This enquiry investigates the experiences and responses to peer assessment of group work involving cohorts of undergraduate popular music students over a five-year period. Working within the context of band rehearsing and performing, the enquiry focuses on how intra-peer assessment impact on students’ personal attributes and their learning. The literature review presents an overview of peer learning, group work, peer assessment processes, and a survey of the peer assessment literature on music in Higher Education reveals a lack of research into popular music group work. An action research design was established to study developing peer assessment activities of group work involving nineteen rehearsing and performing cycles. This allowed interventions and refinements to be made from cycle to cycle from which qualitative interview data and quantitative peer assessment data were collected. The analysis and interpretation of this data explain the key themes that arose from the students’ experiences of peer assessment in the action research. These include the development of awareness and knowledge about their personal attributes. Confidence, feedback and a moral dimension, often involving honesty and trust, were of particular significance. A new process model of intra-peer assessment is proposed. It offers a sequence of graduated stages of personal attribute usage, which create experiences over a period of time, that support students’ learning about themselves and about others through intra-peer assessment activities. The key activity, which also gives the model its particular distinctiveness, involves bands decide for each of their members appropriate personal attributes to be used as criteria for intra-peer assessment. The enquiry emphasises the importance of providing experiential and interactional contexts for intra-peer assessment, as important learning opportunities arise from such settings. This study provides a social constructivist explanation for the development of students’ personal attributes and the building of trust and honesty in the rehearsing and performing cycles.

This mixed methods study investigates an aspect of learning which is often overlooked: that of gender interaction in one-to-one instrumental music lessons. The gender of teacher and pupil may contribute to differences in behaviour and expectations, which could impact upon teaching and learning processes and outcomes. The study asks the following questions: ‘Do instrumental teachers and pupils hold gendered beliefs about each other and about their lessons, and if so, how do these beliefs affect their interactions, and what might be the consequences for learning?’ Three linked studies - a teachers’ and pupils’ questionnaire study, a lesson observation study, and an interview study - were conducted to offer different perspectives on these research questions. The questionnaire studies found that participants held several stereotypical expectations. Teachers believed that girls were more conscientious than boys; pupils believed that male teachers were more ‘likely to set challenges’ than female teachers, who were more likely to be characterised as ‘patient’. The observation study found many similarities in the ways men and women interacted with boys and girls. Some important variations were identified, however, including the findings that during lessons male teachers were likely to play their instruments more frequently than female teachers, and that boy pupils were less likely than girls to look at their teacher's face. In the interview study, teachers and pupils offered background information and opinions which helped to contextualise the earlier findings. A ‘good’ relationship was seen by all participants as a key factor for successful teaching and learning, but this was defined in different ways. Men and boys were most concerned with the technicalities of playing the instrument well. Women and girls, while valuing skill, also maintained the importance of more affective issues, such as mood, personal likes and dislikes. As well as contributing to educational psychology by exploring an under-researched area, the findings will be of practical use to instrumental teachers and to conservatoires, universities and teacher educators in general education. Awareness of gender issues, and particularly of the need to avoid stereotypical expectations, will help teachers to provide equity for pupils, in order that all can achieve their potential.

This situated self-as-researched investigation explores the impact of critical reflection on a private practice singing teacher’s thinking. The project is based upon the use of five ‘vehicles’ through which to develop the skills of critical reflection, these being journal writing, personal writing, critical incident technique, narrative inquiry and ideology critique. Each of these vehicles is used to undertake critical reflection of singing teaching practices whereby values and assumptions are interrogated. Each of the vehicles of critical reflection used in this inquiry is evaluated for their ease of use and effectiveness in enabling critical reflection processes to be developed in the participant. Engaging in critical reflection presents the possibility for transformative learning (Mezirow 1990) whereby frames of reference are challenged and altered as a result of the processes undertaken and examples of this in action are included in this research report. This dissertation contributes to the small but growing body of research in the area of private professional music education. The private instrumental and vocal teacher often works in an isolated environment with limited development opportunities available. This research proposes that critical reflection may be a viable tool for professional development and practice improvement.

