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by David Ecker & Eugene Kaelin 1972
Our aim here, as philosophers of art, is to specify the range of activities that may be relevant in determining a peculiarly aesthetic domain of future educational research. In so doing we shall be attempting a necessary first step toward a broadened concept of educational research, one that is defined materially by criteria of relevance set up by related subject matter disciplines and, consequently, one that would indicate the limits within which any formal method may appropriately be applied, if our restriction of prior intelligibility is to be met.

by Tom Hamil 1970
Seeking artistic forms to express experiences

by Daniel Martin 1970
Two poems, This We Call Wonder and Autumn Poem.

by Donald Barker 1970
A poem, In His Place.

by Lawrence Welch 1970
A poem, Clint Kahlil Strommen: A Birth Poem.

by Abram Sloan 1970
A poem, Grim Reapings.

by Daniel Martin 1970
A poem, This We Call Wonder.

by Robert Beck 1965
Baskin and his imagist colleagues are not sanguine about society. There are no remedies suggested in their art or notebooks, there is no direction for art education in them. But these artistic commentaries can be interpreted by educators seeking in them worthy tasks. The artist who shows himself repulsed by brutality, by emotional frigidity, is urging educators to make a new society peopled by men and women who can love and be compassionate.

by James Schinneller 1965
In marking our environment with their creations, architects contribute more than shelter to our existence. For inspirational qualities and visual richness are also their concern. Many (Aalto, Breuer, Gropius, Jenny, Latrobe, Maybeck, Nervi, Neutra, Richardson) have contributed to the development of American architecture. The roots of mid-twentieth-century architecture have been nourished in various soils, both native and foreign. Among the pioneers of modern architecture, four names stand out: Sullivan, Wright, Mies van de Rohe, and Le Corbusier.

by John Keel 1965
The recent history of art education takes on greater meaning when viewed against a more extensive background of historical development, and this perspective has been considerably enlarged since 1940. Scholarly studies by Pevsner, Logan, Hauser, Larkin, and Marron have added to our knowledge of the training of the artist and the growth of the visual arts as a significant part of general education.

by Pauline Johnson 1965
The subject of child art is of much interest to educators and psychologists today, for the visual imagery of young children is one of the most extraordinary phenomena found in the patterns of human growth and development. Amazing figurative depictions coming from the very young are indicative of the unlimited creative potential that all children possess. There seems to be no one explanation of how these mental images are formed or what their significance is; yet, obviously, they are closely identified with personal experience.

by John Michael 1965
Just as the healthy individual is best prepared to undergo surgery, so is the properly conditioned individual prepared for adolescence. If we can get the child immediately prior to adolescence to express himself spontaneously, freely, and sincerely with an awareness, sensitivity, and confidence in his ability to do so through line, shape, value, texture, and color organized in a consistent manner, he will undoubtedly undergo the period of adolescence without difficulty, or perhaps even without hesitation, in his creative art expression.

by Ronald Silverman & Vincent Lanier 1965
Art courses and activities in the senior high school contribute to the general education of youth and also provide prevocational experiences for those contemplating careers in the visual arts. The quantity, quality, and types of art curricula and instruction which evolve to fulfil this dual role are usually the result of a constellation of conditioning forces; namely: the nature of the adolescent learner; the training, experience, and predispositions of the art teacher; the appraisal of school and community regarding the relative value of art experiences within the senior high school; the particular expectations which the school culture holds for both art class and art teacher; the current status and needs of society; and the practices that are in vogue in the professional art world.

by June McFee 1965
The present rapid rate of increase in the size and mobility of the American population concerns art education as imperatively as it concerns all education. High birth rates among the low-income groups, the rapidly increasing shift of population from rural to urban areas, and the rise in economic status of peoples still denied social equality occur while mass media urge the achievement of status and "happiness" through acquisition of material things. These factors, together with others, contribute to the situation in which those who face social rejection and economic privation find themselves. The rejection of economically and socially deprived children, by the same society that makes them go to school .to prepare for a life they are not encouraged to enter, increases their hostility to society and tends to lead to withdrawal from it. Appropriate education can help these children improve the quality of their experience, and art education has a particularly import~nt role to play in their education.

by Ralph Beelke 1965
The supervision of teachers is increasingly being looked upon as an important part of a school program. As a result, more and more supervisors are being employed by school systems throughout the country. Because of the variety and complexity of the arrangements of the educational enterprise, the duties and responsibilities of supervisory personnel vary from system to system. It is difficult to define, in terms of behavior, exactly what it is that a supervisor does. The supervisor in a small school system will perform functions quite different from those performed by a supervisor in a large system.

by William Bealmer 1965
The aim of this chapter is to show how a state supervisor or director of art may function to improve the teaching of art within a state. Where such a person exists, his leadership is extended through his position as a staff member of the state educational agency. Therefore, it is necessary to evaluate and clarify the functions of a state educational agency, its role in improving educational opportunities for all children in the state, its methods of operation, and the place of art leadership in it.

by Coretta Mitchell 1965
Some interesting facts about who teaches art in the elementary schools are revealed in the National Education Association Research Division's recent study, Music and Art in the Public Schools.1 In well over half the schools surveyed, elementary-classroom teachers alone were responsible for the teaching of art. Art teachers helped classroom teachers in about one-fourth of the schools and taught art alone in less than I o per cent of them. If there ha'd been any doubt, the survey makes it very clear that elementary-schoQl teachers, not art teachers, have the major responsibility and influence in guiding the development of young children's artistic conceptions and skills. What children learn about art from these teachers during their formative years in the elementary schools will have deep, perhaps permanent, effects on their attitudes and attainments in art.

