Complete the REFLECTIONS -Quiz. – There are five items. (Contact me immediately with any questions).
In this Word document, respond directly under each item. Add additional spaces between items if needed.
To submit your assignment – Go to SUBMISSIONS (in this assignment) and click on “Add Attachments,” click on “My Computer,” and upload your REFLECTIONS-Self-Assessment Quiz file.
NAME:_________________________
REFLECTIONS 5 – Self-Assessment Quiz
Self-Assessment of Progress and Learning
1. Welcome to an “Artistic Journey in Music.” Now that you have a background in the visual arts, it is time to begin a musical journey. During this journey, you will be engaging your mind in cognitive critical thinking and challenging your affective domain.
Following periods of music. Use the Internet to find BASIC information about each period. Go to “YouTube” to find samples of music in each period. Listen to music from each period.
NEXT – List the important points about each of the following period of music. (Do not forget to include what “you” heard when you experienced/listened to the examples from each period).
The Middle Ages – 500 to 1400 AD
The Renaissance – 1420 – 1600
The Baroque – 1600 to 1750
Classical – 1750-1825
Romantic – 1825-1900
Modern – 1900-Today
2. Rate yourself on a scale of 1 – 10 (10 is the highest) on your understanding of what you have learned in Unit V to date. – Why?
3. Optional – Note any suggestions, concerns, or comments you have this week in regard to the course and/or course work.
4. Discuss your Hands-On-Arts Experience.
Do not forget to:
a. State the title of the song you selected. This will be the tune (melody) you will use for your lyrics.
b. Write the lyrics you created to go with the tune of the selected song.
c. Discuss your experience as a “lyricist.” – What did you discovered about being a “lyrist?” – What was the process like when you created lyrics for a “tune?”
5. The Artist’s Way –Chapter 7: “Recovering a Sense of Connection”-Julia Cameron
Consider perfectionism, risk, and jealously in relation to your life as you respond to each of the following questions.
DIRECTIONS:
1. Read the following questions and think about the information in Chapter #1.
2. Write a paragraph stating something you learned in this chapter, which will be useful to you during your creative journey and WHY.
A. Are you trapped by perfectionism?
B. Are you willing to take risks?
C. Do you experience jealously, and how do you handle it?
RESPONSE:
6. The Artist’s Way – Chapter 8: “Recovering a Sense of Strength”- Julia Cameron
Think about what the following means to you as you respond to the following questions.
Page 138: Do you know how old you will be by the time you reach you goal/s?
Response: The same age you will be if you don’t reach your goal/s.
DIRECTIONS:
1. Read the following questions and think about the information in Chapter #1.
2. Write a paragraph stating something you learned in this chapter, which will be useful to you during your creative journey and WHY.
A. Have you ever used time as an excuse not to try or do something?
B. What are you most concerned about, process or product?
C. What does the word process mean to you?
RESPONSE:
4. Name one small step to action that you can take within the next 24 hours.
5. “Pick a color and write a quick few sentences describing yourself in the first person..” (Cameron 147).Unit V. – Creativity Research & Researchers ….
Unit Overview & Object instructional Unit V DIRECTIONS:
1. Read the following overview of UNIT V. for this assignment.
2. Note the “Due Dates” posted in the course Calendar.
PART A:
1. Readings:
The Artist’s Way
Chapter 7 – “Recovering a Sense of Connection;”
Chapter 8 – “Recovering a Sense of Strength.”
The Annotated MONA LISA
“The Twentieth Century And Beyond: Contemporary Art” (pages 168-194).
2. INSTRUCTIONAL UNIT:
Read Unit V. Materials & Do Internet Research.
3. DISCUSSIONS:
Post initial postings to each of the DISCUSSIONS Forum’s threads/topics. Read & Responses to all other
4. ASSIGNMENTS:
Assignment #11: Critique of a Work of Visual Art.
Assignment #12: Compare & Contrast Two Works of Art
………………………………………………………………………………………………
1. CREATIVITY: RESEARCH & RESEARCHERS
NOTE: The following information does not have to be memorized. It is informational and intended to add to and increase your knowledge base and level of understanding.
Creativity Research
During the second half of the last century, research was conducted in the field of creativity.
Questions were addressed such as:
UNIT V: UNIT OVERVIEW – CREATIVITY RESEARCH
Attached Files:
UNIT V – Word Document.docx (1.248 MB)
Unit V. – Creativity ResearchDIRECTIONS:1. Read the following overview of UNIT V. for this assignment.2. Note the “Due Dates” posted in the course Calendar.
PART A:1. Readings:The Artist’s WayChapter 7 – “Recovering a Sense of Connection;”Chapter 8 – “Recovering a Sense of Strength.”The Annotated MONA LISA:“The Twentieth Century And Beyond: Contemporary Art” (pages 168-194).2. INSTRUCTIONAL UNIT:Read Unit V. Materials & Do Internet Research.3. DISCUSSIONS:Post initial postings to each of the DISCUSSIONS Forum’s threads/topics. Read & Responses to all other students’ initial postings, unless otherwise directed. 4. ASSIGNMENTS:Assignment #11: Critique of a Work of Visual Art.Assignment #12: Compare & Contrast Two Works of Art.Assignment #13: REFLECTIONS 5. – Self-Assessment Quiz
PART B:1. Continue to work on ELP-Paper-Part III: Experiential Research Data Entries.2. Focus on the major POINTS you are using to prove your thesis statement.3. Collect facts from your research. List your facts under the appropriate POINTS.
Be certain that the data/facts you collect can be used to prove your thesis statement. If they do not prove the thesis statement, DO NOT USE THEM!
1. CREATIVITY RESEARCH & RESEARCHERS
NOTE: The following information does not have to be memorized. It is informational and intended to add to and increase your knowledge base and level of understanding.Creativity Research

