by Juliet Hess, Vaughn Watson & Matthew Deroo - 2019
This article details the ways in which youth of color extended their literary and musical presence as active civic participants through engagement in open mic in the context of a 15-week community-based literacy-and-songwriting class.
by Robert Sternberg & James Kaufman - 2018
This article describes five societal forces that ERODE creativity: Education, Resources, Opportunities, Diffusion, and Exaggeration. The article further suggests how we can counter this erosion.
by Christa Greenfader & Liane Brouillette - 2017
This study examines the speaking abilities of K–2 Hispanic ELs who were randomly assigned to an arts-based professional development program that emphasized oral English-language interactions. Additional review suggests that the activities corresponded well to Common Core speaking and listening standards, but concerns are raised that a lack of speaking assessments in the Common Core may result in a subsequent distortion of K–2 instruction.
by Keith Sawyer - 2015
Drawing on the history of research on teaching creativity and on arts education, this article argues that the best way to teach for creativity is to transform domain specific education in each subject area.
by Sharon Bailin - 2015
This commentary argues that creativity is best viewed in terms of significant achievement and that such achievement is best developed through promoting critical inquiry.
by Srikala Naraian - 2015
This commentary notes the oppositional traditions that inform polarized perspectives on disability and schooling, and raises the question of the significance of such divisions for schools and for preparing teachers.
by Olga Hubard - 2015
Excerpts from a conversation on creativity with Olga Hubard, conducted prior to a symposium on the same topic at Teachers College, are interwoven with artworks by Hubard's students and professional artists.
by Erick Gordon & Ruth Vinz - 2015
This commentary details the creative process of New York City teachers and students coming together as players to remix Mary Shelley's Frankenstein in the summer of 2014.
by Beth Hennessey - 2015
In teaching and learning situations where there is one “right” answer and one best path to a solution, extrinsic incentives can be extremely effective. However, when more open-ended problems and activities are presented to students, these same extrinsic incentives have been shown to kill Western students’ intrinsic motivation and creativity. In the face of an expected reward or performance evaluation, students are unlikely to take risks and tend not to be fueled by an excitement about learning that would allow them to persist with challenging tasks until they achieve a creative outcome.
by Sandra Okita - 2015
Many technological artifacts (e.g., humanoid robots, computer agents) consist of biologically inspired features of human-like appearance and behaviors that elicit a social response. As robots cross the boundaries between humans and machines, the features of human interactions can be replicated to reveal new insights into the role of social relationships in learning and creativity. Peer robots can be designed to create ideal circumstances that enable new ways for students to reflect, reason, and learn. This paper explores how peer-like robots and robotic systems may help students learn and engage in creative ways of thinking.
by Monisha Bajaj - 2015
This article how human rights education can utilize creative and innovative approaches for meaningful learning among marginalized communities. Specifically, the approach of one non-governmental organization in India is reviewed and presented as an example of how educators and those interested in imparting knowledge of basic rights can advance a transformative form of human rights education through innovative curricula, pedagogy and co-curricular efforts.
by Kwami Coleman - 2015
This is a response essay to an interview with George E. Lewis, the Edwin H. Case Professor of American Music at Columbia University, conducted by Cara Furman of Teachers College. The essay explores Lewis's thoughts on quotidian creativity and the ubiquity of improvisation, their necessity in academic institutions, and their potentially life-transforming effects for all people.
by Nick Sousanis & Daiyu Suzuki - 2015
A collaborative effort in comics form inspired by Maxine Greene to explore the possibilities of social change in the intersections of education, philosophy, and the tree she looked upon outside her window. The authors, both former students of Greene’s, celebrate her life and teaching by continuing the conversation she began in their own unique way.
by Anne-Marie Hoxie & Lisa Debellis - 2014
This chapter describes an after-school visual and performing arts program serving middle and high school youth operated in partnership between a community-based organization and two schools in Brooklyn, New York. Data collected on the program provides evidence of participants’ identity exploration and development of positive relationships and social competencies.
