<p>The purpose of this study is to shed light on how teachers on the upper secondary Arts with Music programme use movement in their teaching of music, and how they approach movement as an educational tool, by investigating the following three issues:</p><p>1. What significance does movement have for teachers on the Arts with Music programme?</p><p>2. How do teachers on the Arts with Music programme regard movement as an educational tool in the teaching of music?</p><p>3. How do teachers on the Arts with Music programme use movement as educational tool?</p><p>The methodology used is a combination of focus group interviews and observations. The aim was to connect data collected from focus groups interview with observations in order to look into how things were said by the teachers seemed to be employed in their practice.</p><p>The values of different cultures and ages and their significance for our choice of methods as teachers, and our view of music and the consequences it has for our role in the learning process are the key areas of this study. I selected to dispose the content in informal and formal learning (Davidsson & Correia, 2002, Lilliestam, 2006), absolute and realtivistic views of musicality (Brändström, 1997), high and low (Klingfors, 2003), nature and culture (Ehn & Löfgren, 1982), male and female (Bouij, 1998, O´Neill 1997; Lenz Taguchi, 2003), mind and body (Gustavsson, 2000; Davidsson & Correia, 2002).</p><p>The informants maintain that movement could have performance purposes, physical purposes and educational purposes, as a tool in the teaching of music.</p><p>What I consider the most salient aspect of my study is that although the informants consider movement as important in both teaching and artistic contexts, they did not use it to any significant extent as a teaching aid.</p>

The articles that recorded multicultural art lessons in the US P-12 classrooms in School Arts during the past decade revealed the condition of US multicultural art education from three aspects. First, the teachers’ interest in multiculturalism has been stable in the past decade. Second, the lessons covered multiple cultures unequally. Among pluralistic US cultures, Native American culture was favored while Asian-American, Arab-American, and Muslim-American cultures were neglected. Among global cultures, Mexican and African cultures were represented most often. Only 12.4% of world countries were represented. Third, most multicultural art projects were stereotyped, though some innovative projects emerged. Many art teachers selected cultural content to teach based on classroom population and local culture. The art teachers tended to teach the meanings of US ethnic cultures better than global cultures. The alteration of cultural materials and techniques caused the loss or change of cultural meanings.

This research investigated the national interests of art education in public schools during the period surrounding the Second World War (1941–1946). Art education materials written for students and teachers during these years were examined in this study and provide a look at classroom projects and educational teachings supportive of the war effort. This perspective of promoting nationalism is based on a review of printed art education journals, curriculum guides, and books related to the subject of educational themes in public schools during World War II. These published materials presented a practical way for educators, and in this research, art educators, to build a sense of nationalism throughout the country and for teachers and students to support the war effort from their classrooms. / text

The articles that recorded multicultural art lessons in the US P-12 classrooms in School Arts during the past decade revealed the condition of US multicultural art education from three aspects. First, the teachers’ interest in multiculturalism has been stable in the past decade. Second, the lessons covered multiple cultures unequally. Among pluralistic US cultures, Native American culture was favored while Asian-American, Arab-American, and Muslim-American cultures were neglected. Among global cultures, Mexican and African cultures were represented most often. Only 12.4% of world countries were represented. Third, most multicultural art projects were stereotyped, though some innovative projects emerged. Many art teachers selected cultural content to teach based on classroom population and local culture. The art teachers tended to teach the meanings of US ethnic cultures better than global cultures. The alteration of cultural materials and techniques caused the loss or change of cultural meanings.

The purpose of this study is to shed light on how teachers on the upper secondary Arts with Music programme use movement in their teaching of music, and how they approach movement as an educational tool, by investigating the following three issues: 1. What significance does movement have for teachers on the Arts with Music programme? 2. How do teachers on the Arts with Music programme regard movement as an educational tool in the teaching of music? 3. How do teachers on the Arts with Music programme use movement as educational tool? The methodology used is a combination of focus group interviews and observations. The aim was to connect data collected from focus groups interview with observations in order to look into how things were said by the teachers seemed to be employed in their practice. The values of different cultures and ages and their significance for our choice of methods as teachers, and our view of music and the consequences it has for our role in the learning process are the key areas of this study. I selected to dispose the content in informal and formal learning (Davidsson &amp; Correia, 2002, Lilliestam, 2006), absolute and realtivistic views of musicality (Brändström, 1997), high and low (Klingfors, 2003), nature and culture (Ehn &amp; Löfgren, 1982), male and female (Bouij, 1998, O´Neill 1997; Lenz Taguchi, 2003), mind and body (Gustavsson, 2000; Davidsson &amp; Correia, 2002). The informants maintain that movement could have performance purposes, physical purposes and educational purposes, as a tool in the teaching of music. What I consider the most salient aspect of my study is that although the informants consider movement as important in both teaching and artistic contexts, they did not use it to any significant extent as a teaching aid.

Drawing upon rhetorical evidence of three art education activities in Worcester, Massachusetts at the close of the 19th century−The Public School Art League, evening drawing classes, and School Arts magazine−it is argued through this research that the many active facets of art education that occurred in Worcester at this time were constructed in great part as response to the economic climate of the city. This thesis argues that the activities were representative of art education for the improvement of public taste, patience, and the recognition of beauty. In this study, parallels are drawn between these three organizations and activities in Worcester, demonstrating many common initiators and motivations. Exploring art education motivations in Worcester at the turn of the 19th century, this investigation also advocates the need for the study of Japanese influence on art education activities in New England during this same period. / text