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Integrated-Creative-Arts : a Rationale, Method and Content for an Elemental, Experiential, Aesthetic Education

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Integrated-Creative-Arts : a Rationale, Method and Content for an Elemental, Experiential, Aesthetic Education University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1975 Integrated-creative-arts : a rationale, method and content for an elemental, experiential, aesthetic education. Harry Semerjian University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Semerjian, Harry, "Integrated-creative-arts : a rationale, method and content for an elemental, experiential, aesthetic education." (1975). Doctoral Dissertations 1896 - February 2014. 3009. https://scholarworks.umass.edu/dissertations_1/3009 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. (c) Harry Seraerjian 1975 All Rights Reserved ii : INTEGRATED-CREATIVE-ARTS A RATIONALE, METHOD AND CONTENT FOR AN ELEMENTAL, EXPERIENTIAL, AESTHETIC EDUCATION A Dissertation Presented By Harry Semerjian Submitted to the Graduate School of the University of Massachusetts in partial fulfillment of the requirements for the degree of Doctor of Education August 1975 Arts and Humanities Education : INTEGRATED-CREATIVE-ARTS A RATIONALE, METHOD AND CONTENT FOR AN ELEMENTAL, EXPERIENTIAL, AESTHETIC EDUCATION By Harry Seraerjian Approved as to style and content by: Mary H. Beaven , Chairperson of Committee 2 William Gaver, Member Patrick Sullivan, Member Roland Wiggins , Member Louis Fischer, Acting Dean School of Education August 1975 111 Acknowledgements I would like to thank Carl Rogers for his permission to quote from "Toward a Theory of Creativity;" Random House for allowing me to quote from Coming of Age in America by Edgar Z. Friedenterg; and Amy Semerjian for allowing me to use her poem, "My Cloud." I thank my dissertation committee: Mary Beaven for her countless hours of help and excellent advice; Bill Gaver for his encouragement, personal example and openness; Pat Sullivan for being there when there was no one else, and Roland Wiggins who made it all possible by accepting s me in the Center for the Study of Aesthetics in Education. Any research project depends on many people helping in their own way. I am certain that all those who have helped in this project are not listed below and I apologize in advance for any oversights. I wish to thank: Donald Adams, Marie Addorisio, Bill Andres, arts educators of northern Worcester County, Faith Antilla, Susan Brainerd, Betsey Brennerman, Bill Casey, Carolyn Coverdale, Dayton Dennett, Gladys Andrews Fleming, Robert Fleming, Jo-Anne Gerde, Walter Getchell, Roxanne Giambrocco, Esther Gove, James Hammond, Carol Hill, Polly Jimenez, Richard Kent, Leominster Unitarian-Universalist Society, Walter Leopold, Carol Leslie, Si Locke, Lou Lorenzen, Rita Magane, John Nash, Carol Zvystrom, Phil McMurray, Pat Meaney, Becky Meleski , Pamsdell, Lynne Pierle, Frank Pilecki, Peg Pyne, Larry Quigley, Dick Oscar Schmidt, Mary Robillard, Dave Rousseau, Dave Ryder, Jerry Sayles, Helena Semerjian, Louis Peter Schragg, Amy Semerjian, Dayton Semerjian, from the Shirley in-service B. P. Shepherd, Beverly Sierra, teachers iv course, Barbara Tirronen, Jane Williams, Linda Williams, and the Worcester State Hospital Library. v — This dissertation is dedicated to the finest human being I've ever known Helena Virginia Brown Semerjian vi My Cloud Someday I'm going to get a cloud and there's going to be a crowd and they're going to scream real loud "It's against the law to have a cloud." Do you think I would listen to the crowd? --Amy Semerjian, November 1971 8 years old, Third Grade vii : Integrated-Creative-Arts A Rationale, Method and Content for an Elemental, Experiential, Aesthetic Education (August 1975) Harry Semerjian B.M. , Boston University M.A., Boston University Directed by: Dr. Mary H. Beaven Three related, inseparable, and primary difficulties of the arts curricula (visual art, language art, music, movement) in schools are addressed in this dissertation. First, the creative pro- cess is the common method of thinking in the arts yet this process is curricula not commonly used in teaching the arts. Second, the arts have no common content. Third, the arts need a rationale for a common method and a common content. The rationale for integrated-arts considers theories combined arts works. The com- of Noverre, Mosel and Wagner concerning perception theory by Moles. Cur- bined arts practice is summarized in the existence of only vague rent experimentation tacitly acknowledges elements of the arts. But the pos- or incompletely identified common of the perceived relationship between Bible physiological explanation convergent neuron