Thesis (Ed.D.)--Boston University

Thesis (Ph. D.)--Oregon State University, 1998. / Typescript (photocopy). Includes bibliographical references (leaves 270-278). Also available on the World Wide Web.

Thesis (M.Ed.)--Kutztown University of Pennsylvania, 1975. / Source: Masters Abstracts International, Volume: 45-06, page: 2759.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1980. / Typescript. Vita. Description based on print version record. Includes bibliographical references (leaves 117-123).

Thesis (Ed.D.)--Boston University

Thesis (M.M.)--Cleveland State University, 2007. / Abstract. Title from PDF t.p. (viewed on May 8, 2008). Includes bibliographical references (p. 75-82). Available online via the OhioLINK ETD Center. Also available in print.

Typescript (photocopy). / Digitized by Kansas Correctional Industries / Department: Education.

This study aimed to determine the qualities of beliefs and practices apparent in a group of accomplished primary art teachers to ascertain if these may be used to inform and improve design and practice in preservice primary art teacher education programs within Australia. The participants in this study were twenty-two accomplished primary art teachers who possessed a recognised ability to successfully teach primary visual arts and who included specialist and generalist primary art teachers. Teachers were designated 'specialists' if they taught art across the school. If they taught across disciplines within the primary curriculum and taught a single class they were referred to as 'generalist teachers.' Primary school is the place in which Australian children aged four and twelve years old receive their education. The accomplished art teachers met for four group discussion sessions termed 'critical friends groups. These were facilitated by the researcher who then visited schools to observe the teachers in practice. Informal, reflective discussions involving the participants followed. The teachers' conversations were transcribed and interpreted using a critical appreciative framework that used themes to highlight qualities of practice and beliefs. These were presented as a collaged narrative including the voices of the accomplished teachers and my reflections as critic. The analogy of quilting represented the piecing together of teachers' conversations to form blocks and the analysis of these blocks in larger patterns of analysis. This research was underpinned by the belief that teaching is an art, and that accomplished teachers are artists. Models of criticism were applied to emphasise appreciation of the art teachers and their teaching. Observations, interpretation and presentation were viewed through the eyes of a critic who values the sensitivity and intuition of the creative mind. The results of the study indicated the importance of visual experiences and art appreciation in the formation of accomplished art teachers. These teachers valued individuality, creativity and ownership in children's art and respected the children as artists and visual communicators. They defined art as a process, grounded in the human need to communicate and contended that this process is teachable and that preservice art education needs to be enhanced to more adequately train future generalist art teachers. The research raised challenges to shift the focus in preservice art teacher education from linear models of instruction to a conception characteristic of risk-taking and flexibility. A stronger emphasis needs to be given to the place of art appreciation and significant visual encounters within preservice art education. Similarly, resource and studio management require greater prominence. The accomplished art teachers stressed the need to improve the profile of art education; the need for networks to overcome the isolation characteristic of primary art teachers; and greater training for generalist teachers rather than the wider introduction of specialist art teachers in primary schools. The art-based methodology of critical appreciation encouraged the development of an ethical and critical research community that enabled significant data to become apparent. The use of collaged narrative yielded a meaningful quilt that may be metaphorically moved and placed in a number of preservice art education contexts. The critical appreciative method revealed that research could be conducted within a strong aesthetic paradigm. The research indicated that accomplished primary art teachers possess considerable knowledge, skills and expertise that can be incorporated into preservice art education.

Contextual teaching is emerging as an important concept in education reform efforts. This field study attempts to clarify the concept of contextual teaching by defining and identifying characteristics found in the research literature, experienced teacher observations and practices, and students' views of contextual teaching. The foundation for this field study was developed out of a larger project funded by the U.S. Department of Education known as the Oregon State University Contextual Learning Institute and Consortium. The purpose of this project was to conduct research in contextual teaching and learning in five Portland, Oregon, high schools involving 32 teachers and 350 students. This field study involved three, of the five high schools (7 teachers and 11 students) and five experienced teacher/consultants. Those involved in this study define contextual teaching in varying ways, but there was unanimous agreement that the basis for contextual teaching is making the connections between what a student is trying to learn and some aspect of a real world experience. A consensus of teachers participating in this study define contextual teaching as school experiences that provide meaning, relevance, real life experiences, and connections. The key characteristics of contextual teaching as identified by this study included: 1) Students learn more by combining knowing and doing wherever possible. 2) Students see that learning expectations have some connection to everyday life. 3) Students draw connections between different subject-matter disciplines bringing together content and context of application. 4) Students and teachers use teamwork and collaboration to solve real-life problems. 5) Emphasizes that active and involved students learn more, while requiring creative ways of dealing with school structure and calendar. 6) Contextual pedagogy stresses teaching knowledge and skills differently, not teaching different knowledge and skills. 7) The role of the teacher changes from expert to that of coach. Based upon findings of this field study, contextual teaching can be defined as an educational and instructional strategy focusing on enabling students to see meaning and relevance in their education. Knowledge and application of knowledge are deliberately tied together in the teaching act. Contextual teaching aims at helping all students make connections between subject-matter content and context of application. / Graduation date: 1998

This study aimed to determine the qualities of beliefs and practices apparent in a group of accomplished primary art teachers to ascertain if these may be used to inform and improve design and practice in preservice primary art teacher education programs within Australia. The participants in this study were twenty-two accomplished primary art teachers who possessed a recognised ability to successfully teach primary visual arts and who included specialist and generalist primary art teachers. Teachers were designated 'specialists' if they taught art across the school. If they taught across disciplines within the primary curriculum and taught a single class they were referred to as 'generalist teachers.' Primary school is the place in which Australian children aged four and twelve years old receive their education. The accomplished art teachers met for four group discussion sessions termed 'critical friends groups. These were facilitated by the researcher who then visited schools to observe the teachers in practice. Informal, reflective discussions involving the participants followed. The teachers' conversations were transcribed and interpreted using a critical appreciative framework that used themes to highlight qualities of practice and beliefs. These were presented as a collaged narrative including the voices of the accomplished teachers and my reflections as critic. The analogy of quilting represented the piecing together of teachers' conversations to form blocks and the analysis of these blocks in larger patterns of analysis. This research was underpinned by the belief that teaching is an art, and that accomplished teachers are artists. Models of criticism were applied to emphasise appreciation of the art teachers and their teaching. Observations, interpretation and presentation were viewed through the eyes of a critic who values the sensitivity and intuition of the creative mind. The results of the study indicated the importance of visual experiences and art appreciation in the formation of accomplished art teachers. These teachers valued individuality, creativity and ownership in children's art and respected the children as artists and visual communicators. They defined art as a process, grounded in the human need to communicate and contended that this process is teachable and that preservice art education needs to be enhanced to more adequately train future generalist art teachers. The research raised challenges to shift the focus in preservice art teacher education from linear models of instruction to a conception characteristic of risk-taking and flexibility. A stronger emphasis needs to be given to the place of art appreciation and significant visual encounters within preservice art education. Similarly, resource and studio management require greater prominence. The accomplished art teachers stressed the need to improve the profile of art education; the need for networks to overcome the isolation characteristic of primary art teachers; and greater training for generalist teachers rather than the wider introduction of specialist art teachers in primary schools. The art-based methodology of critical appreciation encouraged the development of an ethical and critical research community that enabled significant data to become apparent. The use of collaged narrative yielded a meaningful quilt that may be metaphorically moved and placed in a number of preservice art education contexts. The critical appreciative method revealed that research could be conducted within a strong aesthetic paradigm. The research indicated that accomplished primary art teachers possess considerable knowledge, skills and expertise that can be incorporated into preservice art education.