During the second half of the last century, research was conducted in the field of creativity. Questions were addressed such as:Why are some people creative and other are not?Can creativity be learned?Can a creative person develop greater levels of creativity?Does creativity increase or decrease with age? What role does motivation have in the creative process?
The research findings revealed certain elements important for the creative development. These elements are:
Time, Resources, Discipline, Motivation, Learning Experiences, Role Models,Skill Development, Supportive Environment”I and the Village” – Marc Chagall

History of Creativity: Research & Researchers

THERESA AMABILE 1983
Framework of Creativity & The Social Psychology of Creativity
Areas of Research:
1. Individual Skill Levels
2. Creative Ability
3. Task Motivation

Amabile concluded from her research:
• Safe & supportive environments are necessary for an artist to create and present artistic works in progress or completed works.
• Social environment is important for creative development, and a non-constrained social environment encourages creativity.
• Creativity is a developed skill. One can be “coached for creativity.”
• Role models are essential for creative development. Viewing and studying the works of great creative artists are important for artistic development.
• Intrinsic Motivation is important for creativity. In other words, one must be engaged in an artistic activity for its own sake.

“The intrinsically motivated state is conducive to creativity …The Extrinsically motivated state is detrimental.”Amabile
Jackson PollockIf you have time, view the following:

BENJAMIN BLOOM 1985Components of Creativity – Process & Product
Areas of Research:
1. Motivation
2. Role Models
3. Good Teachers
4. Dedication
5. Encouragement
6. Nurturance
7. Education
8. Training

Bloom concluded from his research:
• “Key” to the creative process are the roles ofParentsTeachersSchoolSociety

• Creative Development requires TIME.
• Creative Development requires exposure to special experiences and appropriate motivational encouragement.

