Studio Teaching In Higher Education

Well-established in some fields and still emerging in others, the studio approach to design education is an increasingly attractive mode of teaching and learning, though its variety of definitions and its high demands can make this pedagogical form somewhat daunting. Studio Teaching in Higher Education provides narrative examples of studio education written by instructors who have engaged in it, both within and outside the instructional design field. These multidisciplinary design cases are enriched by the book’s coverage of the studio concept in design education, heterogeneity of studio, commonalities in practice, and existing and emergent concerns about studio pedagogy. Prefaced by notes on how the design cases were curated and key perspectives from which the reader might view them, Studio Teaching in Higher Education is a supportive, exploratory resource for those considering or actively adapting a studio mode of teaching and learning to their own disciplines.

"This book is designed for faculty and graduate assistants working with undergraduate music majors as well as non-majors in colleges and universities in the United States. It includes suggestions for designing and organizing music courses (applied music as well as academic classes) and strategies for meeting the developmental needs of the undergraduate student. It addresses concerns about undergraduate curricula that meet National Association of School of Music requirements as well as teacher education requirements for music education majors in most states. A common theme throughout the book is a focus on "learner-centered pedagogy" (Weimer, 2013) or trying to meet students where they are and base instruction on their individual needs. The text also maintains a constant focus on the relationship between teaching and learning and encourages innovative ways for instructors to assess student learning in music courses. Teaching is connected throughout the book to student learning and the lecture model of "teaching as transmission of information" (Bain, 2004) is discouraged. Activities throughout the book ask instructors to focus on what it means to be an effective teacher for music courses. As there is limited research on teaching music in higher education, we have relied on comprehensive texts from the general education field to help provide the research base for our definition of effective teaching (Davis, 2009; Svinicki & McKeachie, 2014)"--

With five newly written chapters and sizable additions to nine original chapters, this second edition of Teaching Music in Higher Education provides a welcome update to author Colleen M. Conway's essential guide. In the book's new chapters, Conway offers insights beyond music and cognition including gender identity, sexual identity, and issues of cultural diversity not addressed in the first edition. Conway also covers technology in instructional settings and includes new references and updated student vignettes. Designed for faculty and graduate assistants working with undergraduate music majors as well as non-majors in colleges and universities, the book is designed to fit within a typical 15-week semester. The book's three sections address concerns about undergraduate curricula that meet National Association of School of Music requirements as well as teacher education requirements for music education majors in most states. Part I includes chapters on assessment and grading in music courses; understanding students' cognitive, musical, and identity growth; and syllabus design. Part II focuses on creating a culture for learning; instructional strategies to facilitate active learning; and applied studio teaching. Part III addresses growth in teaching practices for the college music professor and focuses on the job search in higher education, feedback from students, and navigating a career in higher education. The book features highly useful templates including a departmental assessment report, forms for student midterm and final evaluation, a Faculty Activities Report for music professors, and a tenure and promotion materials packet. Each of the three sections of the book makes reference to relevant research from the higher education or learning sciences literature as well as suggestions for further reading in the various topic areas.

This book is an inquiry about the possibilities of using technology to support the education of artists within higher education contexts. Even though technology-enhanced learning and teaching may seem incongruent with the long-established studio-based cultures of making and performing, it is increasingly becoming a pivotal point to connect artistes to potential audience and markets. Amidst the COVID-19 pandemic, technology is also the crucial linchpin for educational continuity of student artists. This book explores how technology could enhance the education of artists and designers as they continue to create, make, and add value to life and society through their artistry. It draws upon the experiences of the Nanyang Academy of Fine Arts (NAFA), a pioneering arts institution in Singapore with over 80 years of institutional history. Through 9 vignettes, this book illustrates technology-enhanced pedagogical practices that have been implemented in different artistic learning spaces including classroom, studio, and stage as well as institutional support strategies. With a naturalistic stance, these chapters seek to illuminate realistic pictures of teaching and learning that are being uncovered by artist educators as they sought to integrate technology within teaching practices using available technologies and within the classes that they are teaching. It is hoped that this book will stimulate conversation among artist educators about possible pedagogical models, as well as inform higher arts institutions about the contextual strategies needed to support the creation of technology-enhanced pedagogical practices.

EDUCATION / Arts in Education

This book offers a comprehensive guide to the Transparency in Learning and Teaching (TILT) framework that has convincingly demonstrated that implementation increases retention and improved outcomes for all students. Its premise is simple: to make learning processes explicit and equitably accessible for all students. Transparent instruction involves faculty/student discussion about several important aspects of academic work before students undertake that work, making explicit the purpose of the work, the knowledge that will be gained and its utility in students’ lives beyond college; explaining the tasks involved, the expected criteria, and providing multiple examples of real-world work applications of the specific academic discipline. The simple change of making objective and methods explicit – that faculty recognize as consistent with their teaching goals – creates substantial benefits for students and demonstrably increases such predictors of college students’ success as academic confidence, sense of belonging in college, self-awareness of skill development, and persistence. This guide presents a brief history of TILT, summarizes both past and current research on its impact on learning, and describes the three-part Transparency Framework (of purposes, tasks and criteria). The three sections of the book in turn demonstrate why and how transparent instruction works suggesting strategies for instructors who wish to adopt it; describing how educational developers and teaching centers have adopted the Framework; and concluding with examples of how several institutions have used the Framework to connect the daily work of faculty with the learning goals that departments, programs and institutions aim to demonstrate.

Art and Design Pedagogy in Higher Education provides a contemporary volume that offers a scholarly perspective on tertiary level art and design education. Providing a theoretical lens to examine studio education, the authors suggest a student-centred model of curriculum that supports the development of creativity. The text offers readers analytical frameworks with which to challenge assumptions about the art and design curriculum in higher education. In this volume, Orr and Shreeve critically interrogate the landscape of art and design higher education, offering illuminating viewpoints on pedagogy and assessment. New scholarship is introduced in three key areas: curriculum: the nature and purpose of the creative curriculum and the concept of a ‘sticky curriculum’ that is actively shaped by lecturers, technicians and students; ambiguity, which the authors claim is at the heart of a creative education; value, asking what and whose ideas, practices and approaches are given value and create value within the curriculum. These insights from the perspective of a creative university subject area also offer new ways of viewing other disciplines, and provide a response to a growing educational interest in cross-curricular creativity. This book offers a coherent theory of art and design teaching and learning that will be of great interest to those working in and studying higher education practice and policy, as well as academics and researchers interested in creative education.