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- Genre: Art--Study and teaching (Secondary)--United States.
- Genre: Music--Instruction and study--Psychological aspects.
- Creators: Arizona State University
Description
Through the disciplines of art education, anthropology and psychology the researcher examined research-based traits and characteristics of the creative process among a second year Title 1 urban high school art class. Within the theoretical framework of social justice, this micro-ethnographic study explored exactly what teaching and learning to be creative implies and proposes a potential resolution for art teachers learning how to enhance teaching children how to think creatively. The research proposition is that student creativity occurs as a function of a series of interrelated factors including a nurturing classroom context, strong teacher-student dialogue, strategic questioning, purposeful incorporation of visual culture, and manipulation of content in favor of student interests within the culturally situated context of the art classroom. Navigating teacher-student relationships at moments of creative origination produced results indicating that the art teacher alone is the single most influential factor for enhancing creative outcomes in a classroom. Through incorporation of a variety of collaborative activities and comparative analysis of dissimilar content-driven projects generated evidence that artistic skills and creativity do not necessarily go hand-in-hand. The study finds that the artworks produced evidence based nuances of the creative traits of originality, fluency, flexibility, and elaboration in which profoundly varied in character depending on the content and the context. The study concludes that creativity cannot be strictly taught or learned, but rather that it can be enhanced through teacher nurturing and manipulation of content to encompass a socially intelligent uptake in the culture of art-making. Broader implications are suggested focusing on the significance of creative education and the impact it can have for educational systems, schools and undergraduate programs in art education. The researcher proposes an art education curriculum model that fosters both creative thinking and the unique learning needs of Title 1 urban students. The curriculum suggests the art teacher begin initial instruction by teaching students about the traits, characteristics and obstructions of creativity prior to teaching artistic skills sets to serve as a foundation of creative awareness from the start.
ContributorsForeman, Angela (Author) / Young, Bernard (Thesis advisor) / Stokrocki, Mary (Committee member) / Fischman, Gustavo (Committee member) / Arizona State University (Publisher)
Created2014
Description
LGBTQ research in music education has become more available and accepted in the past ten years. LGBTQ studies in music education have focused on how gay and lesbian music educators negotiate their identities, the role of music education in the lives of transgender students, and the inclusion of LGBTQ issues in music teacher education programs. Studies have been limited to a singular content experience, such as gay vocal music educators or lesbian band directors. Additionally, studies have not explored multiple generations of LGBTQ music educators. The purpose of this study was to explore the lives as lived of six K-12 music teachers. Six individuals, from various career points, various generations, and various career paths shared their stories with me. To guide my analysis, I considered the following questions:
• How do lesbian and gay music educators describe their sexual identity and professional identity?
• How do gay and lesbian music educators negotiate the tensions between these identities?
• What internal and external factors influence these negotiations?
• What are the similarities and differences among the participants of different generations?
Two large emerged from the analysis that provided a better understanding of the participants’ lives: finding sexual identity and finding professional identity. Within those themes, smaller sub-themes helped to better understand how the participants came to understand their sexuality and professional identity. External factors such as social and family support, religion, and cultural and generational movements influenced the ways in which the participants came to understand their sexual identity. Participants desired to be seen first as a competent music teacher, but also understood that they could have an impact on a student as a gay or lesbian role model or mentor. Sexual identity and professional identity did not function as separate constructs; rather they were interwoven throughout these lesbian and gay music educator’s self-identities.
In order to connect the reader with the participants, I engaged in a creative non-fiction writing process to (re)tell participant’s stories. Each story is unique and crafted in a way that the participant’s voice is privileged over my own. The stories come from the conversations and journal entries that the participants shared with me. The purpose of the stories is to provide the reader with a contextual understanding of each participant’s life, and to offer some considerations for ways in which we can engage with and support our lesbian and gay music educator colleagues.
This paper does not end with a tidy conclusion, but rather more questions and provocations that will continue the conversations. I hope this document will encourage thoughtful and critical conversations in the music education profession to help us move us forward to a place that is more empathetic, socially-just, and equitable.
• How do lesbian and gay music educators describe their sexual identity and professional identity?
• How do gay and lesbian music educators negotiate the tensions between these identities?
• What internal and external factors influence these negotiations?
• What are the similarities and differences among the participants of different generations?
Two large emerged from the analysis that provided a better understanding of the participants’ lives: finding sexual identity and finding professional identity. Within those themes, smaller sub-themes helped to better understand how the participants came to understand their sexuality and professional identity. External factors such as social and family support, religion, and cultural and generational movements influenced the ways in which the participants came to understand their sexual identity. Participants desired to be seen first as a competent music teacher, but also understood that they could have an impact on a student as a gay or lesbian role model or mentor. Sexual identity and professional identity did not function as separate constructs; rather they were interwoven throughout these lesbian and gay music educator’s self-identities.
In order to connect the reader with the participants, I engaged in a creative non-fiction writing process to (re)tell participant’s stories. Each story is unique and crafted in a way that the participant’s voice is privileged over my own. The stories come from the conversations and journal entries that the participants shared with me. The purpose of the stories is to provide the reader with a contextual understanding of each participant’s life, and to offer some considerations for ways in which we can engage with and support our lesbian and gay music educator colleagues.
This paper does not end with a tidy conclusion, but rather more questions and provocations that will continue the conversations. I hope this document will encourage thoughtful and critical conversations in the music education profession to help us move us forward to a place that is more empathetic, socially-just, and equitable.
ContributorsMinette, Sarah Marie (Author) / Schmidt, Margaret (Thesis advisor) / Stauffer, Sandra (Committee member) / Sullivan, Jill (Committee member) / Paparo, Stephen (Committee member) / Arizona State University (Publisher)
Created2018