Orientador: João Cardoso Palma Filho / Banca: Káthya Maria Ayres de Godoy / Banca: Maria Leila Alves / Resumo: A música é uma das formas de linguagem presentes na vida humana, desde a préhistória. Vários são os estudos a respeito da origem dos efeitos sonoros sobre o ser humano, sabe-se que o homem fazia música em seus rituais de caça e adoração. Objetivo: pesquisar como o ensino de História da Arte com o recurso da musicalidade com as crianças influencia na aprendizagem significativa. Método: Pesquisa descritiva, qualitativa realizada com as séries iniciais de uma escola da rede privada de ensino da cidade de São Paulo, em 2008. Resultados: Pelo estudo realizado, percebeu-se a importância da atuação do professor que busca provocar nos alunos um entendimento sobre a área de conhecimento, baseada nas experiências vividas em salas de aula; e esta atuação distingue-o do professor tradicional; e os alunos não precisam ter um conhecimento prévio da obra de Arte, mas, é importante que a vivência seja provocada para que, além da Experiência, tenham uma vivência sonora e visual, para que haja a aprendizagem em Arte / Abstract: Music is one of the language forms that have been present in human life since Prehistoric times. There are several studies about the origin of the sound effects on human beings; it is known that man created music in their hunting rituals and worship. Objective: To investigate how musical resources added to Art History teaching influences students' meaningful learning. Method: A descriptive, qualitative study was conducted with the initial series of a private school in the city of Sao Paulo in 2008. Results: Through this research, based on classroom experiences, it was observed that the performance of the teacher who motivates students towards significant learning is of great importance; and that this practice differs from traditional practices; that students do not necessarily have to possess a prior knowledge of a work of Art, but it is important to activate a connection of it to sounds and visuals stimuli, so that besides the Experience, they can have an auditory and visual involvement, and thus, learn Art / Mestre

Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-03-10T19:25:41Z No. of bitstreams: 2 Tese - Valéria Fabiane Braga Ferreira Cabral - 2015.pdf: 8438468 bytes, checksum: 343f29f2528f6bf2f8152b218e69c880 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-03-14T15:12:31Z (GMT) No. of bitstreams: 2 Tese - Valéria Fabiane Braga Ferreira Cabral - 2015.pdf: 8438468 bytes, checksum: 343f29f2528f6bf2f8152b218e69c880 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-03-14T15:12:31Z (GMT). No. of bitstreams: 2 Tese - Valéria Fabiane Braga Ferreira Cabral - 2015.pdf: 8438468 bytes, checksum: 343f29f2528f6bf2f8152b218e69c880 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-12-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research was conducted with 11 students from the Visual Arts Undergraduate Course, Pró-Licenciatura Program, e-learning, at the Visual Arts College – Federal University of Goiás. The data include observations, statements/comments and images posted and gathered during face-to-face meetings, conversation groups, forums discussions and online diary on the digital environment. Two methodological dimensions on the development of practices that stimulate educational experiences outside the formal school environment, although in tune with it. They are proposals developed on Goiânia city’s cultural spaces, among 2009 and 2012, which projected strategies to answer learning/teaching demands not only through digital environments. The second methodological dimension is directed towards the dialogue-oriented inquiry practice that intertwines teacher research and action-research, with a narrative inclined tonic. This inquiry unfolds itself from interests assembled since the undergraduate school, when I used to consider about my own teaching practice, observing how my professional motivations were turning themselves towards the investigative processes, used to and teaching – built during the inquiry process. The analysis focus three points: 1) Appropriation as action form on school practices, boosting pedagogical planning and possibilities of creation; 2) Making/producing as way/attitude on pedagogical spaces, inhabited by feelings and subjectivities, promoting experiences, affecting and provoking behaviors amongst the people involved; 3) Time, space and thinking displacements of a meaning (re)creation for my teaching practice, considering the lived experiences on this e-learning context. An education genre that affected me given its capacity for constitute and expand learning ways established from the experiences with the students in training. A way of apprehending the world, the others and ourselves. / Esta pesquisa foi realizada com onze estudantes do Programa Pró-Licenciatura do Curso de Licenciatura em Artes Visuais, modalidade à distância, da Faculdade de Artes Visuais da Universidade Federal de Goiás. Os dados incluem observações, falas/comentários e imagens postadas e colhidas em encontros presenciais, rodas de conversa, discussões nos fóruns e no diário online no ambiente digital. A investigação combina duas dimensões metodológicas. A primeira dimensão, pedagógica, centrada na elaboração de práticas que estimulam experiências educativas fora do espaço escolar formal, contudo em sintonia com ele. São propostas desenvolvidas em espaços culturais da cidade de Goiânia, entre 2009 e 2012, que projetaram estratégias para atender demandas de aprendizagem/ensino em arte em ambientes não apenas digitais. A segunda dimensão metodológica se direciona à prática investigativa orientada por diálogos que entrecruzam investigação docente com viés narrativo e estratégias da pesquisa-ação. Esta pesquisa desdobra-se de interesses reunidos ainda no curso de graduação quando refletia sobre minha prática docente e observava como minhas motivações profissionais se dirigiam à utilização de processos investigativos para compreender, com os/as participantes ‘como as coisas funcionam’ em nosso próprio – de pesquisa e de ensino – construída durante a pesquisa. A análise foca três pontos: 1) Apropriação como forma de ação em práticas na escola, impulsionando possibilidades de planejamento e criação; 2) Fazer/produzir como formaatitude em espaço pedagógico, habitado por sentimentos e subjetividades, promovendo experiências, afetando e provocando comportamentos nas/os envolvidas/os; 3) Deslocamentos no tempo, espaço e pensamento que desencadeiam um processo de permanente reflexividade sobre o que fazemos. Estamos pontos sintetizam as reflexões e enfatizam a prática da reflexividade como dispositivo para desvelar aspectos do ambiente de atuação docente em artes visuais. Busco a reflexividade no sentido de (re)criar um universo de significações para a minha atuação docente considerando as experiências vividas no contexto deste curso na modalidade à distância. Modalidade de ensino que me afetou pela sua capacidade de construir e ampliar modos de aprendizagens instituídas nas experiências com estudantes em formação e como um modo de apreensão do mundo, de nós mesmos e dos outros.

