数独方设计及其优良性     

李晓辉  岳荣先 《西安文理学院学报》2011,(2):1-5

提出数独方试验设计（SSD）的定义,给出各阶数独方生成的方法,进而构造出各种水平的数独方表.研究数独方设计的优良性,数独方设计表具有正交性,在均匀性测度上,数独方设计与同水平同因素正交设计或均匀设计比较,前者的几种偏差值均较优于后者.  相似文献   

全民终身学习平台架构:基于"湖湘学习广场"的个案研究     

黄新斌 《职业技术教育》2011,32(8)

终身学习的实现需要技术层面的平台架构搭建无阻碍的全民学习通道.以"湖湘学习广场"建设为例,其主体结构应由教学资源库、学习平台、传输网络、学习者档案管理等部分组成.按照目标人群及学习内容划分,可根据实际需要设置空中大学、现代农民教育、魅力湖湘、长株潭"两型"社会、社区教育、职业教育与培训、干部在线教育、法律在线培训与援助中心等8个频道;从平台的现实需要与未来发展出发,"湖湘学习广场"建设要注重各种媒体之间的配合和数字电视、移动学习、流媒体多种支撑技术的综合使用.  相似文献   

关于花鼓灯健身舞引入高校女生体育课程的思考     

丛灿日  罗红  付冬梅 《安康学院学报》2011,23(5):123-125

花鼓灯健身舞是由体育和舞蹈专家在充分挖掘传统花鼓灯艺术中体育健身元素的基础上创编而成的具有地域特色的健身项目,在安徽省部分城市社区的女性中十分盛行。由于花鼓灯健身舞具有易掌握和开展的特点,加之其能满足女大学生多层面价值的需要,所以将其引入安徽高校女生体育课程有可行性。这样,不仅有助于丰富高校女生体育课程资源,增强学生对体育活动的兴趣,推动高校体育教学改革,而且能促进高校体育和全民健身计划的有机结合,有助于推动全民健身活动的深入开展。  相似文献   

形象思维在舞蹈教学中的运用     

芦芳 《南阳师范学院学报》2011,(10):116-117

形象思维在舞蹈教学的基础训练、抒情主题类舞蹈的训练、叙事类舞蹈的训练及综合性训练中都有相应的训练方法。运用形象思维的主要因素是对生活要有深切的感悟,要有艺术思维的能力。  相似文献   

论湘西霸王鞭的艺术特色     

向玉圭 《怀化学院学报》2011,30(1):4-7

歌舞音乐是我国民族民间音乐在长期的历史发展过程中所形成的传统音乐之一.湘西霸王鞭就是这样一种集诗歌、音乐、舞蹈为一体的歌舞音乐形式.表演时载歌载舞,或者歌舞相间,广泛流行于湘西各民族地区.随着时代的进步,当今广场音乐活动的蓬勃开展,霸王鞭这一歌舞音乐更加显示了它的特色与优越性,具有广泛的群众性.在通过展示湘西霸王鞭的概...  相似文献   

核心素养视域下学前教育专业舞蹈课程教学方式的转变     

刘薇珊 《科教文汇》2020,(12):67-68

核心素养作为新时期各教育阶段改革的风向标,引领各学科课程改革迈入了新的征程,本文从“学生核心素养”出发,探析学前教育专业舞蹈教育与学生核心素养之间的关系,并从发展与培育学生核心素养的角度反思学前教育专业舞蹈课程教学方式固有的问题,进而提出转变舞蹈教学方式的思路:(1)以学生为中心,从“教师教”变成“学生学”;(2)注重学生综合能力的培养,合理兼顾学前教育专业舞蹈人才的特性;(3)适度把握传统讲授法,注重教学过程,开展多途径混合式教学。  相似文献   

Exergames ‘as a teacher’ of movement education: exploring knowing in moving when playing dance games in physical education     

Gunn Nyberg  Jane Meckbach 《Physical Education & Sport Pedagogy》2017,22(1):1-14

Background: A fundamental dimension of school physical education (PE) is arguably movement and movement activities. However, there is a lack of discussion in the context of PE regarding what can be called the capability to move in terms of coordinative abilities, body consciousness and educing bodily senses.

Purpose: This article explores and articulates what there is to know, from the mover's perspective, when knowing how to move in specific ways when playing exergames (dance games). Taking different ways of moving as expressing different ways of knowing as a point of departure, the following questions are the focus of this article: (i) How do students move when imitating movements in a dance game, and what different ways of knowing the movements can be described in the student group? (ii) What aspects of the movements are discerned simultaneously through the different ways of knowing the movements? (iii) What aspects seem critical for the students to discern and experience in order to know the movements in as complex a way as possible?

Design and analysis: The theoretical point of departure concerns an epistemological perspective on the capability to move as knowing how with no distinction between physical and mental skills, and also knowing as experiencing aspects of something to know. The data in this study comprise video recordings of students playing Nintendo Wii dance games in PE lessons in a compulsory school (for children aged between 7 and 16 years) in a small Swedish town. There were three PE lessons with four different stations, of which one was Nintendo Wii dance games (Just Dance 1 and 2). In total, the videoed material covers three 60-minute PE lessons, recorded during the autumn of 2012 and in which just over twenty students participated. In the study, we have used video observation as a data collection method. Jordan and Henderson maintain that video observation removes the gap between ‘what people say they do and what they, in fact, do’ (51). To conduct a systematic and thorough analysis of how the students experienced the avatar's movements, we looked for moments where all the students and the avatar could be simultaneously observed. Two video sequences were chosen, showing four students imitating two distinct and defined movements which constituted the basis for a phenomenographic analysis.

Conclusion: The result of the phenomenographic analysis shows different ways of knowing the movements as well as what aspects are discerned and experienced simultaneously by the students. In other words, these aspects also describe knowing in terms of discerning, discriminating and differentiating aspects of ways of moving. By examining a certain exergame's role ‘as a teacher,' we have emphasized the capability to move, from the mover's perspective, as an intrinsic educational goal of PE while highlighting the need for systematically planning movement education.  相似文献   

舞蹈与健美操的关系及其运用   总被引：3，自引：0，他引：3  

张海莉 《上海体育学院学报》1995,(1)

舞蹈与健美操在概念、范畴上存在区别;舞蹈的基本姿态及形态,是健美操动作“正确”和“美”的基础;在健美操中运用舞蹈动作,应注意动作性、造型性、配合性和抒情性等方面。  相似文献   

体育舞蹈教学中的信息反馈     

谭永洁 《湖北体育科技》1998,(1)

本文根据体育舞蹈教学中的一般规律,讨论了体育舞蹈教学与信息反馈的关系,以达到有效地调节和控制教学过程,提高体育舞蹈课教学质量之目的。  相似文献   

广场运动艺术──团体操设计方向之研究   总被引：20，自引：2，他引：18  

黄宽柔 《体育学刊》1998,(2)

笔者通过对国内外26个大型活动开、闭幕式团体操或文体表演的资料研究,及5次参加国内外大型团体操创编的实践,提出了“突出表演特点,展示宏伟气势,发展独特语汇,提高艺术品位”的团体操设计方向,旨在使我国传统的广场运动艺术──团体操青春常驻,命运动会开幕式表演更具特色。  相似文献