Thesis (Ed. D.)--Indiana University of Pennsylvania. / Includes bibliographical references.

Thesis (D.M.A.)--University of Oklahoma, 1995. / Includes bibliographical references (leaves 241-249).

Thesis (M.A.)--University of Toronto, 2009. / Source: Masters Abstracts International, Volume: 48-02, page: .

Thesis (Ed.D.)--Teachers College, Columbia University, 1992. / Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: Hndassah Sahr. Includes bibliographical references (leaves 166-180).

Thesis (Ed.D.)--Teachers College, Columbia University, 1993. / Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Harold Abeles. Includes bibliographical references (leaves 217-220).

This mixed methodology study investigated the arts integration practices of music teaching artists participating in four selected elementary school arts integration projects in the United States. This study also explored the possibility that music teaching artists’ formal education, arts integration training and professional development, and their own attitudes as well as different stakeholders’ attitudes about arts integration and music education impacted their arts integration practices. The explanatory two-phase design of this study began with the collection and analysis of quantitative data and was followed by the collection and analysis of qualitative data, thus connecting the results from the former to those from the latter. The quantitative data provided information for purposefully selecting the interview participants who provided the qualitative data collection in phase two. The data gathered in this study indicate that the music teaching artists shared similar beliefs about arts integration but that they believed their school leaders’ goals and objectives differed from their own. The data also provided evidence for concluding that the music teaching artists believe that the most successful arts integration projects are those that are collaborative partnerships between an arts specialist or classroom teacher and a teaching artist. A unexpected finding in this study was the teaching and exploration of sound in arts integration projects team taught between a sound teaching artist,–some without musical backgrounds or formal training–a music teaching artist, and a classroom teacher. The statistical analysis in this study regarding the degree to which formal education, arts integration professional development and training, music teaching artists’ attitudes about arts integration, and the beliefs held by music teaching artists regarding school leaders’ and their arts organization’s administrators’ attitudes about arts integration were predictors of the arts integration practices as self-reported by music teaching artists produced results that were non-significant. The content analysis of curriculum documents and student products submitted by the study participants revealed information to support the findings from the interview and survey data / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

Thesis (Ed.D.)--Teachers College, Columbia University, 1993. / Includes tables. Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: Angiola Churchill. Includes bibliographical references (leaves 153-163).

Thesis (M.A. Ed.)--Georgia State University, 2005. / Title from title screen. Paula P. Eubanks, committee chair; Melody Milbrandt, Joseph Peragine,Teresa Bramlette-Reeves, committee members. Electronic text (50 p.) : digital, PDF file. Description based on contents viewed May 29, 2007. Includes bibliographical references (p. 49-50).

Riffs of Change is a storied dissertation that researches the inherent shifts and extensions in musicians' identities as they transform into school teachers. My research explores literary studies, arts-based research and feminist-based literature. I investigate musicians' lives in practicum, university, and schoolbased contexts. I discuss the nature of institutional education and the musicians' conflicts with love, loss, pain, wisdom, and change. The musicians even draw me into my own autobiographical journey. I rediscover that my identity is constructed poetically, psychologically, educationally and philosophically by music and reflect on how this changes the trajectory of my life. I represent my research in the form of eight short stories and an autobiographical account of my experience. The stories are considered creative non-fiction. My dissertation seeks to demonstrate the creation of stories, pedagogy, and research shaped by constructivist philosophy. I examine musicians' beliefs, education, and experiences focusing on their identity issues as they transform into music teachers. The stories confront and challenge, chime wisdom, and steer readers into critical places of thought and unexpected spaces of change. My research found several results. First, some musicians could overcome their conflict if they collaborated in the story writing process, and was mentored by a school advisor that was also a professional musician. Second, story and autobiographical writing were found to be rich research methodology tools. While story writing helped some musicians, autobiography helped me resolve earlier conflicts which drew me back into music. Story authorship has helped me to understand my questions and musings about musicians, music educators, musicians as educators, and musicians becoming music educators. I gained a fresh voice and embraced the notion that I could explore issues from multiple viewpoints and writing styles. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

This dissertation explored how eight artists who are also faculty in academic institutions and adult professional development programs teach leadership. As such, the purpose of this study was to understand to what extent and how these self-defined artists who also teach leadership in academic and professional development settings draw from and integrate their roles, skills, experiences, learning, and ways of making meaning as artists to facilitate leadership learning among adults. By doing so, this research sought to move beyond existing technical and conceptual knowledge of arts-based methods in leadership teaching to learning more about specific artists who have inspired or used such methods. Using the method of portraiture embedded in a qualitative exploratory interview study with narrative inquiry, this study reveals an aesthetic approach to research and presents narratives of eight artist-educators in the form of portraits. Portraits were analyzed thematically using a procedure of cross-portrait analysis. Four conclusions emerged from the analysis. These include evidence of participants’ greater integration or interdependence of artist-educator identities and roles in later stages of one’s teaching career, experience of some degree or form of transformation in personal learning journeys with art, emphasis on experiential learning as an essential aspect of teaching, and advice to emerging artist-educators to embrace their artistic ways of being and knowing and integrate art into their teaching. Several recommendations for future research and practice are offered along with concluding reflections.