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- Genre: Art--Study and teaching (Higher)--United States.
- Genre: Art--Study and teaching (Preschool)--Curricula--Kuwait.
- Genre: Music--France--19th century--History and criticism.
- Creators: Arizona State University
- Status: Published
Description
To understand the visual culture and art education practices within three ideologically distinct kindergartens, I employed an interdisciplinary approach, utilizing tools from the fields of art, education, anthropology, literary theory, visual studies and critical social theory. Each of the three schools was considered to be the "best" of its kind for the community in which it resided; TBS was the original bilingual school, and the most Westernized. It was set in the heart of a major city. The second school, OBS, operated from an Islamic framework located in an under-developed small transitioning suburb; and the last school, NBS, was situated in Al-Jahra, an "outlying area" populated by those labeled as bedouins (Longva, 2006). The participants' attitudes towards art education unfolded as I analyzed my visual observations of the participants' daily practices. I have produced a counter-hegemonic visual narrative by negotiating my many subjectivities and methods to gain new knowledge and insights. This approach has provided a holistic understanding of the environment in each site, in which attitudes and practices relating to art education have been acquired by the community. Operating from three different educational paradigms, each school applied a different approach to art education. The more Westernized school viewed art as an individual act which promoted creativity and expression. In the Islamic school art was viewed as an activity that required patterning (Stokrocki, 1986), and that the child needed to be guided and exposed to the appropriate images to follow. In the bedouin school, drawing activities were viewed as an opportunity for representing one's individual story as well as a skill for emergent literacy.
ContributorsAl-Bader, Jawaher Khaled (Author) / Young, Bernard (Thesis advisor) / Margolis, Eric (Committee member) / Tobin, Joseph (Committee member) / Arizona State University (Publisher)
Created2012
Description
ABSTRACT
The early music revival in Paris, which came into full swing in the 1890s, had a defining impact on the composer Claude Debussy. Among the leaders of this movement were the Chanteurs de Saint Gervais under the direction of Charles Bordes and the Schola Cantorum, a school Bordes founded for the study and performance of early music in Paris. Debussy wrote admiringly of the performances of the Chanteurs and opera productions he saw at the Schola. He also spoke of the revelatory nature of performances of Renaissance masses that he heard in Italy after he won the Prix de Rome. Finally, he most likely visited Solesmes, important in the revival of plainchant. Hitherto unknown documents raise questions about the date of that visit, which most likely took place in 1892 or 1893.
A powerful manifestation of the influence of early music on Debussy’s compositional style is a melodic gesture that he referred to as “arabesque.” Debussy made many comments about the “divine arabesque,” which he related to the “primitives,” Palestrina, Victoria, and di Lasso. Further, Debussy connected those composers’ use of the arabesque to plainchant: “They found the basis of [the arabesque] in Gregorian chant, whose delicate tracery they supported with twining counterpoints.”
Debussy’s writings on early music provide a deeper context for understanding how plainchant, as well as music from the Renaissance, contributed to his compositional style, specifically in his use of modes and his notion of the arabesque. These influences are especially apparent in his only a cappella choral work, Trois chansons de Charles d’Orléans.
Until now, analysis of the Trois chansons has not sufficiently considered the importance of either plainchant or the arabesque and their influence on the style and character of this work. Viewing Debussy’s musical aesthetic through the lens of plainchant and the arabesque brings his music to life in a new and exciting way, resulting in a richer understanding and more informed performance practice, especially in the Trois chansons de Charles d’Orléans.
The early music revival in Paris, which came into full swing in the 1890s, had a defining impact on the composer Claude Debussy. Among the leaders of this movement were the Chanteurs de Saint Gervais under the direction of Charles Bordes and the Schola Cantorum, a school Bordes founded for the study and performance of early music in Paris. Debussy wrote admiringly of the performances of the Chanteurs and opera productions he saw at the Schola. He also spoke of the revelatory nature of performances of Renaissance masses that he heard in Italy after he won the Prix de Rome. Finally, he most likely visited Solesmes, important in the revival of plainchant. Hitherto unknown documents raise questions about the date of that visit, which most likely took place in 1892 or 1893.
A powerful manifestation of the influence of early music on Debussy’s compositional style is a melodic gesture that he referred to as “arabesque.” Debussy made many comments about the “divine arabesque,” which he related to the “primitives,” Palestrina, Victoria, and di Lasso. Further, Debussy connected those composers’ use of the arabesque to plainchant: “They found the basis of [the arabesque] in Gregorian chant, whose delicate tracery they supported with twining counterpoints.”
Debussy’s writings on early music provide a deeper context for understanding how plainchant, as well as music from the Renaissance, contributed to his compositional style, specifically in his use of modes and his notion of the arabesque. These influences are especially apparent in his only a cappella choral work, Trois chansons de Charles d’Orléans.
Until now, analysis of the Trois chansons has not sufficiently considered the importance of either plainchant or the arabesque and their influence on the style and character of this work. Viewing Debussy’s musical aesthetic through the lens of plainchant and the arabesque brings his music to life in a new and exciting way, resulting in a richer understanding and more informed performance practice, especially in the Trois chansons de Charles d’Orléans.
ContributorsRynex, Carolyn Rose (Author) / Schildkret, David (Thesis advisor) / Kopta, Anne (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2016
Description
This qualitative research study was about art teachers’ perceptions and practices of cultural diversity and its implications for the U.S. The purpose of the study was to provide a rationale for the need for learning institutions to recognize the changing demographics and to respond to the potential educational implications of the new demographics as they prepare their art teachers to educate diverse student populations. The study involved six art teachers who teach in schools with students from diverse cultural backgrounds. To collect data, interviews with participants were transcribed and analyzed. Analysis of teacher interviews showed the importance of helping art teachers to obtain the skills, attitudes, dispositions and knowledge to work effectively with students from diverse cultural backgrounds. The richness of the descriptions obtained from the interviews provides insight into multicultural art education in schools. The results of this study might help art educators and policy makers understand the need for more awareness of multicultural education and its impact on teachers, parents, administrators and students. This study concludes with suggestions on art education, including the need to develop curriculum that are inclusive to multicultural students, especially Islamic from cultures. Art education programs in universities should produce teachers who are prepared for the cultural diversity in their classrooms. It is essential that teachers accept and implement changes in their communities, in their schools, and in their teaching in order to better serve students of culturally diverse backgrounds.
ContributorsMasrya, Mawadah (Author) / Young, Bernard (Thesis advisor) / Stokrocki, Mary (Committee member) / Erickson, Mary (Committee member) / Arizona State University (Publisher)
Created2016