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Self-analysis as a method of supervision and evaluation in art education : a fieldstudy /Bristol, Donna January 1981 (has links)
No description available.
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Identifying factors related to guidance counselors attitudes toward visual arts programs in public schools /Gill, Pamela Theresa January 1987 (has links)
No description available.
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Dialectic as necessary to performance, understanding, and teaching in the visual arts with particular reference to studio practices at the college and university level in an egalitarian society /Duckworth, Aidron January 1974 (has links)
No description available.
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A Professional Vocabulary for Art Students at North Texas State Teachers CollegePrestini, Antoinette L. 09 1900 (has links)
The purpose of this investigation is to present to teachers in the field of art education a list of words which are essential to successful mastery of the subject matter found in certain textbooks used in the art department at the North Texas State Teachers College.
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A history of art education in British Columbia, 1872-1939Post, Yesman Rae. 10 April 2008 (has links)
No description available.
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A descriptive study of commercially produced instructional learning packages : for art and aesthetic education for preschool, kindergarten, and elementary children / Commercially produced instructional learning packages for art and aesthetic education.Copeland, Betty Jo Denney 03 June 2011 (has links)
The purpose of this study was to determine if commercially produced art and aesthetic education packages are quality products and if art and aesthetic education packages meet selected goals for art education. This study was limited to packages developed for preschool, kindergarten, and elementary children.To initiate the study, various avenues were explored in order to discover sources of commercially produced art and aesthetic education packages. A list of 72 publishers and suppliers of art and aesthetic education packages was compiled. From this list, a sample of 14 packages was selected.The first portion of the study pertained to the individual analysis of each package. To assess the packages comprising the sample, "An Instrument for the Assessment of Instructional Materials," developed by Maurice Eash (1972) was selected as the evaluation instrument. This instrument is divided into five sections: (a) objectives, (b) organization of material, (c) methodology, (d) evaluation, and (e) overall assessment.The second portion of the study pertained to the relationship of the package to the goals for art education. Various art educators have listed goals for art education; moreover, the goals listed by the National Art Education Commission on Art Education (1977) were selected as the goals to be used in this study.A group of trained evaluators assessed the individual packages. The findings revealed that only two packages received mean and median scores of 5.0 or higher on a rating scale of 1 through 7. This included the assessment of all five areas included in the evaluation instrument. The other 12 packages received mean and median scores of 2.5 or less on a rating scale of 1 through 7.In comparing the.packages to the goals for art education, two packages met all of the goals for art education. These two packages were the same ones which received the highest ratings on the evaluation instrument. Two other packages met two of the goals for art education. All of the other packages met only one of the goals for art education. The majority of the packages met one of two goals, either "art education as a means of developing creative and flexible forms of thinking" or "art education as a means of helping students understand and appreciate art."
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Structures of and values inherent in senior secondary student asessment in studio art in Britain and North AmericaBlaikie, Fiona 05 1900 (has links)
Visible models of assessment of senior secondary studio art in Britain and North America are analysed and compared. In Britain, The General Certificate in Secondary Education (GCSE), specifically, the London East Anglian Examining Board (LEAG) assessment model is examined, and in North America, Advanced Placement(AP), Arts PROPEL, and International Baccalaureate(IB). Assessment structures and criteria for assessment are examined in order to reveal art educational values inherent in assessment practices.
The problem is threefold: The subjective nature of studio art has rendered assessment difficult; problems have been associated with methods adopted for assessing studio art, and with determining the purposes of art education. Findings are that similar structures characterize the qualitative studio art assessment strategies studied: Criteria are delineated; norm referencing through rank ordering occurs, and assessments depend on professional judgements by art educators. In all cases except for Arts PROPEL, judgements occur intersubjectively through moderation, enhancing reliability.
With regard to values implicit in assessment criteria, all the strategies focus on understanding of form. LEAG and IB assessments are similar in their emphasis on linking art and design, form and function, historical, critical, and contextual understanding. LEAG, IB, and Arts PROPEL assessments focus on evidence of process as well as product. All the strategies are personally relevant to students in that they determine the thematic nature of their studio inquiries. The assessment approaches examined are adaptable to varied teaching contexts, and thus are suitable models for regional or national assessment. Because of its grassroots support nationally, and its sophisticated accommodation of contextual and multicultural understandings of art, LEAG emerges as a worthwhile model to emulate.