The uses of computer technology in the fields of art and graphic design in Thailand were investigated for the purpose of identifying levels of current computer use from 280 responses to a specifically designed questionnaire among: 1) full-time graphic design educators, 2) art and design students, and 3) graphic design directors in professional business positions. The study instrument consisted of a questionnaire developed by the researcher, reviewed by a panel of seven experts selected by the Department of Creative Arts, Chula-longkorn University. The panel verified content-related evidence to ensure the validity of the instrument. Appropriate statistical procedures were implemented to develop responses to questions of interest. Analysis of the data showed that a majority of educators, students, and design professionals supported the use of computer in their professions and/or coursework, and that majorities of the same groups made regular use of computers. Subject to differences in rank ordering of computer usage among population groups, majorities from each group agreed that publications and graphics constituted the area of greatest use. A majority of the population agreed that computers helped to improve efficiency within the studio environment, and there were only slight differences among the three groups in generalized support of the use of computers within art and design curricula. All groups agreed that educational emphasis should be placed at the level of the baccalaureate degree, subject to the possible integration of computer training at all educational levels. Students reflected the highest percentage of use frequency, followed in order by professionals and educators. Each group reflected its own specific concerns in perceptions of major barriers to the use of computers in graphic design fields: Educators noted the lack of budgetary resources to install and maintain computers; students noted the lack of computer availability for hands-on experience; and design professionals perceived a lack of opportunity to attend training courses. Overall, the results of this study indicated that significant differences existed between groups representing academic fields (i.e., educators and students) and graphic design professionals for all criteria measured. / Graduation date: 1994

Thesis (Ph.D.)--Mississippi State University. Department of Leadership and Foundations. / Title from title screen. Includes bibliographical references.

To enter higher education means making new experiences and develop newunderstanding within a knowledge field. The situation could also entail, for thestudent, an entirely different self-understanding. This licentiate thesis deals withthis kind of learning process.The overall aim of this licentiate thesis is to analyze what an art teachers education,founded on contemporary conceptual art, can offer in terms of transformativelearning. The point of departure is adults learning processes as renegotiations ofprevious interpretations which can be transformed to new understanding. The studyanalyzes what aspects of transformative learning are reflected in students' texts andimages, produced as part of the studied course. The licentiate thesis also discussespossibilities and constraints of this learning process. The study was conducted as acase study based on a hermeneutic approach. Material was collected from thecourse blog which consisted of students' texts and images.The study results show a transformative learning process which students experiencedas emotionally tumultuous because their self-image, as future art teachers, isrenegotiated. The situation contains a dimension of learning which I call "twistingand turning" in which new understanding is being formed. This situation requires aself-reflexive creative approach. The result generates questions about therelationship between the content of the education (what) and the learner (who) in anart teachers education founded on a non-traditional base. This applies above all ineducations that challenge students' prior understanding of a field. One could alsoask how adult learning is staged as relearning in higher education. The studydevelops a concept of reflexive creativity which contains a more abstract level thanjust problem solving. The idea of reflexive turn in art education, based onconceptually contemporary art, is also discussed.

