This thesis examines a proposed discipline based arts education approach. Cultural, societal, and historical events have left a void which needs to be filled, a need for citizens to possess sophisticated knowledge and understanding of the arts. The major problem of education in art, music, drama and dance, has been over-emphasis on production and performance, and under-emphasis on the knowledge of aesthetics, history, and criticism. A balance is needed. The literature review gives historical evolvement of each art form to its present state in American education. Theoretical foundations are given in each art area, in the form of a discipline based approach to teaching. The lesson plans present the four arts areas in an interdisciplinary approach, teaching similar or contrasting elements through art, music, drama and dance, thus creating a proposed discipline based arts approach.

The purposes of this study were to elicit and describe the attitudes of Alabama primary teachers toward Lowenfeld's teachings and to determine if there was a relationship between attitudes and the selected teacher characteristics of (a) the age of the teacher; (b) the location of the school; (c) the sex of the teacher; (d) the decade in which the last degree was completed; (e) the highest degree completed; (f) the grade taught; and (g) whether or not there was an art specialist/consultant in the school. / The review of literature revealed that although many persons have written about Lowenfeld's impact on teaching practices in art education, no empirical studies have been conducted which attempt to describe the effects of his teachings on classroom attitudes. Further, contemporary writers have questioned many of Lowenfeld's ideas and reflect skepticism regarding some of his recommendations. / A questionnaire was prepared by the investigator and administered to 204 primary grade school teachers in Alabama. Fixed alternative responses on a five-point agree-disagree continuum (Likert Scale) made it possible to utilize an answer sheet which could be electronically processed. Data were computer analyzed using the Statistical Package of the Social Sciences (SPSS) at the Florida State University computing center. / Analysis revealed that Alabama primary grade school teachers had positive attitudes toward the teachings of Lowenfeld and that they view art: (1) as essentially process-oriented; (2) as a means of facilitating the total development of children; and (3) as being different from adult art (the natural characteristics of chilren's art should be respected). No significant relationship could be determined between these attitudes and the teacher characteristics variables. / Major conclusions include: (1) Primary teachers have positive attitudes toward the concepts of Lowenfeld's teachings; (2) Most respondents agreed that the process is more important than the product; (3) Primary teachers agree with the Lowenfeld position (art is for the promotion of the child's growth and development) on goals for art education, and they do not support some of the recent essentialist goal statements in art education literature; (4) The majority of primary school teachers support the development of the "whole child" and they support the child-centered curriculum and negatively endorse the subject-centered curriculum; (5) The majority of primary teachers disagree with Lowenfeld's position on workbooks in that they do not agree that workbooks cause children to become inhibited creatively. / Recommendations include: (1) Further research is needed at the national level to determine if the implications of this study are valid; (2) Further study is needed to indicate if teacher attitudes toward Lowenfeld's teachings are related to variables not considered by this study (such as number and type of art education courses in background, number and type of education and "methods" courses, other art classes, personality types, etc.,); (3) It is recommended that further studies (preferably on-site observations involving interaction analysis) be done to see if there is a relationship between teachers' attitudes toward Lowenfeld's teachings and actual teaching practices. / Source: Dissertation Abstracts International, Volume: 41-09, Section: A, page: 3843. / Thesis (Ph.D.)--The Florida State University, 1980.

