Thesis (Ph. D.)--Florida State University, 2003. / Advisor: Dr. David Pargman, Florida State University, Dept. of Educational Psychology and Learning Systems. Title and description from dissertation home page (viewed Feb. 24,2003). Includes bibliographical references.

Thesis (M.A.)--University of North Carolina at Chapel Hill, 2003. / Includes bibliographical references (leaves 21-22). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.

Thesis (M.M.)--Silver Lake College, 2003. / Includes bibliographical references (leaves 182-191). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.

Thesis (M.A.)--University of North Carolina at Chapel Hill, 2003. / Includes bibliographical references (leaves 21-22).

Thesis (M.M.)--Silver Lake College, 2003. / Includes bibliographical references (leaves 182-191).

Traditional dances of the South Sotho of Qwaqwa were studied as a product of culture. The two major objectives were: to document, and analyse specific South Sotho dances and relate them holistically to the culture; and to determine which dances of the girls and the women would be suitable for inclusion in the Syllabus for Physical Education for Girls in the Republic of South Africa according to certain educational criteria. The aspects investigated in the study included the following: 1. An ethnographic image of the South Sotho relating to ancestry, way of life and culture; 2. Dance as a cultural phenomenon and the place and function of dance in the culture of the South Sotho; 3. The notation of selected dances, an analysis of the dance movements and choreographic structure of the dances; 4. The educational value of folk and ethnic dances for implementation in the physical education programme, according to relevant objectives. The techniques used to identify, classify, document and analyse the dances, included fieldwork done through personal observation, participating observation, video filming of the dances, sound recordings of the songs and personal interviews. The sequence of steps was notated descriptively and graphically. The movements of the free body segments and dance technique were described and the floor pattern of each step sequence, the information with the accompaniment and the floor plan of the dance were transcribed graphically. The number of repetitions of the step sequences and the order of the parts of the dances were notated according to counts. The following dances were identified: women's dances - mokgibo, moqoqopelo, ledingwana, thojane, timiti and famu; girls' dances - mokgibo, play dances, ndlamu and bale dances; men's dances - mohobelo, mokorotlo, diphotha and setapo; boys dance the same dances apart from the mokorotlo. Wedding dances and thojane are also danced together by both sexes. The four dances which were documented include the wedding dance Ausi o manele, a play dance (Tikwe ha malome), ledingwana-women's dance (Diponono ha kena basadi) and mogogopelo women's dance (Ke lelekuwe bohadi). The main findings of the study indicated that dance is still closely interlinked with the cultural life of the South Sotho and that the purpose of the dance manifests itself mainly in terms of social recreation. Specific dances of the South Sotho can be utilized in a meaningful way in the physical education programme for girls because of the educational value, the link with the cultural objectives of the folk dance section of the syllabus and the relevance to the present needs of society. / Thesis (MA) -- PU vir CHO, 1985

Traditional dances of the South Sotho of Qwaqwa were studied as a product of culture. The two major objectives were: to document, and analyse specific South Sotho dances and relate them holistically to the culture; and to determine which dances of the girls and the women would be suitable for inclusion in the Syllabus for Physical Education for Girls in the Republic of South Africa according to certain educational criteria. The aspects investigated in the study included the following: 1. An ethnographic image of the South Sotho relating to ancestry, way of life and culture; 2. Dance as a cultural phenomenon and the place and function of dance in the culture of the South Sotho; 3. The notation of selected dances, an analysis of the dance movements and choreographic structure of the dances; 4. The educational value of folk and ethnic dances for implementation in the physical education programme, according to relevant objectives. The techniques used to identify, classify, document and analyse the dances, included fieldwork done through personal observation, participating observation, video filming of the dances, sound recordings of the songs and personal interviews. The sequence of steps was notated descriptively and graphically. The movements of the free body segments and dance technique were described and the floor pattern of each step sequence, the information with the accompaniment and the floor plan of the dance were transcribed graphically. The number of repetitions of the step sequences and the order of the parts of the dances were notated according to counts. The following dances were identified: women's dances - mokgibo, moqoqopelo, ledingwana, thojane, timiti and famu; girls' dances - mokgibo, play dances, ndlamu and bale dances; men's dances - mohobelo, mokorotlo, diphotha and setapo; boys dance the same dances apart from the mokorotlo. Wedding dances and thojane are also danced together by both sexes. The four dances which were documented include the wedding dance Ausi o manele, a play dance (Tikwe ha malome), ledingwana-women's dance (Diponono ha kena basadi) and mogogopelo women's dance (Ke lelekuwe bohadi). The main findings of the study indicated that dance is still closely interlinked with the cultural life of the South Sotho and that the purpose of the dance manifests itself mainly in terms of social recreation. Specific dances of the South Sotho can be utilized in a meaningful way in the physical education programme for girls because of the educational value, the link with the cultural objectives of the folk dance section of the syllabus and the relevance to the present needs of society. / Thesis (MA) -- PU vir CHO, 1985

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.

The problem with which this investigation was concerned was that of determining the value of the use of musical accompaniment while bowling. This study analyzed the effects of two different types of background music, played at the same decibel level, on the bowling scores and attitudes of college students enrolled in bowling classes at a state university.

The Thesis is focused on music and physical education as a part of educational process. It has got an irreplaceable importance in children with mental disorders due to inspiration for their own activity and promotion of the whole motor development. This work is dealing with a content of this education, its importance and role in the Special basic school. It also defines mental handicaped childrens' character and the influence of music and physical education on their general development. It describes a variety of music and physical resources and their usage in the music and movement activities as well. These are applicated into a project called." Dancing and singing, with a fairy tale learning". This elaborated project represents specific examples of music and movement activities and their realization in the Special basic school. Key Words: Children, music, music and physical education, music and movement activities, music and movement games, mental disorders, motivation, songs, movement, physical exhibition, dancing games.