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Books on the topic 'Visual arts integration'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Envisioning writing: Toward an integration of drawing and writing. Portsmouth, NH: Heinemann, 1992.

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2

Learning, Alberta Alberta. Kindergarten to grade 3 (primary programs), early literacy, early numeracy, integration, diagnostic assessment: Alberta authorized resource list. [Edmonton], AB: Alberta Learning, 2004.

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3

Williams, Rick. Visual communication: Integrating media, art and science. New York: Lawrence Erlbaum Associates, 2006.

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4

Williams, Rick. Visual communication: Integrating media, art, and science. New York, NY: Lawrence Erlbaum Associates, 2007.

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5

Hubbard, Tom. The integrative vision: Poetry and the visual arts in Baudelaire, Rilke and MacDiarmid. Kirkcaldy: Akros, 1997.

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6

Longo, Shawna, and Zachary Gates. Integrating STEM with Music. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197546772.001.0001.

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This book explores how science, technology, engineering, and mathematics (or STEM) initiatives are becoming more common in our educational system while depicting what it means to teach not only the students of today, but the citizens of tomorrow. This resource will provide 15 fully-developed and classroom-vetted instructional plans with assessments that are aligned to articulate learning from kindergarten through grade 12. With these instructional lessons and adaptations for K-12 music and STEM classes, pre-service educators, in-service educators, and administrators can better understand and immediately use tools for planning, assessing, and the practical integrating of STEM with Music. The arts, which includes music, visual art, dance, theater, and digital/media arts, bring creativity and innovation to the forefront in STEM learning. STEM learning can move teachers of the arts in a positive direction, but there are mixed messages about what that means and looks like. Many natural connections can be made between science, technology, engineering, math, and music. Twenty-first century learning skills and career-ready practices are framed so that the creativity and innovation necessary to succeed in STEM content areas and careers can be directly addressed by the educational community. The connection that is made between STEM content areas and music stimulates inquiry, dialogue, and critical thinking.

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7

1923-, Roberts Mark, and Vancouver School Board. Program Services., eds. A Palette of possibilities: Integrating the visual and literary arts through picture books. Vancouver: Vancouver School Board, Program Services, 1992.

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8

Efland, Arthur D. Art and Cognition: Integrating the Visual Arts in the Curriculum (Language & Literacy Series). Teachers College Press, 2002.

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9

Art and Cognition: Integrating the Visual Arts in the Curriculum (Language & Literacy Series). Teachers College Press, 2002.

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10

Harney, Kristin. Integrating Music Across the Elementary Curriculum. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190085582.001.0001.

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This book is designed to support K–5 classroom teachers as they integrate music throughout the elementary curriculum. It contains detailed, practical ideas and examples, including full lesson plans and over a hundred teaching ideas and strategies for integrating music with visual art, language arts, social studies, science, and mathematics. Following an overview of the interdisciplinary approach, the remaining chapters explore connections between music and other areas of the elementary curriculum. Each chapter also includes a section addressing national standards with tables showing the specific standards that are included in each lesson and activity. This text utilizes the most recent National Core Arts Standards (2015) as well as the most recent standards in language arts, social studies, science, and mathematics. All the lessons in this book are designed to be fully taught by classroom teachers; the content is accessible to those who lack formal music training, yet is solidly rooted in research and best practices. While classroom teachers can teach these lessons on their own, this book may facilitate partnerships and collaboration between classroom teachers and music specialists. All the lessons and activities included in this text have been reviewed by practicing teachers, and most have been field-tested in elementary classrooms. Throughout the book, there is an emphasis on interdisciplinary lessons that demonstrate valid connections between disciplines while maintaining the integrity of each discipline involved. The text also includes a model that allows teachers to successfully create their own interdisciplinary lessons.

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11

Kaduri, Yael, ed. The Oxford Handbook of Sound and Image in Western Art. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199841547.001.0001.

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This book examines different kinds of analogies, mutual influences, integrations, and collaborations of the audio and the visual in different art forms. The contributions, written by key theoreticians and practitioners, represent state-of-the-art case studies in contemporary art, integrating music, sound, and image with key figure of modern thinking constitute a foundation for the discussion. It thus emphasizes avant-garde and experimental tendencies, while analyzing them in historical, theoretical, and critical frameworks. The book is organized around three core subjects, each of which constitutes one section of the book. The first concentrates on the interaction between seeing and hearing. Examples of classic and digital animation, video art, choreography, and music performance, which are motivated by the issue of eye versus ear perception are examined in this section. The second section explores experimental forms emanating from the expansion of the concepts of music and space to include environmental sounds, vibrating frequencies, language, human habitats, the human body, and more. The reader will find here an analysis of different manifestations of this aesthetic shift in sound art, fine art, contemporary dance, multimedia theatre, and cinema. The last section shows how the new light shed by modernism on the performative aspect of music has led it—together with sound, voice, and text—to become active in new ways in postmodern and contemporary art creation. In addition to examples of real-time performing arts such as music theatre, experimental theatre, and dance, it includes case studies that demonstrate performativity in visual poetry, short film, and cinema.

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12

Williams, Rick, and Julianne H. Newton. Visual Communication: Integrating Media, Art, and Science (Lea's Communication Series). Lawrence Erlbaum, 2007.

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13

Visual Communication: Integrating Media, Art, and Science (Lea's Communication Series). Lawrence Erlbaum, 2007.

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14

The Colors of Learning: Integrating the Visual Arts into the Early Childhood Curriculum (Early Childhood Education, 85). Teachers College Press, 2003.

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15

The Colors of Learning: Integrating the Visual Arts into the Early Childhood Curriculum (Early Childhood Education Series (Teachers College Pr)). Teachers College Press, 2003.

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16

Smith, Christopher J. Akimbo Culture. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037764.003.0006.

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This chapter examines the physical and participatory implications of blackface dance, and the dance cultures more generally, depicted by William Sidney Mount. It also uses the evidence drawn from Mount's visual depictions to locate prototypical blackface dance vocabularies and rhythmic practices in vernacular art works of the earlier nineteenth century. The chapter first considers the resources for recovering the kinesics of minstrelsy, along with visible evidence of Afro-Caribbean influence on bodily kinesics, before turning to juba and the aesthetics of African movement. It then analyzes Mount's choreological evidence to illustrate the consistency with which he records and manipulates the cultural associations of body vocabulary, as well as his integration of the creole synthesis in his works. It argues that it was rhythm and dance that accounts for minstrelsy's remarkably immediate yet enduring popularity and influence. It shows that, in addition to the symbolic transgression of bourgeois grace implicit in Jim Crow's akimbo representation, the images' anatomical distortions also capture movement, not stasis. The chapter concludes by looking at the so-called “bending knee-bone” in blackface performance.

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