This thesis had its inception in the mind of the writer when, disturbed by third grade children's lack of interest and low level of linguistic achievement, she endeavored to find both a more effective means of encouraging children to acquire the tools of language and a more effective method of teaching children the fundamentals of language arts. The writer determined, therefore, to investigate an integrated language arts program in the hope that it would prove to be a more effective method of teaching.

This research is focused on the experiences of older adults participating in an innovative visual arts program at a long-term care facility in Victoria, British Columbia. The program offers participants an opportunity to explore their creativity and identity as artists. Conceptually, the study draws from Tornstam’s gerotranscendance framework (Tornstam, 2005) and the theory of meaning (Frankl, 1963). A narrative inquiry approach was used with data collected through face-to-face interviews and observations of 10 residents and three staff involved in the visual arts program. Findings indicate that the program fostered a sense of community among participants and enhanced their quality of life. The public exhibition of their artwork at a community-based art exhibit validated the merit of their work and gave meaning and purpose to their participation in the program. Findings contribute to a greater understanding of the importance of arts programs that foster creativity in later life and resonate with Tornstam’s (2005) argument that older people living in institutions can experience multiple dimensions of the self through individualized forms of expression. This study concludes by highlighting the need to increase access to arts programs for older people living in residential care. / Graduate / lyciar@yahoo.com

The purpose of this study is to determine the weak points and the strong points of the Language Arts Program and to make recommendations for improvement.

Syftet med denna undersökning är att ta reda på om och i vilken grad elever, och lärare i ensemble och musikteori, upplever att eleverna integrerar musikteori och ensemble samt ifall bakgrund i musik- eller kulturskola påverkade integrationen. Jag använde mig av en kvantitativ undersökningsmetod, det vill säga enkätundersökning i mitt datainsamlande. Fyra skolor i olika storlek och olika delar av Sverige deltog i undersökning som genomfördes med ett ”emic” insider- och ”epic” outsiderperspektiv, det vill säga elev- och lärarperspektiv.I min bakgrund visar jag att musiklära kurs A enligt kursplanen ska ligga till grund för det egna musicerandet. Ensemblekursen har främst för avsikt att ge grundläggande färdigheter relaterade till sång eller instrument, men påvisar koppling i B-kursen. Rostvall & West skriver om kognitiva scheman för att lära in nya saker, och beskriver hur man kan gå igenom dem på olika sätt för att få djupare kunskap. Flera av examensarbetena jag läst visar att vikten av integration mellan teori och praktik skiljer beroende på vilken genre man spelar.Resultatet visar att elever i storstadsområden i högre grad än de i glesbygden gått i musik- eller kulturskola innan gymnasiet, samt att elever med förutbildning håller teoriintegration i det praktiska musicerandet högre än de andra. De flesta eleverna upplever sig göra kopplingen mellan teori och praktik i relativt stor utsträckning, medan lärarna upplever att de gör detta ganska lite. De flesta lärarna upplever även att kunskapsnivån på eleverna sjunker varje år. Teorilärarna hoppas på mer koppling till praktiken i framtiden och eleverna efterfrågar mer koppling till sina egna instrument i teoriundervisningen. Ensemblelärarna tror att undervisningen i framtiden mer kommer att utgå ifrån elevernas musik och bli mer gehörsbaserad. / The purpose of this study was to discern the extent of how students and teachers of ensemble and music theory, regard the integration of the students’ knowledge of music theory and ensemble, and if a background in music school affected the integration. I used a quantitative survey method. Four schools of different sizes and different parts of Sweden participated in the survey conducted by a "emic" inside and "epic" outsider perspective, that is, student and teacher perspectives.In my background, I show that music theory A according to curriculum will form the basis for their musicianship. The ensemble course is primarily intended to provide basic skills related to their vocals or instruments, but showing a link to theory the B-course. Rostvall & West write about cognitive schedules, and describe how to teach something in different ways for a deeper learning. Several of the works I have read show that integration is greatly affected by each individual genre.The results show that students in metropolitan areas to a greater extent than those in rural areas have attended music schools before high school, and students who already possess a basic understanding of theory place a greater value of its inclusion in their playing. Most students feel they make the connection between theory and practice in a relatively large scale, while teachers feel the extent is rather small. Most teachers also feel that the knowledge level of students drops each year. Music theory teachers would prefer a greater connection between theory and performance in the future, and students would like more access to their own instruments in the music theory classroom. Ensemble teachers are of the opinion that teaching in the future will be based more on the students’ repertoire, with added emphasis on aural skills.