This philosophic study attempts to bridge the gap between phenomenological aesthetics and instructional practice in the classroom. An investigation of E. F. Kaelin's phenomenological aesthetic theory, the andragogical methodology of M. S. Knowles, and the phenomenological process of learning developed by Carl Rogers, are explicated. / An exegesis of relevant literature and concepts relating to Kaelin's aesthetic theory, included reference to Kant, Croce, Dewey, Parker, Langer, Husserl, Sartre, and Merleau-Ponty, is given, followed by the analysis and identification of critical concepts in Kaelin's theory, germane to an effective teacher education. / A brief overview of art education teacher preparation and adult development with its consequences on adult learning is discussed. M. S. Knowles' andragogy, the study of the education of the adult learner, and D. Rogers' phenomenological oriented self with application to a process of learning, are projected as a possible conceptual delivery system which would operationalize Kaelin's theory. / The methodologies of each theorist, Kaelin, Knowles, and Rogers are examined for compatibility. Likewise, the theoretical structure of the delivery system, suggested by the social projections, definitions of education, and a series of Kaelin's principles: projectional antonomy, relevancy, and completeness, is examined for conceptual correlations. / M. Flannery's phenomenological methodology in art education teacher preparation, which focuses on a random noncognitive concept, is discussed for its implications to this study. / In conclusion, it is the non-cognitive, as well as the cognitive aspects of Kaelin's descriptive theory, and teacher preparation in accordance with adult education principles, that function concomitantly, operationalizing Kaelin's phenomenological aesthetic theory. / Source: Dissertation Abstracts International, Volume: 43-03, Section: A, page: 0633. / Thesis (Ph.D.)--The Florida State University, 1982.

In 1897, Massachusetts art educator Henry Turner Bailey introduced the first picture study method in a report to the Massachusetts State Board of Education. He later refined it in a series of articles published in The Perry Magazine from 1899 to 1904. This historical study examined Bailey's Picture Study Method and its formulation within the context of the then extant turn of the century aesthetic education movement. The movement was inspired by G. W. F. Hegel's idealist philosophy and translated into educational theory and practice by then Commissioner of Education William Torrey Harris. Harris's interpretation of Hegel's idealist aesthetic theory inspired Bailey's conception of his method. Bailey's method, in turn, was found to have launched the picture study movement. Seven subsequent methods of pedagogical art criticism proposed by leading art educators during Bailey's professional career are also analyzed in this study to provide context. / Bailey believed that masterpieces in painting represent ideals of beauty that embody spiritual meaning. In order to reach the spiritual, one must first train the mind to perceive the ideal content embedded within the painting and then examine the artist's means of expressing these ideas. This theory translated into a method of pedagogical art criticism that progresses through four sequential stages beginning with a child's early pre-critical development and reaching the higher spiritual faculty at the high school level. / Research concluded that Henry Turner Bailey was a key figure in the history of art appreciation education. Bailey's persistence in promoting his idealist aesthetic theory guided the picture study movement which was grounded on an idealist philosophy, supported by professionals in the field of art education, and justified by a substantial body of literature. Bailey inspired numerous art educators in the early twentieth century, and his picture study method should be recognized as a landmark method in the history of pedagogical art criticism in the United States. / Source: Dissertation Abstracts International, Volume: 55-09, Section: A, page: 2688. / Major Professor: Tom Anderson. / Thesis (Ph.D.)--The Florida State University, 1994.

A decade ago, Eisner and Dobbs (1986) conducted a study to evaluate museum education practices. The Uncertain Profession was controversial in museum education because the findings indicated fairly severe problems in the field. Among them were that there was no consensus on aims, no standards for preparation, an inadequate network of communication, insufficient staffing and resources, limited career opportunities, the perception of little political power among museum educators, and a lack of a sufficient intellectual base. / This dissertation is a follow-up study which draws on seven of Eisner and Dobbs' 20 generalizations, or findings, to examine the current state of art museum education, particularly as focused on museum-school partnerships and the influence of DBAE. The problem statement is: What changes have occurred in art museum education theories and practices since 1984 with respect to museum-school partnerships and DBAE? / Museum education directors and museum directors from the 20 museums which participated in the Eisner and Dobbs study and 12 additional museums were surveyed. It was found that standards for educating museum educators still vary, but that there have been tremendous increases in scholarly activity and theoretical models both for museum educators' training and for museum education. Networking and outreach were found to be adequate and improving. Staffing and resources are still perceived as inadequate, but museum education is increasingly empowered. Finally, there is evidence that Getty initiatives have affected teaching strategies and that there are increased museum-school partnerships possibly due to utilizing DBAE as a curriculum structure. / Source: Dissertation Abstracts International, Volume: 55-09, Section: A, page: 2688. / Major Professor: Jessie Lovano-Kerr. / Thesis (Ph.D.)--The Florida State University, 1994.