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Implementation of Johansen’s art criticism model within a grade two classroomWong, Man Chee Patty 11 1900 (has links)
This thesis reports an action research project which
was undertaken to study, understand, and improve a
teacher/researcher's pedagogy of art criticism in a grade
two class, through implementation of Johansen's art
criticism model. Concurrently, Johansen's art criticism
model was tested for its suitability in the context of
primary teaching.
Data for this study was collected within an operationa
grade two class through eight art criticism lessons, three
semi-structured interviews, students' journal writings, and
entries in the teacher's field diary.
Results from this study indicate that Johansen's art
criticism model is suitable for guiding second graders
through the art criticism process provided it is
appropriately implemented. The study also found that, on
the whole, the subjects are at the second stage of aestheti
development as proposed by Parsons (1982).
The study concludes with recommendations as to how
Johansen's art criticism model can be effectively
implemented within a primary class and what generalist
teachers need in order to incorporate art criticism into
their art program to bridge the gap between theory and
practice.
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The Hong Kong and British Columbia art curriculum guides: a comparative studyGleckman, Brian Keith 11 1900 (has links)
This thesis is a comparative study which examines the formal art
curriculum guides of Hong Kong and British Columbia. The rationale for
this study lies, in part, with the documented demographic change that
has taken place in British Columbia schools over the past decade, in
particular, the significant numbers of Hong Kong immigrant students who
have enrolled in four of British Columbia's five largest school districts.
The study examines the Hong Kong and British Columbia education
systems overall, places the art curriculum for each jurisdiction in
respective context, and surveys the content of the guides themselves.
The study then examines in comparative fashion the guides with regard
to general content of the guides, conceptual frameworks for the
curriculum, the presentation of expected learning outcomes, curricular
content, and assessment and evaluation. The findings within these
topics are summarized in terms of similarities and differences. The
findings are also analyzed relative to traditional Chinese conceptions of
education and the extent to which they reflect the histories and traditions
of art education in Hong Kong. The curriculum guides are also analyzed
according to the three conceptual orientations of curriculum posited by
Miller and Seller: transmissional, transactional, and transformational.
The thesis finds that while there are a number of similarities between the
art curriculum guides of Hong Kong and British Columbia, the differences
between the two sets of documents are significant in terms of 1) how art
curriculum is conceptualized, 2) implied expectations with regard to
teaching and learning styles, and 3) the specificity of curricular content.
The thesis also suggests that the Hong Kong art curriculum guides reflect
a transmissional orientation to curriculum, while the British Columbia
guides reflect a transformational, if not transactional orientation. The
thesis concludes by pointing to the need for comparative observation of
art education in Hong Kong and British Columbia in order to more
concretely identify the similarity or differences in the actual art
educational experiences of students within each jurisdiction.
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Implementation of Johansen’s art criticism model within a grade two classroomWong, Man Chee Patty 11 1900 (has links)
This thesis reports an action research project which
was undertaken to study, understand, and improve a
teacher/researcher's pedagogy of art criticism in a grade
two class, through implementation of Johansen's art
criticism model. Concurrently, Johansen's art criticism
model was tested for its suitability in the context of
primary teaching.
Data for this study was collected within an operationa
grade two class through eight art criticism lessons, three
semi-structured interviews, students' journal writings, and
entries in the teacher's field diary.
Results from this study indicate that Johansen's art
criticism model is suitable for guiding second graders
through the art criticism process provided it is
appropriately implemented. The study also found that, on
the whole, the subjects are at the second stage of aestheti
development as proposed by Parsons (1982).
The study concludes with recommendations as to how
Johansen's art criticism model can be effectively
implemented within a primary class and what generalist
teachers need in order to incorporate art criticism into
their art program to bridge the gap between theory and
practice. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate
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