The aim is to show parents groping opinions, which should follow when choosing a swimming center for their children. We focus on the conditions in which swimming instruction of preschool children is, as it affects and how best to choose a swimming course. Form of a questionnaire, we find expert opinions, which were later compared with the questionnaires to staff swimming center.

This thesis focuses on the perception of the aquatic environment in preschool children. Highlights the differences between children of preschool age complete beginners who start with swimming and children, who are engaged in swimming since infancy, but they are going to swim alone without parents. With swimming, selected test detects differences between the age groups of children. Key words Aquatic environment, Swimming, Swimming lesson, Preschool age

Topic:Teaching school-age chidren a breaststroke swimming style with an usage of dolphin wave. Goals:The goal of the thesis is to teach young children (6-9 years old) breaststroke swimming style by usage a dolphin wave. Methods:The thesis is mainly descriptive multi-case study. We used standardized and even non- standardized methods. The teaching method had been applied to a group of six children (6-9 years old) and analyzed by the diploma thesis author after its application. In the same time we teach another group of six children by standard breatststroke didactics method, so we were able to compare both methods. Results:The application of dolphin wave method into didactic of breaststroke swimming style has advantages and even disadvantages. The advantage is mainly freedom of movement, so children can use their creativity and sence to find the optimal movement. On the other hand the freedom is also disadvantage, since it can cause a little chaos at the beginning of the training. The successfulness of both methods was same. In both groups four children learnt the breaststroke and two did not. Powered by TCPDF (www.tcpdf.org)

Flera av de pianostuderande jag mött, inklusive mig själv, spelade aldrig kammarmusik innan gymnasiet eller musikhögskolan. Det har fått mig fundera över i vilken omfattning klaverstu-derande elever vid kultur- respektive musikskolor deltar i musikaliska samspel. Studien har som syfte att kartlägga i vilken utsträckning lärare i klaverinstrument på kultur- respektive musikskolor i Stockholms län arbetar med musikaliskt samspel med sina elever och vilka faktorer som påverkar vilka elever som samspelar med andra elever. Datainsamling gjordes med hjälp av e-postade enkäter till klaverlärare på kultur- respektive musikskolor. Sedan analyserades svaren univariat, bivariat, tematiskt och samband prövades på sin statistiska signifikans. Resultatet visar dels på att de flesta hade tillfällen då deras elever spelade med någon under deras lektioner, dels att det skilde sig mellan hur lärare arbetade med samspel beroende på om de undervisade individuellt eller som gruppundervisning. Det framgick också att det fanns fyra olika områden som respondenterna menade påverkade vilka elever som fick spela med andra. Dessa var logistiska faktorer, intressen och kompisar hos såväl elev som lärare, elevernas kunskap och ambitioner samt speciella behov hos eleven. I diskussionen problematiseras konsekvenser av individuell undervisning och gruppundervisning samt vad elever lär sig av musikaliskt samspel. / Many piano students I´ve meet, including myself, never played chamber music until they went to gymnasium or university. This made me wonder how many opportunities piano students studying at culture and music schools had to play with others. The purpose of the study is to find out to what extent pianoteachers in these schools in the Stockholm Province work with interaction in music with their students and which factors affects which students interact with others. Data was collected by e-mailing questionnaires to which pianoteachers at the music and cultur schools had to answer. The answers were analyzed univariate, bivariate, tematic and correlations were tested on their statistical significance. The result showes that most teachers occasionally let their students play with someone, during their lessons. The results also showes that it differed between how teachers worked with interaction depending on whether they taught individually or in groups. It also is found that four different types of factors affected the respondents choices of which students who would get the opportunity to play with others. These were logistical factors, interests and friends of both pupil and teacher, the students' knowledge and ambitions, and special needs of the student. In the discussion the consequences of individuell lessons and group lessons are problematized. What the student learn from musical interaction is also discussed.