The purpose of this study was to develop a program of undergraduate art education to prepare art teachers for the Jordanian school system. Development of the program was based on the following: (a) examination of needed competencies, (b) comparative study of selected art education programs, (c) examination of art education programs in countries having socioeconomic contexts and educational systems reasonably parallel to those of Jordan, and (d) evaluation of selected course syllabi from institutions of higher learning in the United States. / Development of the program involved several stages. In the first stage, the context of art education in Jordan was examined, to establish the background of the study. This included exploration of the physical, economic, and sociocultural setting. The sub-section entitled "Problems in Art Education in Jordan" established the context in terms of the region, and those study-related characteristics peculiar to the region. The following sub-section, "Issues and Trends in Art Education," set the context in terms of the discipline. In this part, current thought and activities in the United States, Europe, the Middle East, and finally in Jordan itself, were examined. / In the second stage, "Designing the Art Education Program," the identified teacher competencies were organized into an art education curriculum of sequenced units or courses. / The third stage, "Program Implementation," explored several factors which can affect the decision of which components will be introduced. The first factor examined was the availability of human resources; the second factor was the availability of facilities; and the third factor was the cost of the curriculum components. / Source: Dissertation Abstracts International, Volume: 44-11, Section: A, page: 3250. / Thesis (Ph.D.)--The Florida State University, 1983.

The Penn State Seminar in art education is often thought to have been a major event in the field although its significance is not clear from the literature. This study was intended to increase our understanding of it through the collection and analysis of a new body of original testimony. Through the technique of oral history, interviews of people involved in the Seminar were recorded, transcribed, and then edited and approved by the contributors for inclusion in the study. These approved transcripts formed the basis of a summary of events which was then used to develop an analysis from which conclusions were drawn. / The Seminar developed from a confluence of agendas for stimulating scholarship in art education. Such scholarship was important at the time because of (a) the growth of the university model of higher education, which stressed research as a means to secure status and advancement for those involved in teacher preparation; and (b) the curricular changes in other fields which appeared to be models for similar change in art education. The two major participating institutions, Penn State and Ohio State Universities represented different orientations to scholarship and different areas of concern which are reflected in the structure of the Seminar. Individuals' ambitions and rivalries had a great impact on the Seminar. / The Seminar had little effect on teaching in the schools although it had some effect on other major projects which may now be having an impact on teaching. Teacher education was viewed as more important than curriculum reform. The subsequent rise of the idea of discipline-based art education is associated with its advocacy at the Seminar. The Seminar helped to integrate research into art education. Its major consequences were the stimulation of research and the reinforcement given to people with an interest in scholarship. / Source: Dissertation Abstracts International, Volume: 47-12, Section: A, page: 4271. / Thesis (Ph.D.)--The Florida State University, 1986.

This qualitative study examined the special characteristics of Javanese traditional art and the conditions surrounding the implementation of art appreciation programs in junior high schools in Surakarta, Indonesia. The government of the Republic of Indonesia considers art education an important part in developing students as well-rounded human beings and as one of the ultimate objectives of Indonesian education. Indonesia is very rich in traditional art of high aesthetic quality. However, as the role of the traditional arts is not as important in modern Indonesian society as in the past, contemporary Indonesian youth do not understand or appreciate the cultural values conveyed by these arts. / Based on the special characteristics of Javanese traditional art in Middle Java and the need for a methodology of teaching faced by art teachers in junior high schools, a model of art criticism was developed in this study for teaching appreciation of the Javanese traditional art called wayang beber. The city of Surakarta, Middle Java, was selected as the site for the research, as this Javanese traditional art is the major characteristic of students' cultural environment in that city. The model developed in this study has a holistic structure and incorporates information about genetic, objective, and affective elements as important factors for understanding, appreciating, and valuing works of Javanese traditional art. Developing such a model of art criticism for teaching is the major significance of this study. Another important aspect of this study is the contribution that understanding traditional art forms will make for the preservation and appreciation of Indonesia's cultural heritage. / Source: Dissertation Abstracts International, Volume: 48-02, Section: A, page: 0288. / Thesis (Ph.D.)--The Florida State University, 1987.