His research raised questions regarding earlier views in which talent/creativity was considered a special gift of innate aptitude.
Tiffany- Stained Glass window
JANE HEALY 1990
Area of Research:
1. Brain Research2. Learning
Healy concluded from her research:
• Activities must engage a person’s interest and imagination.
• Interactive Experiences shape the brain.
• There must be participation in an activity several hours each day to build connections in the brain for that activity.
• The healthy brain stimulates itself by active interaction with an interesting environment.
• If certain skills are unused during the brain’s development, the neural foundation may wither.
Doges Palace (Interior)- Venice, Italy
HOWARD GARDNER 1980’s – PresentTheory of Multiple Intelligences
Areas of Research:
1. Creativity Development and Symbol System.2. Theory of Multiple Intelligences3. Artistic Development4. Triangle of Creativity5. Extraordinary minds
Gardner has researched ways in which a person constructs meanings. This has had implication for learning.Gardner concluded from his research:
INTELLIGENCE IS . . . . . .”The ability to solve a problem or create a product that is valued within one or more cultures.” Gardner 1993Gardner’s Theory of Multiple Intelligences Gardner put forth the theory that people are intelligence, and intelligence should not just be measured in one way since people are talented in different ways.
SEVEN – MULTIPLE INTELLIGENCES – PLUS ONE
LINGUISTIC INTELLIGENCES
LOGICAL-MATHEMATICAL INTELLIGENCES
SPACIAL INTELLIGENCES
BODILY-KINESTHETIC INTELLIGENCES
MUSICAL INTELLIGENCES
INTERPERSONAL INTELLIGENCES
INTRAPERSONAL INTELLIGENCES
NATURALISTIC INTELLIGENCE (this is a new addition to Gardener’s Multiple Intelligence Inventory)

Doges Palace (Interior)- Venice, Italy
MARIAN DIAMOND 1993
Enriched Environment
Area of Research
1. Brain research
2. Enriched Environment
Diamond concluded from her research: An enriched environment is essential for brain development. (An example of an enriched environment would be a classroom that has color, interesting material on the walls, books, computers, conversation areas, supplies, music, etc. – An environment that is not enriched would be a classroom that is bare).
Doges Palace (Exterior) – Venice, ItalyJohnson & Johnson 1992-1993Cooperative Learning
Areas of Research:
1. Social environment
2. Cooperative learning

Johnson & Johnson concluded from their research:
Social Environment is important in creative development.
In a Cooperative Learning environment, learning take place when the learners experiences a
Supportive and safe environment “Cooperative Context” Extrinsic to Intrinsic Motivation Achievement
Piazza San Marco – Venice, ItalyMIHALY CSIKSZENTMIHALYI 1993-1998
“Flow”Area of Research:
1. Creativity
2. Intrinsic MotivationCsilszentmihalyi concluded from his research:The Success of talented/creative teenagers was linked to:
Memorable Learning experiences
Parents
Social Environment
Quality of teaching
Influential teachers

• Theory of FLOW
2. PATHWAYS OF LEARNING: BLOOM’S TAXONOMY
Benjamim S. Bloom• February 21, 1913-September 13, 1999• BA and MA from Pennsylvania State University• Ph.D. in Education from the University of Chicago• Professor Benjamin Bloom, Chicago University, and co-workers met from 1948 to 1953.They developed six levels for learning.• In 1956 – Bloom and educational psychologists developed a classification of levels of thinking behaviors.They believed that these levels were important in the process of learning.This became known as Bloom’s Taxonomy.Bloom’s Taxonomy – – – Systems or hierarchies:Original purpose for Bloom’s Taxonomy was:1. A Tool to classify instructional objectives.2. Used as a structure to categorize test questions.Domains:Formal structures were developed that became known as domains.The cognitive and affective domains were developed by Bloom and his team. The psycho-motor domain was developed at a later date and by different groups. There were several groups that developed different psycho-motor domains. All of the domains are similar but have different titles for the domain levels.1. Cognitive DomainContains Six levels – each level is built upon the level/s that came before.The Cognitive Domain is a process for learning and thinking.This domain deals with knowledge, information, problem solving.It is often thought of as objective learning.2. Affective DomainContains five levels – each level is built upon the level/s that came before.The Affective Domain is a process for learning and thinking.It deals with feelings, preferences, values, attitudes, and behaviors.Often insight comes on top of feelings – Feelings may feed insights.Inspiration from dreams: “Gentleman, Let’s learn to dream,” said Albert Einstein.3. Psychomotor DomainContains seven levels – each level is build upon the level/s that came before.The Psychomotor Domain is a process for learning physical and perceptual activities.Once skills are learned, they are automated. Manual skills may be achievements on top of the other two domains.Chinese saying – “What I do, I master.”Fussen, Germany
BLOOM’S TAXONOMY

