| Budget Amount *help |
¥3,300,000 (Direct Cost: ¥3,000,000、Indirect Cost: ¥300,000)
Fiscal Year 2007: ¥1,300,000 (Direct Cost: ¥1,000,000、Indirect Cost: ¥300,000)
Fiscal Year 2006: ¥2,000,000 (Direct Cost: ¥2,000,000)
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| Research Abstract |
The aim of this research is to explore the use of workshops in class teaching and to propose the model for use in certain art education settings in the secondary school.
For this purpose, a Workshop in "Creative Writing" by Dr. Taylor at the English Department at Texas A&M University was examined to understand higher education workshop methods. Creative writing is credited as the major origin for the workshop method. Participant observation of the class, utilization of the "Educational Criticism" advocated by Eisner, and non structured interviews were all conducted by the author.
Several features such as forming relatedness through class discourse, producing of Ideas that otherwise would have not been produced, understanding the aesthetic demand, and changing the students' conception of poetry, were extracted as the major indices of the successful Workshop Method.
Next, the author researched the special workshop for arts' educators in aesthetic education at New York City's Lincoln Center
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Institute. There exist deep connections between Maxine Greene's philosophy that draws upon the social constructionism paradigm and the workshop method of teaching at the Lincoln Center.
The final part of research was devoted to an application of this Workshop model of teaching to an actual class of music education at a middle school. An action research between the author and the junior high music teacher and an elementary school music teacher, was presented so the junior high teacher could acquire a completely new teaching method using this workshop model. Three indices for a successful workshop method teaching were extracted from analysis of the educational criticism, from narrative interviews with the teacher, and from the students' reflective writing. These indices are : 1) noticing and approval of the diverse expressions of peers resulting in relatedness among fellow students,2) the learning from peer students of self reflection, and3) the emerging of a new recognition of musical expression. Less
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