Made available in DSpace on 2016-08-03T16:16:23Z (GMT). No. of bitstreams: 1 Marcio Jose Demazo.pdf: 790714 bytes, checksum: 32503fa5dd7c935e45c04d4b8aaef47a (MD5) Previous issue date: 2011-04-14 / The sentence of an educator: "conductor, music has changed the life of this boy" was the element that prompted the development of this research. The questions that were raised upon this consideration contemplate aspects related to art education in Brazilian schools, collected from official data showing a reduced number of art educators face the law concerning mandatory teaching of music in all basic education since 2011 by the Law 11.769/08. The research was developed on the suspicion that teaching art in Brazilian schools has proved insufficient regarding the promotion of the student in relation to art making, culminating in low interest in the arts discipline, reflecting later on the formation of a small number of art educators who probably had its beginning of art education progress outside school. The purpose of this research is to assess the relevance of the arts discipline or arts education in the trajectory of the educational process of art educators in music. This research looks at the work of Barbosa (2008) and Snyders (2008) in order to understand the concepts inherent in the teaching of art, music, and the historical process of artistic language in Brazil. Aiming to raise items for the research were carried out interviews with art educators, with reference theoretical at Nóvoa and Finger (2010) also Bosi (1987). Chapter I presents considerations on the artistic and historical development of art education in Brazil. Chapter II deals with practical experiences related to aesthetic education. Chapter III explains the theoretical background on the methodology used. Chapter IV presents the life stories of three art teachers in music, while Chapter V presents the appropriate conclusions based on interviews with art educators. / A frase de uma educadora: maestro a música mudou a vida desse menino foi o elemento que instigou o desenvolvimento da presente pesquisa. Os questionamentos que se seguem a partir dessa constatação abordaram os aspectos inerentes ao ensino da arte nas escolas brasileiras, angariados a partir de dados oficiais que apresentam um reduzido número de arte-educadores frente a legislação pertinente à obrigatoriedade do ensino da música em toda a educação básica a partir de 2011 através da Lei 11.769/08. A pesquisa se desenvolveu diante da suspeita que o ensino da arte nas escolas brasileiras tem se mostrado insuficiente no que diz respeito a promoção do educando em relação ao fazer artístico, culminando com o baixo interesse pela disciplina artes, refletindo posteriormente na formação de um número reduzido de arte-educadores que provavelmente tiveram sua iniciação artística fora do ambiente escolar. Sendo assim interessou a esta pesquisa aferir a relevância da disciplina artes ou educação artística na trajetória formativa dos arte-educadores em música. A pesquisa utilizou como referencial teórico os dados expostos em Barbosa (2008) e Snyders (2008) visando compreender as concepções inerentes ao ensino da arte, da música, e o processo histórico da linguagem artística no Brasil. Visando angariar elementos para a pesquisa foram desenvolvidas entrevistas com arte-educadores, tendo como referência teórica Nóvoa e Finger (2010) além de Bosi (1987). O capítulo I apresenta considerações sobre o fazer artístico, e o desenvolvimento histórico do ensino da arte no Brasil. O capítulo II trata de experiências práticas relacionadas à educação estética. O capítulo III explicita a fundamentação teórica sobre a metodologia utilizada. O capítulo IV apresenta as histórias de vida de três arte-educadores em música, enquanto o capítulo V expõe as devidas conclusões fundamentadas nas entrevistas com os arte-educadores.

An art teacher currently acquires professional training through one of two schools: the department of education or the department of fine arts. Do the differences in training of the art teacher affect the quality of learning experiences provided in the secondary art program? A questionnaire was designed to survey the type of professional preparation of the teacher, as well as specific aspects of his or her art program. The survey was mailed to 85 secondary art teachers in the surrounding area. Surveys returned were grouped according to background: teachers having a degree in education and teachers having a degree in fine arts. Item scores for the responses were then tabulated for both groups and subjected to t-tests for significant differences in group mean scores. The resulting information revealed differences for the majority of the survey items, which suggest that the quality of learning experiences are in part affected by professional training of the art teacher.

Through the use of a feminist methodology, this qualitative case study examines the influence a high school art teacher, Pauline Gawlik, had on the career path of a group of her students, a high percentage of whom are Mexican American and/or of low socioeconomic status. Interviews of the teacher and seven of her former students revealed five themes related to the teacher's practice that affected her students' choice to become art teachers themselves: a positive classroom climate, confidence and focus, mutual respect and admiration, care, and mentoring. The results of this study hold implications for the current teacher shortage and the recruitment of Mexican American students into careers in art education.