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Emotional intelligence (EI) plays a significant role in human emotional well-being, personal growth and life satisfaction. Self-awareness is said to be a key to the development of this form of intelligence. It has also been claimed by art therapists and educators that the expressive arts can assist people in self-expression and emotional awareness. In accordance with this belief, the motion picture (a movie) as a form of expressive product has been used to help people become aware of their own hidden feelings and thoughts (i.e. viewing or making an autobiographical movie can promote emotional awareness). However, there has been little research that specifically addresses how the process of making (one particular form of expressive art) may help a person to engage with their emotions. Therefore the central aim of the research was to show firstly how the development of autobiographical animations may engender therapeutic opportunities for greater reflection thereby facilitating personal development of, and emotional awareness in the artist and secondly, to demonstrate that the viewing of such animations may prompt viewers to gain the understanding of the feelings of the animator and be stimulated to reflect on their own experience, followed by the subsidiary goal of demonstrating that making animation could provide additional opportunities to the growth of greater emotional awareness in therapeutic and school education settings. To achieve these aims, a practice-led research approach was adopted. The thesis presents the reflective journey undertaken in creating the final installation ‘A residual cleft in my beautiful life: childhood’ based on childhood memories, showing how reflection-on-practice and in-practice formed key components in shaping the research and accompanying artistic endeavours. The development of the installation confirmed that the processes undertaken in producing an animation provided opportunities for self-knowledge and personal growth (in the artist), and that the audience were stimulated to consider their own childhoods as well as the childhood presented to them. The evidences of the animation installation production and the audience’s responses to the artefact further support the positive feedback on the values of animation to assist in increasing self-awareness from interviews with art therapists, and an online survey with school teachers. Observation of s three month animation teaching placement is also reported to invite further study to explore animation practice and school education. In conclusion, this research contributes to knowledge firstly, by providing a practice based account of the researcher’s exploration of, and development of emotional insight through her therapeutic art; secondly by evidencing the potential of a new form of expressive art - animation – to be used as an expressive arts technique to engage the emotional intelligence of individuals and audiences.

This thesis examines the intersection between masculinity and risk in educational settings. It draws on an intensive examination of the field of dance-education in Scotland and an extended period of research with YDance, Scotland’s only state-funded dance education company. Data was gleaned from a combination of qualitative and ethnographic methods including unstructured interviews, planned discussion groups and participant observation. The thesis synthesises the work of Ulrich Beck and with micro-level approaches popular in studies of gender and education through Bourdieu’s meso-level theories of society and social actors. It uses Bourdieu in new ways, both to reconcile these concerns of structure and action and to overcome key problems that have been identified with the work of authors like Butler and Connell. Substantively, the thesis draws attention to the risks which so-called ‘feminised’ activities like dance pose to young masculine identities and the role played by schools in reproducing and tacitly authorising inculcated assumptions about dance, gender and sexuality. The thesis also investigates the various ways in which dance educators attempt to challenge these reified associations and considers some of the unintended consequences of these practices. Despite ostensibly challenging gender stereotypes, many of the steps taken in order to engage boys in dance at school result in the reproduction of strong versions of masculinity and femininity. In attempting to recode dance as a ‘acceptable’ activity for young men, dance educators often disavow the contribution of gay and effeminate men to the art form, downplay the merits of genres like ballet which is perceived to carry particularly strong associations of femininity and homosexuality, and engage – albeit subtly – in misogyny and homophobia. Dance educators are often therefore unintentional agents of the reproduction of inculcated masculinities and gender inequality.

Between 1961 and 1986, the contexts in which artists could train and practice in Mozambique radically shifted. During the country’s transition from overseas territory of Portugal’s quasi-fascist Estado Novo regime, to Marxist-Leninist vanguard state, to neo-liberal democracy, expressions of international solidarity with the Mozambique liberation front (FRELIMO) generated dynamic flows of people, objects and ideas into and out of the country. This state of flux produced a range of opportunities for artists, as well as contingent expectations for the role of their work in the new nation. Understanding art education and patronage as both an apparatus of power and a locus of transnational exchange, this thesis focuses on the experience of three artists who navigated this shifting terrain: Malangatana (1936-2011), João Craveirinha (born 1947) and Celestino ‘Cejuma’ Matavele (born 1959). Whilst these artists all articulated, in different ways, the struggle against colonialism and their vision for a future nation, their approaches often ran counter to the prevailing political discourse and aesthetic pedagogies. Ultimately, I argue that this dissonance reveals how deeply the parameters for art in Mozambique were contested by artists during this time.

This research project investigates the pedagogy of Tom Hudson and his vision for art education. A critical overview of the relationship between Hudson’s pedagogical theory and practice is made, as well as a review of the influences and contexts that shaped the development of his ideas. Having played a significant role in the formation and progress of the Basic Design Movement, Hudson’s practice and ideas are considered and compared with respect to this period and the work of other protagonists, namely Harry Thubron, Victor Pasmore and Richard Hamilton. Hudson’s development of what essentially emerged from this has been investigated, providing an extensive review of what became known as the Foundation course through to Hudson’s retirement in 1987. Contemporary practices have also been considered and observed in order to gain an understanding of current debates and the place of Hudson’s pedagogical views within these. Familiar elements in his writing show that his ideas have relevance to current concerns and practices. Twenty-five years later we are still working to prove that ‘creative activity is more than a mere cultural frill’ (Hudson, 1979, BH/TH/PL/196, p. 2). The study includes a consideration of the archive as a theoretical framework for the artist educator’s research. A substantial amount of primary material for this research has been found within the National Arts Education Archive (NAEA@ysp), a valuable resource with much to offer the art and design educationalist, student or researcher.