COGNITIVE DOMAIN:The cognitive domain is a process of learning. It is composed of levels that one experiences in learning cognitive knowledge (facts & information) and skills (application of facts and skills). Most people experience learning in the cognitive domain. Learning begins at the knowledge level, and the process continues through each level. However, many do not have opportunities to experience learning beyond the first three levels. This is the learning that is usually not retained and used at a later time. It is referred to as “low level cognitive learning.” Unfortunately most testing questions, especially multiple choice and true or false, are structured at the first or second levels of the cognitive domain.It is important to experience learning at all levels of the domain. Using higher levels of the cognitive domain is referred to as critical thinking. Think about your Critique of a Work of Visual Art and compare that activity to the levels in the cognitive domain. You were asked to use critical thinking in the process of learning and studying a work of art. Think about your learning experiences and opportunities at Neumann and in your life. It may be up to you to structure critical thinking opportunities to learn information. It may be up to you to be intrinsically motivated to be “at the center of your learning.” There is “knowing” and there is “really knowing.”1. Knowledge – Recognize, remember, or recall information or facts; rote memory.2. Comprehension – Understanding in order to organize and arrange/explain information.3. Application – Applying previously learned information to reach an answer in a real life situation.4. Analysis – Thinking critically/in-depth. Ability to break down information into its parts so that its organization can be understood, the ability to explain how the pieces fit together, and to find additional information.5. Synthesis – Perform original & creative thinking, make predictions, solve problems, and put “pieces” back together in a new way to form a new whole, create new insight, and form new patterns.6. Evaluation – Ability to judge the merit of an idea, a solution to a problem, or an aesthetic work based on a set of criteria. This is the highest cognitive category and contains elements of all the other categories and conscious value judgments based on defined criteria.COGNITIVE DOMAINVERBS
Knowledge Comprehension Application Analysis Synthesis Evaluation
Define Restate Translate Break down Distinguish Judge
Memorize Discuss Interpret Analyze Plan Appraise
Repeat Recognize Apply Differentiate Propose Evaluate
Record Explain Employ Appraise Design Rate
List Express Use Calculate Formulate Value
Recall Identify Demonstrate Experiment Arrange Revise
Name Locate Dramatize Test Assemble Score
Relate Report Practice Compare Collect Select
Know Review Illustrate Contrast Construct Choose
Describe Tell Operate Criticize Create Assess
Label Summarize Schedule Diagram Set up Estimate
Identify Shop Inspect Organize Measure
Sketch Debate Manage Critique
Predict Inventory Prepare Conclude
Produce Question Combine Criticize
Relate Create Interpret
Solve Design
Examine

AFFECTIVE DOMAIN:-This domain deals with learning and knowing that impact our Interests, attitudes, opinions, appreciations, values, and emotions. It is a domain that is especially important in an arts education. In this course, I am most interested in your affective learning. You are asked to consider art, think and study the arts, make art, respond to aesthetic questions and issues, experience and study process and product, make decisions, learn about great artistic creators, self-assess personal growth, and develop an aesthetic philosophy. Our time has been compared to an artistic journey. The goal is to begin to develop an artistic/aesthetic value system.1. Receiving – Passively focuses – outcome is awareness that the “thing” exist.2. Responding – Active participation – The student attends to stimulus and reacts in some way.3. Valuing – The worth a person gives to an object, phenomenon, or behavior. – Acceptance, commitment, attitudes, appreciation.4. Organization – Bring together different values, resolve conflicts among values, and then build an internally consistent value system. Compare, relate, synthesize values, and develop a philosophy of life.5. Internalizing – Value system – the person has held a value system to control behavior for a long time —-“Life style” developed. – Behavior consistent and predictable.• Benjamin S. Bloom, Bertram B. Mesia, and David R. Krathwohl (1964). Taxonomy of Educational Objectives (two vols: The Affective Domain & The Cognitive Domain). New York. David McKay.PSYCHOMOTOR DOMAIN:This domain includes physical movement, coordination, and use of motor skill areas. In order to develop these skills it is necessary to practice. The mastery of skills is assessed by speed, precision, distance, procedures, and techniques in execution. This domain was not defined by Bloom and his committee. The following was completed by Simpson (1972). There are other psychomotor domain models. Think about this learning domain in relation to artistic skill development and creativity. Research has shown that creativity increases as skill levels in an artistic discipline/s increase.1. Perception – Sensory cues guide motor response.2. Set – Knowing how to act after being given a set of instructions.3. Guided Response – This is the early stages of performing. It is achieved after practicing, imitating the performance of the skill/s, and trial and error.4. Mechanism – Movements can be performed with some proficiency. This is an intermediate stage in learning a complex skill.5. Complex Overt – The skillful, accurate, and automatic performance, without hesitation, of complex movement patterns. (The performer can tell by the “feel” what the result will be).6. Adaptation – Movements are so well developed that one can change movements to meet certain requirements or unexpected situations.7. Origination – The ability to perform highly developed skills allows a person to be creative and then create new movement patterns or a new theory.
3. PATHWAYS OF LEARNING: INVENTORY-MULTIPLE INTELLIGENCES