The purpose of this study was to investigate the availability of federal funding for art in the public schools, 1958-79. This availability was investigated in two parts: (1) A history of the political and legislative events which led to the formation of the three principal arts-specific sources (Arts and Humanities Program and Arts Education Program of the U.S. Office of Education and National Endowment for the Arts) was developed. This historical investigation suggested that: (a) The political and legislative process which occurs in the formation of legislation was a culmination of many influences including events in Congressional hearings and personal interest of officials, and (b) art eductors have influenced this process; as they became more involved, support for art increased. (2) The surveys listed below were conducted: (a) FEDERAL FUNDING QUESTIONNAIRE--sent to a random sample of 272 U.S. public school principals to ascertain frequency of usage and awareness of availability. (b) FEDERAL PROGRAM COORDINATOR SURVEY--sent to a random sample of 119 district level coordinators nationwide to determine awareness of availability and person usually initiating art funding requests. (c) STATE ART CONSULTANT SURVEY--sent to all state art consultants to determine their awareness of availability of funding. / It was determined that indirect (non-arts related) sources funded art more frequently than direct sources. The frequency of funding differed according to geographical location, size of community, enrollment, and number of art teachers for the schools surveyed. Awareness of availability was uniformly high across and within groups, with the exception of some sub-groupings of principals. / Recommendations for action were given which included more political knowledge and activity for art educators, further development and coordination of information services, and grant proposals written by a team of program coordinators, principals and art personnel. / Source: Dissertation Abstracts International, Volume: 41-03, Section: A, page: 0906. / Thesis (Ph.D.)--The Florida State University, 1980.

There is considerable evidence to support the contention that artists work best under conditions that allow long, uninterrupted periods of intense concentration, and researchers have confirmed that students' progress is facilitated by these same conditions. Yet the standard system in American education, concurrent scheduling, divides the student's day into brief instructional periods for pursuing a series of unrelated subjects. An alternative to the traditional time structure is intensive education, which allows the student to focus on one topic in depth for 2-4 weeks. Such a format may offer particular advantages to art students. The most universal application of the intensive approach is during the interim term of the 4-1-4 academic calendar, which uses the month of January for innovative courses. / The purpose of this study was to determine if the attitudes of students support the hypothesis that intensive education is a viable and perhaps preferred format for visual arts courses. / The population included all students who were enrolled in intensive art courses during January 1980 at U.S. colleges and universities. A random cluster sample was drawn from all institutions which operate on the 4-1-4 academic calendar and also offer a major in art. The data collection instrument was a 32-item questionnaire designed to assess student attitudes concerning intensive and concurrent scheduling for visual arts courses. It was constructed by the researcher and had an overall reliability coefficient of .72. Characteristics of intensive art courses were determined by surveying interim term bulletins. / Frequency analysis of questionnaire data revealed that students had more favorable responses to statements concerned with intensively scheduled art courses than they did to the same statements concerned with concurrently scheduled art courses. The t test was used to determine if the differences were statistically significant, which they were for alpha = .05. The Chi Square test clarified relationships between overall attitude and individual student variables. The findings of the investigation were used to generate the following major conclusions: (1) Intensive course offerings differ substantially from those available during the concurrently scheduled semester, with the following variations being most characteristic: highly specialized course content, interdisciplinary approaches, encouragement of self-directed study, and off-campus and international travel opportunities. (2) Intensive education is considered to be a very successful alternative to traditional concurrent education and is preferred by students who have experienced both options. (3) The opportunity to concentrate in-depth on a particular topic without the distractions and time pressures brought on by other courses pursued concurrently is the greatest advantage of intensive education in the visual arts. (4) Students are not only more interested but also more motivated to learn in art courses scheduled intensively. (5) Intensive art courses are regarded by students as more valuable in terms of personal goals, needs, and educational standards when compared to art courses scheduled concurrently. (6) Students perceive their instructors to be more enthusiastic when teaching intensive courses. (7) Intensive education in art is appropriate for all students and all areas of study. (8) The intensive format is especially advantageous for art majors. / Source: Dissertation Abstracts International, Volume: 41-03, Section: A, page: 0906. / Thesis (Ph.D.)--The Florida State University, 1980.