Curriculum standards in social studies encourage a curriculum that helps students understand how minority groups and women have historically sought access to equality of opportunity through organization and struggle, as well as a curriculum that supports democratic dialogue and mutual understanding among groups from diverse backgrounds. This study investigated how preservice social studies teachers have experienced efforts to help them understand dimensions of diversity and how these dimensions implicate classroom practices. Their pedagogical intentions were explored using educational criticism and connoisseurship, a humanities-based qualitative methodology that describes, interprets, and evaluates the various dimensions of educational experiences. This investigation followed four preservice social studies teachers and their instructors as they shared their encounters with difference and a diversity education course. Their experiences were rendered as written portraits of their intentions for teaching and learning. These portraits revealed themes of "earnest impotence" and structural obstacles that made truly transformative multicultural education difficult to achieve. Recommendations for curricular enhancements that attend to the "commonplaces" of curriculum are suggested.

No description available.

Online courses are complex, human-driven contexts for formal learning. Little has been said about the environment emerging from the interaction of instructor(s), learners, and other resources in such courses. Theories that focus on instructional settings and methods that are designed to accommodate inquiry into complex phenomena are essential to the systematic study of online courses. Such a line of research is necessary as the basis for a common language with which we can begin to speak holistically about online courses. In this dissertation, I attempt to generate better questions about the nature of online instructional environments. By combining prior works related to educational criticism and qualitative research case study with original innovations, I develop a model for studying the instructional experiences of online courses. I then apply this approach in the study of one specific online course at the University of Central Florida (UCF).

This thesis reports on how primary and secondary teachers' knowledge influenced the implementation of a Year 1-10 science syllabus which was introduced into Queensland in 1999. The study investigated how the teachers' knowledge of the primary and secondary teachers differed and how teachers' knowledge impacted on the implementation of the science curriculum. Teacher knowledge otherwise referred to as teacher beliefs and practices has been acknowledged as an influence in the implementation of curriculum. Yet, a considerable portion of curriculum evaluation has focused on measuring the successful implementation of the intended curriculum and not the enactment. As a result, few studies have investigated how the curriculum has been influenced by teacher knowledge or have compared primary and secondary teacher knowledge. Furthermore, in order to provide a seamless grade one to ten science syllabus it is necessary to compare primary and secondary teacher beliefs and practices to determine whether or not the beliefs and practices held by these two groups of teachers is similar or dissimilar and how these beliefs and practices in turn, impact on the implementation of a curriculum. The research adopted Eisner's (1991) methodology of educational criticism and used a comparative case study approach to investigate the teacher knowledge of four primary and three secondary teachers. Data were presented as a dialogue between three composite characters, a lower primary, a middle/upper primary and a secondary teacher. The results revealed that teachers utilised three sets of beliefs to shape the implementation of the science curriculum. These were categorised as expressed, entrenched and manifested beliefs. The primary and secondary teachers did possess similar sets of beliefs and knowledge bases but their strategies for implementation in some instances were different. Furthermore, these sets of beliefs and knowledge bases served as motivator or an inhibitor to teach science in the manner that they did. A theoretical model was developed to explain how these sets of beliefs influenced the curriculum. This study provides professional developers with a framework to observe teacher beliefs in action and thereby to assist in the facilitation of curriculum change.

My inquiry, centered on the applied practice of teaching, confronts the detachment that often disassociates the intellectual study of music theory from the physical experience of music. This pedagogical detachment, perceived as a split between opposing views of knowledge, privileges positivist science over interpretive art (Aróstegui, 2003), producing written competencies that have little or no musical meaning (Rogers, 2004). Endeavouring to re-attach music theory and the music it was initially intended to explain (Dirié, 2014), I constructed four Listening Guides to align with the intermediate-level theory curriculum of the Royal Conservatory of Music. Their construction incorporates elements of design research along with an underlying framework derived from the Kodály Method’s four-step instructional process. Given my multi-faceted personal/professional interactions with music theory, my research project is presented in the form of a quest narrative that weaves together my story and the stories of participant teachers who established the Listening Guides’ potential usefulness through reviewing and implementing interactions. This narrative, as a creative representation of arts-based research practices (Leavy, 2015), is derived from the blurring of specific cognitive findings and less definable aesthetic knowings (Greenwood, 2012). My data, both the prototypical data I designed and the empirical data I collected from focus group discussions with my participants, are filtered through an a/r/tographic lens that acknowledges the coexistence of my artist/researcher/teacher identities. The analysis of our aggregate narrative, as an exploration of music theory pedagogy with, about, in, and through music, relies on the evaluative tools of educational criticism (Eisner, 1991). Unfolding in a mostly linear climb, my quest for a fully integrated music/theory (art/science) pedagogy reaches its apex in the understanding that a music-logic organization confounds the subject-logic of traditional teaching approaches. Thus, my inquiry challenges the customary practices of scientific knowledge-building with a model for artistic “ways-of-knowing” in music theory pedagogy.