Thesis (M. Arch.)--University of Hong Kong, 1997. / Includes special report study entitled: In between tradition and modernity. Includes bibliographical references.

Thesis (M.Arch.)--University of Hong Kong, 1997. / Includes special report study entitled : In between tradition and modernity. Includes bibliographical references. Also available in print.

Thesis (Ed. D.)--University of La Verne, 2004. / Includes bibliographical references (p. 328-335).

Thesis (Ed. D.)--University of La Verne, 2004. / Includes bibliographical references (leaves 328-335).

This research aimed to explore the perceptions of students and teachers involved in school plays in secondary schools. The main aims of the study were to investigate teachers’ and students' motivation to participate and to explore their perceptions regarding the potential benefits, challenges and positive and negative impacts of involvement in this activity. Given the limited amount of research investigating this area, literature relating to the arts in education, drama and theatre in education, youth theatre groups and extra-curricular activities have been included in the rationale for studying this area. The study employed a two-phase mixed methodology design, which involved an initial phase of questionnaires completed by students and teachers. This was followed by focus groups with the students and semi-structured interviews with the teachers involved. Results indicate that intrinsic enjoyment of the activity was one of the key motivators for student participants. A number of perceived positive impacts and benefits in relation to the students’ personal and social development were identified, along with a number of perceived challenges and negative impacts in relation to the process. The findings are discussed in relation to relevant psychological theories and the practical implications for the field of Educational Psychology.

This thesis offers the first and most comprehensive re-evaluation of the UK government’s Creative Partnerships education policy (2002-11) by drawing together my seven contemporaneous evaluation reports about Creative Partnerships and applying a retrospective and reflexive commentary to them. The term of reference explicitly named or implied in all seven evaluation briefs was to measure the ‘impact,’ of the policy. The principal contribution to new understanding in the thesis is the deconstruction and conceptual analysis of impact in the context of Creative Partnerships, drawing on hermeneutics, critical linguistics and policy analysis (Ozga, 2000; Fairclough, 1989). This clarifies and illustrates the ways in which impact was interpreted by those enacting Creative Partnerships, and proposes a fuller understanding of the term. I identify two contrasting approaches to impact adopted by Creative Partnerships’ national leadership: the politically motivated public relations approach and the substantive approach. I argue that the former approach was driven by the zeitgeist of its time: the political party in power (Ward, 2010; Buckingham and Jones, 2001), the recession after 2010 and the contemporary preference for evidence-based practice (Hargreaves, 2007). Research into ‘logical frameworks’ (Harley, 2005; Rosenthal, 2000) reveals them to be an essential corollary to the latter, substantive approach and shows how the lack of a full logical framework for planning and evaluating Creative Partnerships, impoverished the extent to which its impact was recognised and monitored by those enacting the policy. The thesis shows how the imperatives of the political cycle demanded evidence of the policy’s impact well before more valid and reliable longitudinal impact studies could, in principle, be completed. As a possible solution to this conundrum, the thesis argues that my ‘predictive impact model’ offered plausible predictions about the legacy of Creative Partnerships (Wood and Whitehead, 2012). I suggest that this could be further investigated and applied to similar education policies.

Thesis (Ph.D.)--University of Melbourne, Faculty of Education, 2007. / Typescript. Includes bibliographical references (leaves 243-254).

<p>The purpose of this dissertation is to examine how teachers in the municipal Music schools Schools of arts (kulturskolor) estimate the quality of their teaching rooms, which factors that are significant for their opinion, and if they have experienced any tendencies of improvement in the quality of their teaching rooms. The examination is built on a questionnaire, which was sent to a number of music- and “culture schools” in Sweden. From the answers you can read that the majority (66%) of the teachers are satisfied with their teaching rooms, even if a relatively large part (33%) seems to be unsatisfied. The single factor that are of most importance for their opinion are how much of their teaching they spend in rooms that doesn’t belong to the music- or “culture school” and also are used for other kinds of education. You can also see that the teachers have experienced a slight improvement in the quality of the education room’s throughout the years. A large majority consider that the rooms are of great significance for their teaching and the student’s experience of the education, which also is confirmed by other research.</p>

The purpose of this dissertation is to examine how teachers in the municipal Music schools Schools of arts (kulturskolor) estimate the quality of their teaching rooms, which factors that are significant for their opinion, and if they have experienced any tendencies of improvement in the quality of their teaching rooms. The examination is built on a questionnaire, which was sent to a number of music- and “culture schools” in Sweden. From the answers you can read that the majority (66%) of the teachers are satisfied with their teaching rooms, even if a relatively large part (33%) seems to be unsatisfied. The single factor that are of most importance for their opinion are how much of their teaching they spend in rooms that doesn’t belong to the music- or “culture school” and also are used for other kinds of education. You can also see that the teachers have experienced a slight improvement in the quality of the education room’s throughout the years. A large majority consider that the rooms are of great significance for their teaching and the student’s experience of the education, which also is confirmed by other research.

The aim of the study was to find out how working conditions in different music schools and schools of arts are, or has been, for teachers on oboe and bassoon, and how the conditions may affect the regrowth of these instruments. The interviews were performed with teachers on bassoon and oboe; two active teachers and one former teacher. Experience shows that it can be difficult to recruit these instruments to orchestra courses for young people. An assumption was made in the study that the conditions for these instruments in the schools of music and arts are not the best, which was indicative of the survey. The results of the study show that the interviewed teachers on these instruments struggle with a whole series of problems such as poor facilities, too short teaching time, few students that require many hourly based employments and many time consuming journeys. It also shows that adaption has occurred to different conditions on different schools where also the recruiting of students works differently. The problem can be traced to scarce financial resources, absence of a national structure for music development or principals with indifference, ignorance or lack of mandate from the politics to take responsibility for a good qualitative development that leads to diversity and a vibrant music scene. / Syftet med studien har varit att ta reda på hur arbetsförhållanden på olika musik- och kulturskolor, där några pedagoger verkar eller ha verkat, påverkar återväxten för instrumenten oboe och fagott. Intervjuer har genomförts med två aktiva pedagoger och en före detta pedagog. Erfarenheter visar att det kan vara svårt att rektytera dessa instrument till orkesterkurser för unga. Ett antagande gjordes i studien att förutsättningarna på musik- och kulturskolorna för dessa instrument inte är det bästa vilket var vägledande för undersökningen. Resultatet av studien visar att intervjuade pedagoger på dessa instrument brottas med en hel rad problem såsom dåliga lokaler, för kort undervisningstid, få elever som kräver många olika timanställningar och många tidskrävande resor. Den visar också att anpassning har skett till olika förhållanden på olika skolor där även rekryteringen ser olika ut. Problematiken kan härledas till för knappa ekonomiska resurser, avsaknaden av en nationell struktur för musikens utveckling, eller chefers ointresse, okunskap eller avsaknad av uppdrag från politiskt håll att ta ansvar för en god kvalitativ utveckling som leder till mångfald och ett levande musikliv.