by Patrick Schmidt & Cathy Benedict - 2012
More than 75 years after the 1936 Yearbook was published, a globalized society continues to advance the not-always-equal exchange of social, cultural, and economic markers. Music is not only an integral element in such exchanges—as a commodity and a set of practices—but also central to discussions about education within and outside schooling
by Richard Colwell - 2012
Music has pervaded American history since the founding fathers sang hymns aboard the Mayflower. From that time until the present, music has been so embedded in U.S. society that it is experienced subconsciously in events and activities that are a part of daily life. Learning and instruction take place in the home, in churches, in the community, and from private entrepreneurs, as well as in schools. Thus, learning and teaching in music are heavily dependent on cooperation between parents and community, and on tradition and custom.
by Paul Woodford - 2012
This chapter seeks to draw needed attention to some of music’s social and political meanings by way of illustrating how it contributes to the shaping of people’s perceptions and understandings of their world.
by Patrick Schmidt - 2012
The rationale for an education in and through music that this chapter provides is centered on place, arguing that it can offer a rupture in persistently reproductive patterns within education. It does so by considering place as an influential construct in the development of our capacities for reflective praxis.
by David Myers - 2012
This chapter frames issues of adult music learning within a lifespan perspective. A lifespan perspective does not segment adult music education into a specialized practice of highly differentiated strategies from those of childhood; rather, it envisions seamless relationships among music learning in educational settings, people’s self-initiated lifelong music experiences outside such settings, and the assurance of richly diverse and developmentally appropriate opportunities for continued music learning through adulthood.
by Patrick Jones - 2012
The key issues that challenge collegiate music education programs reviewed in this chapter include changing demographics and tastes in music; transformation of the music industry; new technologies that alter the way people interact, access information, and engage musically; cultural and financial changes in higher education; changing expectations for primary and secondary schools; and nonschool providers of music education services.
by Graça Mota - 2012
This chapter aims to introduce a critical reflection on the field of music education in higher education, using the Bologna Declaration and the European context as a backdrop.
by Carlos Rodriguez - 2012
In this chapter, I share my thoughts regarding the future role of popular music in music education at a moment when there seems to be greater receptiveness to this idea than ever before.
by Cathy Benedict - 2012
It is the goal and the purpose on which the utopia is based that merit attention. As such, in this chapter, I engage in what Gilroy (in Shelby & Gilroy, 2008) referred to as a “utopian exercise” in order to think through our3 “romance with” (p. 134) music as “part of the core curriculum” and as “balanced, comprehensive, and sequential” (National Association for Music Education [NAfME], 2011b).
by Cecilia Thorgersen & Eva Georgii-Hemming - 2012
This chapter takes into account and discusses innovative learning in the 21st digital and communicative century based on life-world-phenomenology and Hannah Arendt’s view of democracy. From this point of view, we address and discuss how democratic practices can offer innovative musical learning in relation to what is taking place in research and educational projects in Sweden and the Nordic countries.
by Lauri Väkevä - 2012
In this chapter, I will argue that (1) mediation is one of the most important aspects of digital artistry and that (2) the pedagogical implications of recognizing this are significant concerns to music educators (see also Väkevä, 2006, 2009, 2010).
by Matthew Thibeault - 2012
This chapter argues for the critical engagement of the music education profession to amplify positive change. This is a pragmatic view of technological change (Hickman, 2001; Waddington, 2010) that emphasizes agency within the interplay of wants, needs, values, and practices as people change and are changed by technological innovation.
by Cathy Benedict - 2012
Each of the authors in this Yearbook spoke to the multiple responsibilities and challenges of education in our contemporary society, each of which intersects the internal needs and realities of our nation-state, the demands of information technology growth, as well as the economic codependency and the cultural changes fostered by global interactions.
by Melisa Cahnmann-Taylor, Jennifer Wooten, Mariana Souto-Manning & Jaime Dice - 2009
This article focuses on explicit arts-based approaches that the authors employed in a 3-year teacher education study of professional conflicts experienced by novice bilingual teachers. The authors describe how they used the literary and performing arts and to what end, addressing questions regarding processes, expertise, and validity in arts-based research.
by Frances McCue - 2007
An article about learning at an informal venue: Richard Hugo House, a nonprofit center for creative writing in Seattle. The article traces the characteristics of teaching and learning in a place not segregated by age, skill level, or economic background of the people who come there.
by Elizabeth Thomas - 2007
This article examines a community-based arts classroom that represents alternative practices and relationships than are typical in most schools to understand more about the possibilities of learning and identity for disenfranchised students. The study draws on long-term engagement, participant observation, and discourse analysis to highlight the resources made available to students as well as changing patterns of student participation in workshop activities.
