Thesis (PhD)--University of Stellenbosch, 2008. / Bibliography. Also available via the Internet.

The purpose of this study was to examine the views of parents and preschool school administrators about preschool movement education and the practices regarding the teaching movement education to young children in early childhood programs. Participants (8 preschool administrators and 21 parents) were from 8 randomly selected private preschool in the region of &Ccedil / ankaya, Ankara, Turkey. Semi structured interview and document analysis methods were used for data collection. Content analysis method was used for data analysis. The results suggested that play and movement activities had no effects on parents&rsquo / school choice and parents did not seem to be influential on curriculum decisions about movement education activities. Structured play and movement activities were not considered as an academic subject by both groups. Instead participants perceived structured play and movement activities as a free play. Parents were aware of subjects as math, science and language / but they had limited knowledge about movement education activities. Parents generally focused on children&rsquo / s such sport specific activities as swimming, tennis, horse riding which were not developmentally appropriate for children&rsquo / s fundamental movement skills. Demands about the additional skills related with the movement education focused more on sport specialized activities and large environments for children to play comfortable. To conclude, parents and administrators have little knowledge about movement education so they are needed to be informed about the subject through educative workshops or seminars given by the people who are professional in their field.

This study investigated children's attributions for their performance in creative dance and folk dance. Eighty-six grade 5 and 6 children from a suburban elementary school participated in five creative dance and five folk dance lessons as part of their regular physical education program. After participation in each dance type, children completed a questionnaire which assessed their perceived success and attributions for their performance. After rating their perceived success in creative/folk dance, children gave an open-ended attributional statement for their performance, and then scored their statement along the four causal dimensions (personal control, locus of causality, stability, external control) (Weiss, McAuley, Ebbeck, & Wiese, 1990). Thirteen dance lessons were videotaped and the teacher's behavior was analysed. Results showed that children in both creative and folk dance tended to: (a) perceive their performance as successful, and (b) make functional attributions by attributing their performance to factors which they perceived as being personally controllable, internal, and not under the control of other people. Results indicated no significant effects of dance type or gender for perceived success and the four causal dimensions. However, two significant effects were found for grade, as the grade 5's perceived their performance to be more successful than the grade 6's, and also attributed their performance to factors that were less under the control of other people. Results from children's open-ended attributional statements and the observational recordings of the teacher's behavior supported the notion that creative dance and folk dance are two distinct forms of dance. The overall results appear to have positive implications with respect to the influence of creative dance and folk dance on the motivation of children. The findings therefore support the inclusion of dance in elementary physical education programs.

Thesis (MTchLn)--University of Canterbury, 2007. / Typescript (photocopy). Includes bibliographical references (leaves 216-224). Also available via the World Wide Web.

Thesis (M.I.T.)--The Evergreen State College, 2009. / Title from title screen (viewed 7/15/2009). Includes bibliographical references (leaves 106-112).

Thesis (M.S.)--The University of North Carolina at Greensboro, 2008. / Title from PDF t.p. (viewed Aug. 21, 2009). Directed by Tom Martinek; submitted to the Dept. of Exercise and Sport Science. Includes bibliographical references (p. 49-51).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. Description based on print version record. Includes bibliographical references (leaves [208]-221).

This project has been designed to measure the efficacy of various methods of instruction in relation to extrinsic (external) feedback. Practicing correct movements (positive feedback) is thought to encourage learners to repeat beneficial patterns.

Personal participation in floor exercise choreography and performance, observation of performances by other gymnasts, and conversations 'With other; coaches, and gymnasts· have intensified the author's awareness of a widespread lack of knowledge and understanding about the interpretation and use of music in floor exercise. When choreographing optional floor exercise routines, coaches and gymnasts have difficulty selecting appropriate music, interpreting the music, and choreographing routines to complement the music. Even after routines are finally developed, many of them lack style, originality, amplitude, flow, precision of rhythm and execution, and expressiveness. Many of these qualities are also lacking in the performance of compulsory routines, partially because gymnasts are not able to accurately and aesthetically interpret the music. Concern for this problem stimulated the author to investigate available literature on floor exercise. The literature indicated the importance of the proper use of music as well as skill in tumbling, dance, and acrobatic movements; however, it did not emphasize that gymnasts be trained in the fundamentals of music, which may enable them to accurately and aesthetically interpret music for their routines. After further investigation of the literature in the areas of floor exercise, physical education, dance education, music education, and rhythm education, it was concluded that the development of a music-movement Syllabus with supportive audio-visual aids, for training gymnasts and gymnastic coaches, could be of value in improving floor exercise training programs.

No description available.