The problem of this study is to determine if an industrial arts program can be developed to fit the needs of the Northwest High School Community.

The problem of this study is to determine to what extent the present industrial arts program of the Highland Park Schools of Dallas, Texas, serve the actual needs of the community.

The purpose of this study is, first, to determine the justification for a graphic arts program in the institutions of higher learning, and, second,--if such a program is justified--to formulate a curriculum designed to fulfill the needs of the student and the printing industry.

The purpose of this study is to ascertain the extent to which the present industrial arts program of the Van Independent School District of Van, Texas, serves the needs and interests of the students and school community.

Title from PDF of title page. / Document formatted into pages; contains 90 pages. / Thesis (M.M.)--University of South Florida, 2003. / Includes bibliographical references. / Text (Electronic thesis) in PDF format. / ABSTRACT: The purpose of this research was to review a significant body of literature that related to music and arts education in the context of community engagement. An examination of the literature identified several issues affecting the engagement of communities in arts education pertaining to arts education policies, the role of arts organizations and the relationship between schools and communities. The summation of this research included an overview of models of successful collaborations between the public school and community institutions at national, state, and local levels in the United States with implications of future reform to the arts education policy. / ABSTRACT: With such a vast array of program offerings initiated through the collaborative partnering of schools with communities and local arts agencies, valuable insights can be gained from concerted research efforts in the field of music education as to the unique opportunities afforded through purposeful community engagement. / System requirements: World Wide Web browser and PDF reader. / Mode of access: World Wide Web.

Denna studie genomfördes på gymnasieskolans estetiska program under tiden gymnasiereformen, Gy 2011, tog form. Syftet med denna uppsats är att lyfta fram, medvetandegöra, synliggöra och beskriva en grupp teaterlärares grundläggande ställningstaganden om gymnasieskolans teaterundervisning. Två huvudteman interagerar. 1: Hur upplever gruppen teaterlärare balansen mellan konstnärliga och pedagogiska intentioner i teaterundervisningen? 2: Hur hanterar gruppen teaterlärare balansen mellan lärares initiativ och stimulans och elevernas möjligheter till självständigt skapande?  Med en kvalitativ metod genomfördes reflekterande gruppsamtal med sju teaterlärare. Influerad av aktionsforskning deltog författaren i samtalen. Resultaten visar att gruppen teaterlärare eftersträvar interaktion mellan konstnärliga och pedagogiska aspekter i teaterundervisningen och att detta bidrar till att påverka teaterlärarnas didaktiska ställningstaganden. Teatern framställs som performativ, vilket beskriver de aspekter av teaterarbetet som, i en kommunikativ process och med en genomtänkt gestaltning, vänder sig till en publik. En grundläggande inställning till lärarrollen är att stimulera elevernas skapande och hjälpa fram deras egna uttryck genom att balansera graden av läraraktivt deltagande och medskapande. En kombination av stark eller svag stimulans från läraren och av stort eller litet utrymme för elevens autonomi ger flera möjliga lärarroller. Sammanfattning av resultaten visar att teaterlärarna eftersträvar att röra sig fritt och medvetet mellan dessa roller, och att deras växlande av roller tydligt kommuniceras till såväl elever som kollegor. / This study was carried out in the upper secondary school arts program while the reform, Gy 2011, took shape.  The purpose of this thesis is to highlight, raise an awareness of, visualize and describe a group of theatre teachers’ basic stances on upper secondary school theatre education. Two main themes interact. 1: How does the group of theatre teachers perceive the balance between artistic and pedagogical intentions in theatre education? 2: How does the group of theatre teachers manage the balance between teachers’ initiative and stimulus and students' opportunities to independent creation? With a qualitative method, reflective conversationswere carried out with seven theatre teachers. The author, who was influenced by action research, participated in the conversations. The findings reveal that the theatre teachers strive for interaction between artistic and pedagogical aspects in theatre education and that this interaction contributes to influence the theatre teachers’ didactic positions. Theatre is presented as performative, which describes the aspects of theatre work that, in a communicative process and with a deliberate design, addresses an audience. A basic approach to the role of the teacher is to stimulate students' creativity and boost their self-expression by balancing the degree of teacher active participation and co-creation. A combination of strong or weak stimulus from the teacher and of small or large space for student autonomy enables several possible teacher roles. In summary, the findings shows that theatre teachers strive to move freely and deliberately between these roles, and that their altering between roles is clearly communicated to both students and colleagues.