L'abstraction, la fragmentation et d'autres modes de destruction de l'image ou du discours ont caractérisé l'art de la deuxième moitié du XX siècle. L'absence d'éléments narratifs ou référentiels dans les oeuvres de cette période indique une vide de signification qui, en même temps, est expression ou manifestation du sacré. Cette recherche établit les liens entre la radicalité de ces propositions et l'expérience mystique ou l'expérience du néant. Dans ce but, nous avons analysé "Boîtes métaphysiques", de Jorge Oteiza, et "Trois leçons de ténèbres", de José Ángel Valente. / Abstraction, fragmentation, and other ways of image or speech destruction have characterized the art of the second half of the 20th century. The absence of narrative or referential elements in the artworks of this period points to a condition of absolute emptiness of meaning, which, in turn, constitutes the expression or manifestation of the sacred. This investigation is aimed at establishing links between these radical artworks (o, is prefieres, between the radicalness of these artworks) and mystic experience. To that end, I have analyzed two important works of 20th century art, namely, “Metaphysical Boxes” by the Basque sculptor Jorge Oteiza and “Three Lessons of Darkness” by the Galician poet José Ángel Valente.

This final work consists of theoretical and practical part. The theoretical part concerns the phenomenon of pilgrimage and travelling in present days and also mentions main exploration journeys realized during our history. It introduces some art pieces that deal with the motive of journey. These are separated into three specific groups- sketches in traveller diaries that were made during journeys by travellers and pilgrims, historical maps and current art inspired by variety of journey´s symbolism. Last pages of the theoretical part mention the journey as a motive of Art Education at Primary school. The practical part contains the implementation of the series called The Journey that was divided into seven subsequent blocks. These lessons were realized with the pupils of the 5th grade of the Grünwaldova primary school in České Budějovice. Results of their work are documented at the end of this final work.

Die vorliegende Arbeit beschäftigt sich mit der Durchführung von Diskussionen im Geographieunterricht und den in ihnen gezeigten Leistungen der Teilnehmer. Dafür werden die Ergebnisse einer quantitativen Beobachtungsstudie sowie einer qualitativen videobasierten Unterrichtsanalyse präsentiert. Die Auswertung der erhobenen Daten erfolgt auf der Grundlage der geforderten Kommunikationskompetenzstandards der DGfG (2012) sowie geeigneter Richtlinien und Modelle zum Aufbau von Argumenten und Diskussionen aus der Fachliteratur. Hinsichtlich der Häufigkeit von Diskussionen im Geographieunterricht zeigt die systematische Beobachtung von 1414 Geographiestunden in Berlin und Brandenburg die Seltenheit solcher Gesprächsereignisse im Unterricht. Die qualitative Inhaltsanalyse von neun videographierten Unterrichtsdiskussionen in der Sekundarstufe I und II offenbart wenig fachspezifische Argumentationen sowie eine defizitäre Beachtung wichtiger Diskussionsschritte. Die Schüler haben Schwierigkeiten bei der Einhaltung bestimmter Diskussionsregeln und der Formulierung komplexer, gültiger oder wissensbasierter Argumentationen sowie angemessener Argumentationskritik und Reaktion auf sie. Die Lehrkräfte weisen die Schüler nur begrenzt auf diese Defizite hin bzw. unterstützen sie nur bedingt bei ihrer Überwindung. Als Erklärung für die Forschungsergebnisse scheinen Zeitdruck im Unterricht, Orientierung an Rahmenlehrplänen und eine eingeschränkte Lehrerprofessionalität bedeutend zu sein. Letztere beruht vermutlich verstärkt auf Versäumnissen der Lehramtsausbildung hinsichtlich der Vermittlung von Kenntnissen bezüglich der Führung erfolgreicher Unterrichtsdiskussionen, der Hilfestellungen für die Schüler bei der Gestaltung dieser komplexen Kommunikationsform und einer spezifisch geographischen Fachidentität. Abschließend soll ein exemplarischer Vorschlag zeigen, wie erfolgreiche Diskussionen im Geographieunterricht unter den Bedingungen eines Einstundenfaches aussehen könnten. / The present work deals with the implementation of classroom discussions in geography lessons and the performance of the participants observed in their framework. Thus, the results of a quantitative observational study and a qualitative video-based classroom analysis are presented. The analysis of the data collected is carried out on the basis of communication skills required by the standards formulated by the DGfG (2012) and relevant guidelines and models for the composition of arguments and discussions. The systematic observation of 1414 geography lessons in Berlin and Brandenburg shows that discussions rarely take place in the classroom. The qualitative content analysis of nine videotaped classroom discussions in the secondary level I and II reveals little subject-specific argument and a deficient realisation of important discussion steps. Students show difficulties in complying with certain rules for discussions and the formulation of complex, valid or knowledge-based argumentations, as well as the formulation of appropriate criticism and reactions to it. The teachers refer to these problems only in a limited way and give students little support in overcoming them. As an explanation for these results time constraints in the classroom, focus on core curricula and limited teacher professionalism seem to be significant. The latter is probably largely based on shortcomings in teacher education, especially with regard to the transfer of knowledge concerning the management of successful classroom discussions, giving advice to students in the design of this complex form of communication and a specific geographical identity. Finally, an exemplary proposal shall demonstrate the course of a successful classroom discussion in geography lessons under the conditions of only one lesson per week.