by W. Hastie 1965
Our examination of the process of educating an art teacher concentrates upon that formal part of his total preparation that comes within a college, university, or art-school program which is designed primarily for the education of the art teacher.

by Elliot Eisner 1965
The nature and development of graduate study in the field of art education has many characteristics that distinguish its pattern and direction of growth from that to be found in other fields. At this stage of its evolution it seems appropriate to review the types of programs that have been established, the goals that are sought, and the types of students that are enrolled, since these factors are likely to have a great influence on the way in which art education will develop.

by Elliot Eisner 1965
This chapter describes the functions that art in the schools has historically performed as well as some of the present-day characteristics of art education. In addition, those trends current in education generally and in art education specifically that ire likely to affect the future of art in American public schools will be identified and discussed.

by Stanley Wold & W. Hastie 1965
Readers will approach this publication with widely differing needs and purposes. Some will be, primarily, teachers; others will have strong commitments to writing, research, or creative production; still others will be students preparing for careers in teaching, writing, and research. Personal interests in these pursuits will vary over the wide range of specialties in the visual and related arts. Among those involved in teaching, there will be some who teach adults or adolescents and others who work with children. They may come face to face with the learner or may direct and counsel those who do. Whatever their professional obligations or aspirations, they will take from this volume that to which their nature and needs have made them receptive.

by Thurber Madison 1958
This volume is a product of an inquiry into issues which are regarded as basic to the work of educating children and youth in music in the schools of the nation.

by Foster McMurray 1958
Pragmatism is well established in the foundations of modern education. Historically, this fact may be attributed to the influence of John Dewey and his many followers. This raises a question about the relation of philosophy to education and to music education.

by George McKay 1958
The discussion which follows will be a presentation of some central concepts which may be useful to the teacher as an analytical framework upon which to develop methods that will help the student grow toward a larger understanding of music's relation to human evolution.

by James Mursell 1958
Many years ago it was said that education should be considered as guided growth, and the dictum has found wide acceptance. What is the positive, specific meaning of this celebrated statement? What does it indicate in the way of desirable policy and practice with reference to music? These are the questions with which the substance of this chapter will deal.

by Louis Thorpe 1958
In this chapter, an effort is made to indicate how research psychologists and music educators can co-operate in formulating some common principles and procedures for the direction of effective and enjoyable teaching.

by C. Burmeister 1958
The challenges of the twentieth century have affected the character of education greatly. The insistent demand for specialization added to the phenomenal growth and proliferation of learning have increased the difficulties or providing breadth of knowledge for the individual.

by Robert House 1958
The curriculum includes all influences which the school brings to bear upon students in the effort to reorganize their behavior toward particular ends. It is a most stringent duty of educators to apply themselves to the constant development of more adequate educative experiences. It is this process which is called curriculum construction. Whether they realize it or not, all music educators are engaged in curriculum-building and can only benefit from a clear concept of the task.

by William Hartshorn 1958
This chapter will discuss characteristics of music and their implications for the listener; the special importance of form; the unique relationship between tone, time, and form in music; enjoyment and understanding as interrelated responses in listening to music; musical meaning and what to listen for to find it; music involving associative ideas of varying degrees of specificity and responses to it; the relationship of listening to other activities in music education and to other subject fields; listening per se as a means of musical growth; some characteristics of good listening; and judgments of value, both as to types of listening experiences and music to be heard.

by E. Gaston 1958
Functional music is that music which, when properly administered, accomplishes specific predetermined ends other than entertainment or pleasure.

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Resources
  • NAEP Arts Education Consensus Project
  • Journal of Dance Education
    Articles appearing in the Journal of Dance Education cover the range of dance education in all settings
  • National Art Education Association
    The NAEA promotes art education through Professional Development, Service, Advancement of Knowledge, and Leadership. NAEA is a non-profit, educational organization.
  • The National Standards for Arts Education
  • Creativity Research Journal
    The Creativity Research Journal publishes high quality, scholarly research capturing the full range of approaches to the study of creativity--behavioral, clinical, cognitive, cross-cultural, developmental, educational, genetic, organizational, psychoanalytic, psychometric and social.
  • Art Education
    The official journal of the National Art Education Association, Art Education is of particular value to art teachers, especially for their high school classes, as it deals both with the theory and the practicalities of teaching art.
  • Music Education Research
    Music Education Research is a new refereed journal which will draw its contributions from a wide community of researchers. The focus will be firmly on research, providing a forum for debate arising from findings as well as methods and methodologies. It will seek to generate and promote research from both experienced researchers and those new to the field.
  • Research in Dance Education
    Research in Dance Education will aim to inform, stimulate and promote the development of research in dance education and will be relevant to both learners and teachers. The desire to improve the quality and provision of dance education through lively and critical debate, and the dissemination of research findings will be uppermost.
  • Research in Drama Education
    Research in Drama Education is a well established international, refereed journal aimed at those interested in drama and theatre conducted in educational contexts. It offers a dissemination of completed research and research in progress, and through its Viewpoint section it allows for debate between researchers, both on its published articles and on other matters.

  • Journal of Art & Design Education
    The Journal of Art & Design Education provides an international forum for the dissemination of ideas, practical developments, and research findings in art and design education. The Journal (published under the auspices of the National Society for Education in Art and Design) is a primary source for independently refereed articles about art and design education at all levels.
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