The following Web sites each contain a Multiple Intelligences Inventory for Adults, based on Gardner’s Theory of Multiple Intelligences.http://literacynet.org/mi/assessment/findyourstren…http://homepages.wmich.edu/~buckleye/miinventory.h… DIRECTIONS:1. Select one of the MI Inventories.2. Complete the inventory.3. Consider the results and information from the inventory in relation to your “multiple intelligences.

4. PATHWAYS TO LEARNING: POWER POINT – MULTIPLE INTELLIGENCES.PPT
5. HANDS-ON-ARTS-EXPERIENCE
HANDS-ON-ARTSEXPERIENCEIn the last unit, you used your voice and experimented with different ways you could sing a song. In this unit, we are going to think about two major parts that make up a song: the melody and the lyrics. The person who composes the music is referred to as a composer. The person who writes the lyrics is referred to as a lyricist. When a song is created, two or more people may collaborate or work together (process) to create the song or product. Sometimes one person will create a song by composing both the music and writing the lyrics.The work of both the composer and lyricist is equally important and equally difficult. Song writing teams, (two or more artists or a song writer) develop a creative process. Usually the creative artists will come together to think about ideas for a song and artistic intention. If the song is to be part of a Broadway musical or an opera, it is important to determine the function of the song. There are many questions such as: Will it introduce a character or characters? How will it move the plot along?The next step in the process is to create a product. The entire song may be composed in a short amount of time, or pieces of the song may be composed over a period of time. There are different ways to create a song such as:Directions: Select a song. It may be any song, in any style, and from any time period. The song does not have to be long or difficult. It can be as simple as a hymn or folk song or even “Happy Birthday.” For this project, you are to think of the song you selected as a melody, without words, your composer gave to you.Think only about the melody (tune) of the song.
Hear the melody, without the words, in “your head.” (Pretend the words you know do not exist).
Hum the melody of the song without thinking about the words.
Hum or sing the melody on “la” in different ways (high, low, fast, slow, loud, soft, etc.).
Now – it is time to become a lyricist.
Think about an idea for your lyrics. – Think about artistic intention.- Think what your lyrics will mean.
Write new lyrics for your selected song.
Study your lyrics, and read them aloud in different ways.
Could your lyrics be a poem?
Sing your song with the lyrics you created.
Think about different ways you could sing the song with your lyrics.
Do your lyrics “demand” a certain way the song should be sung?
Compare and Contrast.
Now – Sing the song with the original lyrics, and then sing the song with your lyrics.
Think about the “power” of lyrics in relation to a melody.
Did your lyrics change the original meaning of the song?
Why are some people creative and other are not?
Can creativity be learned?
Can a creative person develop greater levels of creativity?
Does creativity increase or decrease with age?
What role does motivation have in the creative process?
The research findings revealed certain elements important for the creative development. These elements are:
Time, Resources, Discipline, Motivation, Learning Experiences, Role Models,
Skill Development, Supportive Environment.
History of Creativity: Research & Researchers
“I and the Village” – Marc Chagall
THERESA AMABILE 1983
Framework of Creativity & The Social Psychology of Creativity
Areas of Research:
1. Individual Skill Levels
2. Creative Ability
3. Task Motivation
Amabile concluded from her research:
1. Safe & supportive environments are necessary for an artist to create and present artistic works in progress or completed works.
2. Social environment is important for creative development, and a non-constrained social environment encourages creativity.
3. Creativity is a developed skill. One can be “coached for creativity.”
4. Role models are essential for creative development. Viewing and studying the works of great creative artists are important for artistic development.