This PhD thesis looks at the meaning of website effectiveness and their influence on design decision-making. The research is focused within the context of designing by 16+ students and concerning sustainability. Design practice is explored within Advanced level General Certificate of Education (commonly referred to as AS/A2) Design and Technology, in order to define its particular characteristics. The study uses a theoretical position developed from the Assessment of Performance Unit s (APU) discussion document from 1982 as a framework to explore information retrieval within designing. The position of the study within designing and its place within research related to the use of knowledge, skills and values in designing is clarified. A literature review conducted conceived information retrieval as a characteristic of skill in the APU model. This study has established a consensus position on what is good practice in website development and design, and illustrates the structure of selected sustainable design websites, as well as assessing their navigation. The study indicates which types of information AS/A2 level student designers are seeking and how they use websites within their design work. The drivers behind sustainable design decision-making are identified. The understood consensus of sustainable development and sustainable design as an emerging area in designing is defined. The research is situated within the Sustainable Design Award (SDA) scheme that aimed to implement sustainable development into Design and Technology education and also outlines the content embodied in selected sustainable design websites. AS/A2 level Design and Technology education is used as the context for the main study. Action research was used to help develop the SDA website which was created as a primary assessment tool for the research study, concentrating on students aged 16 to 18. The usability of the selected websites was assessed by undergraduate designers from Loughborough University. A framework was developed and the effectiveness of the SDA website was measured before use, during use and after use . Quantitative and qualitative research methods were used to gather data from the students such as questionnaires, folio assessments and interviews. The results indicate a prominence of website use and sustainable design within AS/A2 level design work, however sustainable design is taught as a separate entity and is not fully integrated into design practice. Sustainable design websites were accessed by half of the 72 students questioned, but only 28% had used the SDA website. The information that the student designers sought fell into two categories: specific information and inspiration, supporting Lofthouse (2001a). The use of these decreased dramatically as projects progressed in AS/A2 level and undergraduate level design education, this pattern was consistent in website use, sustainable design and sustainable design website use. Cluster analysis was carried out on the sustainable design websites with the informative cluster identified as representing the appropriate strategy for effective higher level website design. This cluster included characteristics such as comprehensive content information on sustainability, inspirational images and product examples. Appropriate approaches to the detailed design and development of the SDA website are reported. Future recommended work includes a focus on before use, to investigate the affects of increasing awareness of the website. Relating wider sustainability issues to AS/A2 Design and Technology education is discussed, investigating further the use of eco-design tools as the discussion highlights conflicting opinions. An expansion to the cluster analysis to help define further the four website cluster groups. The development of a website that correlates the emerging patterns of website, sustainable design and sustainable design website use, with work on value judgements completed by Trimingham (2007).

This ethnographic study was initiated by the concern that elementary art education is an endangered subject, not only marginalised but expendable. This concern was based on informal conversations with pre- and in-service teachers and observations during pre-service teacher evaluations in elementary schools in Ontario, Canada. From these conversations and observations, it seemed that the emphasis in elementary schools is on core subjects with anything else deemed to provide balance alongside initiatives to improve literacy, numeracy, character, and inclusion. The school day is teeming with subjects and initiatives and the resulting crowded curriculum may be affecting teaching and learning in non-core subjects, such as art, negatively. In addition to such external issues are individual challenges faced by generalist teachers with little or no background in visual arts. These teachers’ lack of comfort with art might, I surmised at the start of this study, impede the effective planning, implementation, and assessment of art education. To understand what impacts art education, specifically visual arts instruction, I used a variety of interpretive enquiry methods to interrogate what makes art in elementary schools a vulnerable if not an expendable subject. Initially seeking to find out if art was expendable, I went beyond this to explore perceptions of teachers on teaching art through a localised small-scale study involving 19 elementary teachers in two school boards in north-eastern Ontario. I conducted interviews, recorded observations, and read related documents to answer my research questions, which were as follows: Why is art education important, or not, for students, educators, parents, and other stakeholders? Is art jettisoned in favour of implementing other policies and curricular subjects? Do teachers use other programmes and initiatives as an excuse not to teach art? How do teachers feel about teaching art? Is art expendable? Nussbaum’s (1997) capacities (critical self-examination, connectedness with the world, narrative imagination, scientific understanding) provide the theoretical framework for the study, support the analysis of the state of art education, and help defend its importance at the elementary level. Possible barriers to effective art education (history, policy, practice, economics, geography) and how they may affect learners’ ability to connect with the capacities through visual arts instruction are also analysed and discussed. Through this study, I found that elementary art education is threatened in the participants’ schools for a number of reasons including external issues (minimal attention to, inconsistent delivery of, and poor funding for the mandated art curriculum; a high focus on literacy, numeracy, and other initiatives) and internal issues (discomfort with teaching art; wide range of concepts of art). The study concludes with concerns regarding overall problems with miscommunication and disconnection that threaten effective elementary art education. Recommendations for addressing external and internal issues, and these overall problems are outlined, along with plans to improve art education in pre-service teacher education, in-service practice, and the world beyond the classroom.