theory of Jean Ayres. the arts is found in the program cites the alienation The rationale for a creative-arts fulfill work and school-both designed to of people from themselves in viii the economic needs of society over other needs. However, a number of creative-arts experiments in a variety of settings illustrates that par- ticipants found a new sense of worth and esteem in themselves and others during the experiment. The positive self awareness, self esteem I and self image were among a few of the desirable characteristics which Frank Barron found in creative artists. Barron suggests that the rea- son for the positive state in creative artists is that they are able to integrate primary and secondary process thought. Therefore ,this dissertation proposes that students and participants experience the integrated-arts elements while using the creative process. Dewey’s thoughts on the common substance of the arts begins the search for the common elements of the arts. Dewey considers a number of common substances. They are space, time, form, matter, and intensified expression. Miriam Gelvin discerns the common elements of pattern and rhythm, line, expressive quality, density and form. After a consideration of Gelvin 's elements and the elements of the separate arts discerned by authorities in the fields, this disser- tation arrives at a new set of six common elements of the arts. They are rhythm-line, melody-shape, expressive quality, dynamics-size, density, and form. Recognizing the initial need to avoid the insurmount- create without pro- able frustration caused by asking participants to intermediate, ana aavanced viding a suitable framework, introductory, experiences m problem-solving activities are considered suitable level. On the first three method and content before the independent ix . levels, participants individually solve problems, present solutions, discuss solutions, combine solutions in small groups, present group solutions and discuss group solutions. A creative environment is defined for activities. , After a consideration of warm-up activities, problem- solving activities for each of the common elements (rhythm-line, melody-shape, expressive quality, dynamics-size, density, and form), and for each art area (integrated-arts, visual art, language art, music, movement) are included. The activities generally are prefaced with a statement of objectives, concepts, suggested vocabulary, preparatory work, and materials needed. Comments on possible results, discussion, group activities, presentations and supplementary activities are provided. Suggestions for classroom management, facilitation, discipline and evaluation are discussed. Two guiding principles they are are that the participants make their own choices and that responsible for judging and evaluating themselves A program management section includes suggestions for evaluation. in-service teacher training, program establishment, and and The last chapter summarizes the dissertation suggests areas for further research. x TABLE OF CONTENTS CHAPTER Page I. PROBLEM AND PURPOSE 1 Introduction The Problem The Purpose of the Study- Definitions II. INTEGRATED-CREATIVE-ARTS RATIONALE 10 Integrated-Arts Contemporary Experimental Work in Multi- sensory Learning The Importance of Creative-Arts in a School Curriculum Summary III. COMMON ELEMENTS OF THE ARTS 37 Introduction Common Elements Summary IV. PEDAGOGICAL METHODS FOR INTEGRATED-CREATIVE-ARTS . 59 Introduction Divergent Thinking and Creativity Problem Solving Teacher Attitudes and Class Environment Summary PROBLEM-SOLVING EXPERIENCES FOR INTEGRATED-CREATIVE- ARTS 80 General Introduction Purposes of Problem-Solving Experiences in Integrated-Creative-Arts Introduction to Rhythm-line Problems for the Introductory Level Rhythm-line Problems for the Introductory Level Introduction to Rhythm-line Problems for the Intermediate Level Rhythm-line Problems for the Intermediate Level xi Introduction to Rhythm-line Problems for the Advanced Level Rhythm-line Problems for the Advanced Level Melody-shape Problems for the Introductory Level Melody-shape Problems for the Intermediate Level Expressive Quality Problems for the Intro- ductory Level Expressive Quality Problems for the Inter- mediate Level Expressive Quality Problems for the Advanced Level Dynamics- size Problems for the Introductory Level Dynamics-size Problems for the Intermediate Level Dynamics-size Problems for the Advanced Level Density Problems for the Introductory Level Density Problems for the Intermediate Level Density Problems for the Advanced Level Form Problems for the Introductory Level Form Problems for the Intermediate Level Form Problems for the Advanced Level Problems for the Independent
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