5. Intrinsic Motivation is important for creativity. In other words, one must be engaged in an artistic activity for its own sake.
“The intrinsically motivated state is conducive to creativity …The Extrinsically motivated state is detrimental.”
Amabile
Jackson Pollock
If you have time, view the following:
BENJAMIN BLOOM 1985
Components of Creativity – Process & Product
Areas of Research:
1. Motivation
2. Role Models
3. Good Teachers
4. Dedication
5. Encouragement
6. Nurturance
7. Education
8. Training
Bloom concluded from his research:
1. “Key” to the creative process are the roles of
Parents
Teachers
School
Society
2. Creative Development requires TIME.
3. Creative Development requires exposure to special experiences and appropriate motivational encouragement.
His research raised questions regarding earlier views in which talent/creativity was considered a special gift of innate aptitude.
Tiffany- Stained Glass window
JANE Healy 1990
Brain – Creativity
Areas of Research: Brain Research, Learning
Healy concluded from her research:
• Activities must engage a person’s interest and imagination.
• Interactive Experiences shape the brain.
• There must be participation in an activity several hours each day to build connections in the brain for that activity.
• The healthy brain stimulates itself by active interaction with an interesting environment.
• If certain skills are unused during the brain’s development, the neural foundation may wither.
Doges Palace (Interior)- Venice, Italy
HOWARD GARDNER 1980’s – Present
Theory of Multiple Intelligences
Areas of Research:
1. Creativity Development and Symbol System.
2. Theory of Multiple Intelligences
3. Artistic Development
4. Triangle of Creativity
5. Extraordinary minds
Gardner has researched ways in which a person constructs meanings. This has had implication for learning.
Gardner concluded from his research:
INTELLIGENCE IS . . . . . .
“The ability to solve a problem or create a product that is valued within one or more cultures.” Gardner 1993
THEORY OF MULTIPLE INTELLIGENCES
Gardner put forth the theory that people are intelligence, and it should not just be measured in one way since people are talented in different ways.
SEVEN – MULTIPLE INTELLIGENCES – PLUS ONE
LINGUISTIC INTELLIGENCES
LOGICAL-MATHEMATICAL INTELLIGENCES
SPACIAL INTELLIGENCES
BODILY-KINESTHETIC INTELLIGENCES
MUSICAL INTELLIGENCES
INTERPERSONAL INTELLIGENCES
INTRAPERSONAL INTELLIGENCES
NATURALISTIC INTELLIGENCE (this is a new addition to Gardener’s Multiple Intelligence Inventory)
Doges Palace (Interior)- Venice, Italy
MARIAN DIAMOND 1993
Enriched Environment
Area of Research:
1. Brain research
2. Enriched Environment
Diamond concluded from her research:
An enriched environment was essential for brain development.
(An example of an enriched environment would be a classroom that has color, interesting material on the walls, books, computers, conversation areas, supplies, music, etc. – An environment that is not enriched would be a classroom that is bare).
Doges Palace (Exterior) – Venice, Italy
JOHNSON & JOHNSON 1992-1993
Cooperative Learning
Areas of Research: Social Environment – Cooperative Learning
Johnson & Johnson concluded from their research:
1. Social environment – Social Environment is important in creative development.
2. Cooperative learning – In a Cooperative Learning environment, learning take place when the learners experiences a
A Supportive and safe environment
A “Cooperative Context”
Extrinsic to Intrinsic Motivation is Achievement
Piazza San Marco – Venice, Italy
MIHALY CSIKSZENTMIHALYI 1993-1998
“FLOW”
Area of Research:
1. Creativity
2. Intrinsic Motivation
Csilszentmihalyi concluded from his research:
The Success of talented/creative teenagers was linked to:
Memorable Learning experiences
Parents
Social Environment
Quality of teaching
Influential teachers
• Theory of FLOW
……………………………………………………………………………………………….
2. PATHWAYS OF LEARNING: BLOOM’S TAXONOMY
Benjamim S. Bloom
• February 21, 1913-September 13, 1999
• BA and MA from Pennsylvania State University
• Ph.D. in Education from the University of Chicago
• Professor Benjamin Bloom, Chicago University, and co-workers met from 1948 to 1953. – They developed six levels for learning.
