power and control and educational stability. Analysis of Ruth's style as a supervisor examined further dialectical relationships, as she continuously resolved contraries while implementing fine arts curricula.
The findings suggest that among other requirements, supervisors need to develop a unique form of practical knowledge geared to the political context of curriculum implementation. Therefore, School Boards should consider tenure contracts for supervisors rather than limited term contracts, and should promote special training for supervisors in curriculum change strategies rather than assume that master teacher practical knowledge is sufficient.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
46
Choa, Gillian Ann, and 蔡敏志. "The performing arts' concern: the alternativeleader." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B45007913.
Full text
47
Rountree, Janet, and n/a. "A framework for virtual artifacts : digital images as teaching tools in Classical art." University of Otago. Department of Information Science, 2005. http://adt.otago.ac.nz./public/adt-NZDU20060809.112225.
Full textAbstract:
This thesis explores the problem of how to present digital images of ancient artifacts in a manner that supports the task of visual analysis.
The real object presents the "truth": exact scale, colour, and fine details. An original work of art provides the viewer with the opportunity to react directly with the object, is closest to the impact intended by the artist, and provides a tangible physical link with the past. Digital images limit and alter the experience of a work of art (1) with regard to the amount of data available (resolution), and (2) through the interpretation of the object by the producers of the digital copy (mediation).
A new framework is developed to improve the understanding and presentation of virtual artifacts. This Fidelity-Mediation framework provides a continuum for considering the effects of design strategies on media used in teaching Classical arch�ology. Two small-scale experiments and follow-up interviews were undertaken to assess the usefulness of the Fidelity-Mediation framework as a descriptive model. During the experiments, quantitative analysis could detect no statistical difference in the effectiveness of different types of presentation (real object, VR object, and still digital images).
This is a surprising result as it might be expected that there is nothing like seeing the real thing. Digital images provide less visual integrity. However, the digitised artifacts make up for the loss of excitement and authenticity by providing the advantage of mediated focus. Digitised artifacts thus turn out to be useful, effective study tools in the analysis of Classical art.
Findings from this research are expected to generalise only to learning situations which support task orientation--situations conducive to developing personal skills and mastery--in contrast to performance orientation where the goal is to display performance relative to others. The distinction between task orientation and performance orientation is discussed in Chapter Eight of this thesis.
48
Zheng, Jie Jane, and 鄭潔. "The Shanghai Art College, 1913-1937." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B37969833.
Full text
49
Benosa, Kathlyn Garcia. "Increasing comprehension strategies through reciprocal teaching." CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/3174.
Full textAbstract:
The purpose of the study was twofold. First, it describes two research-based instructional strategies that have been effective in increasing reading comprehension (reciprocal teaching and using readers' response journals). Second, a quasi-experimental research design was created to determine the educational impact of these two strategies on the reading comprehension levels of elementary-aged English Language Learners (ELLs). The data was collected from a low socioeconomic elementary school, specifically looking at a second grade classroom. The classroom demographic included eighteen students, ten of which were English Language Learners. Both informal and formal assessments were used to determine growth across time. The overall findings gleaned from the formal assessments revealed that the ELLs significantly increased their reading comprehension scores by 12%. Using both strategies has demonstrated not only the increase in reading comprehension with non-English speaking students but also with English-speaking students.
50
Zervos, Cassandra. "The effect of cross-linked learning on visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/774.
Full textAbstract:
This study examined how computer technology had an effect on a Year 9 visual arts education class with regard to the Western Australian four Arts Learning Outcomes (WA 4ALO). The research was administered concurrently with a learning approach called Cross-Linked Leaming (CLL) (Zervos, 1997), which consisted of three components: (1) the subject (e.g., visual arts education in relation to the WA 4ALO); (2) the learner (i.e., a target group and how they learn); and (3) the tool (e.g., computer technology). This study addressed the problem of how to promote learning in visual arts education, especially with visual arts theory. Historically, students have preferred to make art than to study art theory subjects such as art history and art criticism/response. Furthermore, many students may have found, traditional ways of learning theory to be less engaging and stimulating than making art. For this study, a sample consisted of 19 female students from an independent secondary school in Perth for one school term. The students were divided into three groups for the three data collections methods: (l) the whole class completed pre and post-questionnaires; (2) five pairs of students participated in pre- and post-interviews; and, (3) nine students' art portfolios representative of different levels, of achievement, that were analysed at the end of the school term. The methodology was action research. Data was collected and interpreted to answer the primary research question through four sub-questions as follows: (1.0) What was the effect of CLL on students; (1.1) What were students' attitudes towards CLL; (1.2) What skills did students require for CLL; (1.3) What knowledge did students exercise with CLL; and (1.4) What were students' preferences for !earning with CLL?" The results showed that the three components of CLL had a predominately positive effect upon most students in terms of their attitudes, skills, knowledge, and preferences. Furthermore, the students showed a first preference for learning visual arts theory in a CLL framework reflecting a social constructivist and student-centered way of learning that included using, computers 75% of the-•time for visual arts theory instruction. This thesis demonstrates that CLL is an effective framework for the Year 9 visual arts students who participated in this study.