The purpose of this study was to examine and evaluate the perceptions of high school art teachers, parents of high school students and high school students themselves relative to the merits of goals of a district program for high school art education and to determine whether the three populations share a common perception of these goals. The reveiew of the literature indicated a lack of substantive art programs in the curriculum from kindergarten through grade 12. The emphasis on art productino goals was cited as a major reason art is given such low status in our nation's schools. Many authors believe that if art is to be valued as fundamental to a child's educational development, the emphasis on art production must be broadened to include art hsitory, critique and aesthetics. Because an official school curriculum is often established to reflect societal values, information on art teachers', parents' and students' perceptions of the merits of the goals of high school art programs is important. Such information can be used to plan a local strategy for generating support for and effecting a change in art curriculum. Twenty-two certified high school art teachers, 200 randomly selected parents and a representative sample of 240 high school students were asked to review a list of 20 goals for a high school art education program and to rate them on a seven point Likert scale. for the three groups included The survey instruments five art activities pertaining to each of the four major goal areas of the discipline-based art curriculum, namely art production, art history, critique and aesthetics. Seventy percent of the participants responded to the questionnaires. The objectives of this study were (1) to determine the variability of perception between and within each group, (2) to find whether the three groups possess common perceptions of the merits of alternative goals, (3) to ascertain whether art teachers with more than five years experience share a common perception with teachers with less than five years experience, (4) to determine whether students who have received secondary level art instruction differ in their perceptions from students who have not received instruction, and (5) to compare the ratings of production oriented goals with the other discipline-based art education goals. Major findings of the study were as follows: (1) The plot fo the mean ratings of the merit of the goals for teachers shows wider variability than either parents or students. (2) Students provided a lower mean rating than either the teacher or parent groups. (3) Lack of data. (4) Students and parents with more exposure to secondary art education tended to rate the goals lower than their counterparts with no art background. (5) In the One-Sample Runs test, the art production goals did not appear more predominant at one end of the list of rankings. Teachers, parents and students rated aesthetics and criticism moderately high. In conclusion, the findings indicate that teachers, parents and students do value critique and aesthetic goals in the high school art education curriculum. Continued in-depth research and study with wider populations will be beneficial if we are to meet the challenge to continue to broaden high school art curriculum goals.

This phenomenon might show that every teacher has some underlying beliefs, which could be made clear by narration. Lack of "traditional" art making experience, Helen thought the "Visual Learning" in art education could help students "unwrap packaging" and get to understand the hidden truth. On the other hand, other three teachers who love drawing from their very young age, focused more on different media of art making. To some extent, reflecting an "art for art sake" attitude, which shows quite a distance from the orientation of recent curriculum changes. / This study is an exploratory narrative research, focusing on the beliefs and their formation process of those teachers who regard themselves as art teachers. Hong Kong society seems ignore the importance of art education. Most teachers teach in primary school can have a share on having a few Art & Craft lessons, including those who even don't understand what is art. In this context, there are still some teachers who regard themselves as art teachers. Why? What beliefs do they hold towards art or art education? How are these belief constructed? Are these teachers conscious of their own beliefs? Are these beliefs related to their teaching experience and seniority? / Through "synthesis text" interview, teachers are provided with the opportunity to reflect their beliefs and discover the unaware "existential presumptions". It was a good chance for them to clarify their blurred perspectives, even to make change of them. / Through four interviewees' sharing of their "life stories" towards art or art education as well as "how" and "why" they transmitted such teaching activities, the researcher found that regardless their teaching seniority, they all showed that art teachers should possess drawing ability. Interactive interviews and self-evaluation of their own "synthesis text" were delivered. The researcher found that during their late phase of teaching life, Wangyi and Zhongliang were aware that they haven't thought seriously about the relationship between art and art education. Hyde, during her early phase of teaching life, thinks that the one who love drawing can be an art teacher. Helen, in her middle phase of teaching life, did not seem to be very clear of what she believed towards art education. Only through several interviews could let her rethink and reconstruct some clues of belief. / 第1冊. 一項敘述性研究 A narrative study -- 第2冊. 四個「全貌的」故事 Four life stories. / Di 1 ce. Yi xiang xu shu xing yan jiu A narrative study -- di 2 ce. Si ge "quan mao de" gu shi Four life stories. / 黃素蘭. / 呈交日期: 2005年12月. / 論文(哲學博士)--香港中文大學, 2006. / 參考文獻(p. 249-266, v.1). / Cheng jiao ri qi: 2005 nian 12 yue. / Adviser: Chi Chung Lam. / Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4070. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (p. 249-266, v.1). / Huang Sulan.