• In 1956 – Bloom and educational psychologists developed a classification of levels of thinking behaviors. – They believed that these levels were important in the process of learning. – This became known as Bloom’s Taxonomy.
Bloom’s Taxonomy – – – Systems or hierarchies:
Original purpose for Bloom’s Taxonomy was:
1. A Tool to classify instructional objectives.
2. Used as a structure to categorize test questions.
Domains:
Formal structures were developed that became known as domains.
The cognitive and affective domains were developed by Bloom and his team.
The psycho-motor domain was developed at a later date and by different groups. There were several groups that developed different psycho-motor domains.
All of the domains are similar but have different titles for the domain levels.
Domain Levels:
1. Cognitive Domain
Contains Six levels – each level is built upon the level/s that came before.
The Cognitive Domain is a process for learning and thinking.
This domain deals with knowledge, information, problem solving.
It is often thought of as objective learning.
2. Affective Domain
Contains five levels – each level is built upon the level/s that came before.
The Affective Domain is a process for learning and thinking.
It deals with feelings, preferences, values, attitudes, and behaviors.
Often insight comes on top of feelings – Feelings may feed insights.
Inspiration from dreams: “Gentleman, Let’s learn to dream,” said Albert Einstein.
3. Psychomotor Domain
Contains seven levels – each level is build upon the level/s that came before.
The Psychomotor Domain is a process for learning physical and perceptual activities.
Once skills are learned, they are automated. Manual skills may be achievements on top of the other two domains.
Chinese saying – “What I do, I master.”
Fussen, Germany
BLOOM’S TAXONOMY
COGNITIVE DOMAIN:
The cognitive domain is a process of learning. It is composed of levels that one experiences in learning cognitive knowledge (facts & information) and skills (application of facts and skills). Most people experience learning in the cognitive domain. Learning begins at the knowledge level, and the process continues through each level. However, many do not have opportunities to experience learning beyond the first three levels. This is the learning that is usually not retained and used at a later time. It is referred to as “low level cognitive learning.” Unfortunately most testing questions, especially multiple choice and true or false, are structured at the first or second levels of the cognitive domain.
It is important to experience learning at all levels of the domain. Using higher levels of the cognitive domain is referred to as critical thinking. Think about your Critique of a Work of Visual Art and compare that activity to the levels in the cognitive domain. You were asked to use critical thinking in the process of learning and studying a work of art.
Think about your learning experiences and opportunities at Neumann and in your life. It may be up to you to structure critical thinking opportunities to learn information. It may be up to you to be intrinsically motivated to be “at the center of your learning.” There is “knowing” and there is “really knowing.”
1. Knowledge – Recognize, remember, or recall information or facts; rote memory.
2. Comprehension – Understanding in order to organize and arrange/explain information.
3. Application – Applying previously learned information to reach an answer in a real life situation.
4. Analysis – Thinking critically/in-depth. Ability to break down information into its parts so that its organization can be understood, the ability to explain how the pieces fit together, and to find additional information.
5. Synthesis – Perform original & creative thinking, make predictions, solve problems, and put “pieces” back together in a new way to form a new whole, create new insight, and form new patterns.
6. Evaluation – Ability to judge the merit of an idea, a solution to a problem, or an aesthetic work based on a set of criteria. This is the highest cognitive category and contains elements of all the other categories and conscious value judgments based on defined criteria.
COGNITIVE DOMAIN VERBS
Knowledge
Comprehension
Application
Analysis