Este trabalho apresenta algumas contribuições para uma atualização metodológica e pedagógica do ensino de instrumentos de sopro em aulas coletivas inspirado pelas práticas informais de aprendizagem identificadas por Green (2008), Braga (2005) e Priest (1989) entre outros. As práticas informais são um conjunto de atividades identificadas pela literatura como típicas da música popular ou tradicional que possuem interesse para a educação musical formal. Suas características principais podem ser resumidas como: concessão de espaço e tempo para os alunos improvisarem e experimentarem; livre escolha do repertório e; maior uso de modelos visuais e sonoros dados pelo professor e por gravações trazidas à sala de aula. As práticas informais estão de acordo com a pedagogia de Paulo Freire na medida em que colocam a autonomia como meio de aprendizagem e não apenas como finalidade. A formalização das práticas musicais na direção da escrita e leitura de partituras é um processo antigo correlacionado ao desenvolvimento do racionalismo na história do pensamento ocidental em sua busca pela precisão, segundo Koellreutter (Brito, 2007). O caminho que as práticas musicais tomaram teve seu ápice no século XIX, sendo que o sistema de ensino dos conservatórios constituído nesta época perdura até os dias de hoje na educação musical, em especial no ensino formal e tradicional. É só a partir da segunda metade do século XX que os trabalhos de educação musical procuraram reequilibrar o processo de transmissão da música em busca da oralidade e da subjetividade que quase se perdeu. Este trabalho procura ser mais uma contribuição nesta direção. A pesquisa procurou implementar as práticas informais seguindo em linhas gerais o modelo sugerido por Green (2008) mas também incorporando as contribuições de outros autores como Braga (2005) e Priest (1989) no curso de iniciação aos instrumentos de sopro do Guri. O foco principal foi a análise do comportamento dos alunos perante as atividades, geralmente pouco estruturadas, bem como de seu desenvolvimento musical ao longo das aulas, utilizando o método de pesquisa baseado no estudo de caso instrumental. Apesar de vários percalços ao longo do trabalho, os resultados obtidos foram bastante favoráveis a adoção destas práticas e corroboram com as ideias de Green (2008). Tanto no que diz respeito a tocar a melodia escolhida pelos próprios alunos, como nas improvisações, vários deles demonstraram bastante desembaraço e independência. Também se observou que, por serem uma forma mais direta e musical de se aprender, as práticas informais permitiram aos alunos lidar com materiais musicais muito mais ricos e complexos do que em um curso tradicional. Por outro lado estas práticas pareceram mais adequadas para os alunos mais velhos, uma vez que estes tendem naturalmente a ter mais voz no grupo e a exercer mais plenamente a sua autonomia, inibindo os mais jovens que talvez tivessem sido beneficiados por mais apoio docente. / This work presents some contributions for a methodological and pedagogical update to the teaching of woodwind instruments in group lessons based on informal learning practices identified by Green (2008), Braga (2005) and Priest (1989) among others. Informal learning practices are a set of activities identified in the literature as typical of popular or traditional music which are of interest for formal music education. Their main characteristics can be summarized as: granting time and room for the student\'s experimentations and improvisations; freedom to choose their musical repertoire; enhanced use of visual and sound role models exposed by the teacher and by musical recordings brought to the classroom. Informal practices are in harmony with Paulo Freire\'s pedagogy since they place autonomy as a mean of learning and not only as a goal. Following Koellreutter (BRITO, 2007), the formalization of musical practices towards the writing and reading of musical scores is a very old process related to the development of rationalism in the history of the western thought in its aim for precision. The path taken by musical practices had their pinnacle at the 19th century, when the conservatory learning system developed, which persists until today mainly in formal traditional education. It is only on the second half of the 20th century that the studies in musical education seek to balance the music transmission process towards an almost gone oral tradition and subjectivity. The present work tries to make a contribution in this direction. The research attempts to implement the informal practices according to the general guidelines of the model proposed by Green (2008), incorporating also the contributions of other authors like Braga (2005) and Priest (1989), in the beginner class of woodwind instruments at Guri program. The main focus of the analysis was on the responses of the students along the generally non-structured activities as well as their musical development throughout the course, using the research method based on instrumental case study. Despite several setbacks during the research, the results were highly favorable to the adoption of those practices and corroborate with Green\'s (2008) ideas. In terms of student\'s success in playing the tunes chosen by them, as well as in improvising several of them showed self-sufficiency and were at ease with the instrument. As the Informal Learning Practices are a more musical and nonmediated way of learning, the students were able to deal with a richer and more complex musical content. On the other hand those practices seemed more suitable to older students since they tend to have a more active role in the group and to exercise more fully their autonomy, inhibiting the youngest, that would probably have benefited from more teacher\'s support.

