A Handbook For The Art And Science Of Teaching

A series of modules designed to help educators explore and put into practice the research findings presented in The Art and Science of Teaching.

Presents a model for ensuring quality teaching that balances the necessity of research-based data with the equally vital need to understand the strengths and weaknesses of individual students.

Companion volume to The new art and science of teaching.

This title is a greatly expanded volume of the original Art and Science of Teaching, offering a competency-based education framework for substantive change based on Dr. Robert Marzano's 50 years of education research. While the previous model focused on teacher outcomes, the new version places focus on student learning outcomes, with research-based instructional strategies teachers can use to help students grasp the information and skills transferred through their instruction. Throughout the book, Marzano details the elements of three overarching categories of teaching, which define what must happen to optimize student learning: students must receive feedback, get meaningful content instruction, and have their basic psychological needs met. Gain research-based instructional strategies and teaching methods that drive student success: Explore instructional strategies that correspond to each of the 43 elements of The New Art and Science of Teaching, which have been carefully designed to maximize student engagement and achievement. Use ten design questions and a general framework to help determine which classroom strategies you should use to foster student learning. Analyze the behavioral evidence that proves the strategies of an element are helping learners reach their peak academic success. Study the state of the modern standards movement and what changes must be made in K-12 education to ensure high levels of learning for all. Download free reproducible scales specific to the elements in The New Art and Science of Teaching. Contents: Chapter 1: Providing and Communicating Clear Learning Goals Chapter 2: Conducting Assessment Chapter 3: Conducting Direct Instruction Lessons Chapter 4: Practicing and Deepening Lessons Chapter 5: Implementing Knowledge Application Lessons Chapter 6: Using Strategies That Appear in All Types of Lessons Chapter 7: Using Engagement Strategies Chapter 8: Implementing Rules and Procedures Chapter 9: Building Relationships Chapter 10: Communicating High Expectations Chapter 11: Making System Changes

Successfully leverage technology to enhance classroom practices with this practical resource. The authors demonstrate the importance of educational technology, which is quickly becoming an essential component in effective teaching. Included are over 100 organized classroom strategies, vignettes that show each section’s strategies in action, and a glossary of classroom-relevant technology terms. Key research is summarized and translated into classroom recommendations.

Providing a distillation of knowledge in the various disciplines of arts education (dance, drama, music, literature and poetry and visual arts), this essential handbook synthesizes existing research literature, reflects on the past, and contributes to shaping the future of the respective and integrated disciplines of arts education. While research can at times seem distant from practice, the Handbook aims to maintain connection with the live practice of art and of education, capturing the vibrancy and best thinking in the field of theory and practice. The Handbook is organized into 13 sections, each focusing on a major area or issue in arts education research.

He also addresses the phenomenon of art critiques as a microcosm for teaching art as a whole and dissects real-life critiques, highlighting presuppositions and dynamics that make them confusing and suggesting ways to make them more helpful. Elkins's no-nonsense approach clears away the assumptions about art instruction that are not borne out by classroom practice. For example, he notes that despite much talk about instilling visual acuity and teaching technique, in practice neither teachers nor students behave as if those were their principal goals. He addresses the absurdity of pretending that sexual issues are absent from life-drawing classes and questions the practice of holding up great masters and masterpieces as models for students capable of producing only mediocre art. He also discusses types of art--including art that takes time to complete and art that isn't serious--that cannot be learned in studio art classes.