Synthesis
Evaluation
Define
Restate
Translate
Break down
Distinguish
Judge
Memorize
Discuss
Interpret
Analyze
Plan
Appraise
Repeat
Recognize
Apply
Differentiate
Propose
Evaluate
Record
Explain
Employ
Appraise
Design
Rate
List
Express
Use
Calculate
Formulate
Value
Recall
Identify
Demonstrate
Experiment
Arrange
Revise
Name
Locate
Dramatize
Test
Assemble
Score
Relate
Report
Practice
Compare
Collect
Select
Know
Review
Illustrate
Contrast
Construct
Choose
Describe
Tell
Operate
Criticize
Create
Assess
Label
Summarize
Schedule
Diagram
Set up
Estimate
Identify
Shop
Inspect
Organize
Measure
Sketch
Debate
Manage
Critique
Predict
Inventory
Prepare
Conclude
Produce
Question
Combine
Criticize
Relate
Create
Interpret
Solve
Design
Examine
AFFECTIVE DOMAIN:
This domain deals with learning and knowing that impact our Interests, attitudes, opinions, appreciations, values, and emotions. It is a domain that is especially important in an arts education. In this course, I am most interested in your affective learning.
You are asked to consider art, think and study the arts, make art, respond to aesthetic questions and issues, experience and study process and product, make decisions, learn about great artistic creators, self-assess personal growth, and develop an aesthetic philosophy. Our time has been compared to an artistic journey.
The goal is to begin to develop an artistic/aesthetic value system.
1. Receiving – Passively focuses – outcome is awareness that the “thing” exist.
2. Responding – Active participation – The student attends to stimulus and reacts in some way.
3. Valuing – The worth a person gives to an object, phenomenon, or behavior. – Acceptance, commitment, attitudes, appreciation.
4. Organization – Bring together different values, resolve conflicts among values, and then build an internally consistent value system. Compare, relate, synthesize values, and develop a philosophy of life.
5. Internalizing – Value system – the person has held a value system to control behavior for a long time —-“Life style” developed. – Behavior consistent and predictable.
Benjamin S. Bloom, Bertram B. Mesia, and David R. Krathwohl. Taxonomy of Educational Objectives (two vols: The Affective Domain & The Cognitive Domain). New York: David McKay, 1964. Print.
PSYCHOMOTOR DOMAIN:
This domain includes physical movement, coordination, and use of motor skill areas. In order to develop these skills it is necessary to practice. The mastery of skills is assessed by speed, precision, distance, procedures, and techniques in execution.
This domain was not defined by Bloom and his committee. The following was completed by Simpson (1972). There are other psychomotor domain models.
Think about this learning domain in relation to artistic skill development and creativity. Research has shown that creativity increases as skill levels in an artistic discipline/s increase.
1. Perception – Sensory cues guide motor response.
2. Set – Knowing how to act after being given a set of instructions.
3. Guided Response – This is the early stages of performing. It is achieved after practicing, imitating the performance of the skill/s, and trial and error.
4. Mechanism – Movements can be performed with some proficiency. This is an intermediate stage in learning a complex skill.
5. Complex Overt – The skillful, accurate, and automatic performance, without hesitation, of complex movement patterns. (The performer can tell by the “feel” what the result will be).
6. Adaptation – Movements are so well developed that one can change movements to meet certain requirements or unexpected situations.
7. Origination – The ability to perform highly developed skills allows a person to be creative and then create new movement patterns or a new theory.
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3. PATHWAYS OF LEARNING:
INVENTORY-MULTIPLE INTELLIGENCES
The following Web sites each contain a Multiple Intelligences Inventory for Adults, based on Gardner’s Theory of Multiple Intelligences.
http://literacynet.org/mi/assessment/findyourstren…
http://homepages.wmich.edu/~buckleye/miinventory.h…
DIRECTIONS:
1. Select one of the MI Inventories.
2. Complete the inventory.
3. Consider the results and information from the inventory in relation to your “multiple intelligences.