Essa dissertação tem como objetivos a tradução ao português brasileiro e o estudo de duas declamações, quais sejam O jovem herói (Decl. 5) e O velho sovina (Decl. 6), creditados a Corício de Gaza, um professor de retórica cuja produção se situou na primeira metade do séc. VI d.C. Primeiramente, apresentam-se as traduções. Em seguida, o estudo, que é dividido em dois blocos: o primeiro capítulo busca contextualizar o corpus tendo em vista a conjuntura histórico-literária na qual ambas as declamações se inserem. O segundo capítulo corresponde à analise descritiva e interpretativa das principais características estilísticas, linguística e argumentativa de ambos os textos. / The main goals of this research are the translation into Brazilian Portuguese and an introductory study of two declamations, The Young Hero (Decl. 5) and The Miser Old Man (Decl. 6), credited to Choricius, a teacher of rhetoric who worked and lived in the 6th century Gaza. Firstly, I present the translation, then the study, which is divided into two sections: in the first chapter I contextualize both declamations historically and in the literary sense. In the second chapter I present a descriptive and interpretative analysis of the main stylistic, linguistic and argumentative characteristics of both texts.

Essa dissertação tem como objetivos a tradução ao português brasileiro e o estudo de duas declamações, quais sejam O jovem herói (Decl. 5) e O velho sovina (Decl. 6), creditados a Corício de Gaza, um professor de retórica cuja produção se situou na primeira metade do séc. VI d.C. Primeiramente, apresentam-se as traduções. Em seguida, o estudo, que é dividido em dois blocos: o primeiro capítulo busca contextualizar o corpus tendo em vista a conjuntura histórico-literária na qual ambas as declamações se inserem. O segundo capítulo corresponde à analise descritiva e interpretativa das principais características estilísticas, linguística e argumentativa de ambos os textos. / The main goals of this research are the translation into Brazilian Portuguese and an introductory study of two declamations, The Young Hero (Decl. 5) and The Miser Old Man (Decl. 6), credited to Choricius, a teacher of rhetoric who worked and lived in the 6th century Gaza. Firstly, I present the translation, then the study, which is divided into two sections: in the first chapter I contextualize both declamations historically and in the literary sense. In the second chapter I present a descriptive and interpretative analysis of the main stylistic, linguistic and argumentative characteristics of both texts.