本研究旨在探討藝術心理課程對幼兒多元智能之成效探究。本研究以立意取樣選擇臺北市立雨農國小附設幼兒園進行研究，研究對象為56名年齡層滿五足歲至六歲之幼兒，研究設計採準實驗設計，將受試者隨機取樣至實驗組與控制組，實驗組接受為期五週的「藝術心理課程」。本研究所使用的資料處理與分析方法是以質量並行的方式進行，測驗工具採用葉玉珠（2005）所編製「幼兒多元智慧量表」，以量化資料分析為主，輔以質性資料包含教學觀察紀錄省思表、教師回饋表、家長回饋表、藝術心理課程之活動紀錄，作為質性分析之依據。 本研究結果如下：一、藝術心理課程能提升幼兒多元智能；二、幼兒在多元智能呈現大多為組合智能結構；三、幼兒的多元智能表現會隨著關係的熟悉度與團體氛圍增加；四、藝術心理課程之活動設計會引發幼兒多元智能的發展，引起興趣與學習；五、課程突發事件會成為幼兒人際與內省智能的專屬教材；六、幼兒經過教師提醒後能比過去短暫的時間內轉向正向行為。 本研究最後根據研究發現與結果，對教育各領域提出相關具體建議，本研究最終期盼，心理輔導與幼兒教育跨領域的發展課程，能對當今提出另一種教育面貌。

近年來，創造力教育受到越來越多守門人的關注，包括企業界領袖、學者專家、政策制定者和教育工作者。另外在學術界和教育界，也有 越來越多的人接受「創造力是可以教」的觀念。因此，追求文化和社會適當的教育創新模式來實施創造力教育是非常重要的。 接觸藝術、學習藝術是培養創造力的重要途徑， 但在正式教育體制很難提供機會平等的平台時，相關的教育守門人就必須創造機會解決此一問題。Christensen、Horn與Johnson （2008、2011）也認為傳統的教育創新只是進行永續性的創新，所以他們進而提出破壞性創新的教育模式，以彌補傳統創新教育模式之不足。 本研究的目的是在探討兩個台灣表演藝術教育破壞性創新的個案：紙風車319鄉村兒童藝術工程和台北景文高中之優人神鼓表演藝術班。本研究的研究方法包括文獻分析，深度訪談和觀察。研究結果發現紙風車319鄉村兒童藝術工程的破壞性教育模式提供更多的機會讓偏遠的兒童可以接觸藝術，對他們產生正面的影響。優人神鼓表演藝術班的教育創新模式讓具有藝術興趣和才能的學生開啟創新的學習管道，一方面發展他們的藝術才情，另一方面也可以在正式教育中表現良好。 / In recent years, creativity in education has received increased attention from gatekeepers - the business leaders, scholars, policy-makers, and educators – around the world. There is also growing acceptance in the academic and educational worlds that “creativity can be taught.” Thus it is now crucial to pursue culturally and socially appropriate models for implementing creativity education. Encountering and studying the arts is an important approach to developing creativity. However, when traditional formal education systems are unable to provide an equal platform for encountering the arts, relevant gatekeepers must come up with new solutions. Christensen, Johnson, & Horn (2008; 2011) write that traditionally, educational innovation has relied on sustaining innovation, which they hold is insufficient for new educational demands today. They propose instead a model of disruptive innovation for education, which has greater potential impact on the education system, to help close the gap between educational ideals and practice. Leadbeater and Wong (2010) further categorize innovations in either formal or informal educational settings. This study examines two cases of disruptive innovation in performing arts education from Taiwan: Paper Windmill Theatre’s First Mile, Kid’s Smile 319 Townships Art Project program and the U-Theatre Performing Arts Class at Taipei Jingwen High School. The research methods employed include document analysis, in-depth interviews, and observations. The research findings conclude that the 319 Project's disruptive innovation model for informal education provided children in remote locations with opportunities to encounter the arts, making a positive impact on their lives. The disruptive innovation model for formal education used by the U-Theatre Performing Arts Class gave students with interests and potential in performing arts a channel for their abilities, both helping them develop their artistic interests and talents and enter university.