χοροσ

download χοροσ

of 211

Embed Size (px)

Transcript of χοροσ

  • 1. & TH . 2002

2. TH . ( ) 2002 : 1 : 2 : 3 : ii 3. 2002 ALL RIGHTS RESERVEDiii 4. ....., , , ....., ....., ....., ....., iv 5. , . . . , . , ., . , , . , . . . . , , . . . . . , , , 105 ,. , . , . v 6. : " ".( . ) . , , ( ), , . 92 (=92). . 232 (=232), , 6 - 11. . , , (he divergent production style). , , . , , . , .vi 7. . , , , , , . , . , . , . (79.2%) , , . , " " 33%. , . H o . . .vii 8. ABSTRACTGeorgios Likesas: "The Teaching process of traditional Greek dances in PrimaryEducation implementing the method of Music und MovementEducation".(Under the supervision of Dr. Mouratidis Ioannis) The learning process of traditional Greek dances and the appropriate way toapproach young children of all grades in Primary School has occupied manyresearchers and instructors. The aim of the research was the implementation of ateaching model for traditional Greek dances based on the holistic approach of "Musicand Movement Education Method". An additional aim was the examination of theinstructions of the analytical program, by the Physical Education instructors, as far asthe process of learning traditional dances is concerned in the frame of Physicaleducation in Primary Schools. The questionnaire was filled by 92 Physical Educationinstructors (N=92). The intervention program was based on childrens musical and kinetic creativeactivities as well as on the existing, well structured kinetic forms of traditional dancesin relevance to the cultural characteristics of each area. The research involved 232students (N=232), girls and boys, aged between six to eleven. The sample was dividedinto two groups, that is the experimental and control group. The experimentalgroup was trained under the "Music and Movement Education Method" and thecreative learning method that focuses on the children, combined with the style ofguided inventiveness and the divergent production style. The aim was thedevelopment of students creativity and their meaningful participation in the lessonsof Greek traditional dances, which were enhanced with various activities like creativedancing and dramatized play. The control group was instructed (Greek traditionaldances) according to the common method that focuses on the instructor, that is theguided way of instruction that prevails nowadays in schools. On the contrary, the control group was implemented the instructional orguided teaching method, suggested in the curriculum given by the Ministry ofEducation and Religious Affairs and the Pedagogic Institute; this method prevails inthe teaching processes of Greek traditional dances in contemporary schools.viii 9. The recording of the data and the evaluation of the effectiveness of thesuggested program were carried out by the simultaneous participating observation ofthree researchers through video recording for both groups. In addition, all studentsfilled in questionnaires before and after the research program. The results of theresearch showed significant differences between the experimental and the controlgroup. Children in the experimental group showed greater interest in the lesson ofGreek traditional dances than the control group, as they were active during thelearning process of the dances through playing and dramatization. They developed toa great extend their motor skills and creative skills, obtained further experience onkinetics, rhythm and music as well as knowledge on Greek traditional dances and thecultural elements embodied in them. The implementation of the suggested "Music andMovement Education Method" set the prerequisites so as the process of learningGreek traditional dances would be accomplished easier and quicker than in the controlgroup. On the contrary, students of the control group, that were taught less dancesthan the experimental group, presented a negative attitude and indifference to thelesson and the overall learning process of Greek traditional dances. The results of the questionnaires indicate that a significant percent (79.2%) ofthe Physical Education instructors, do not follow thesuggestions andrecommendations given by the Ministry of Education and Religious Affairs as theyare, but act upon their own preferences as to the hours of instruction and the selectionof the traditional dances taught. Furthermore, what prevails in the learningmethodology is mainly the Music and Movement Education at a percent of 33%. Itseems that this element is acknowledged to be useful and important, but still notincluded in the learning process of Greek traditional dances. The use of the suggested Music and Movement Education Method was abreakthrough in teaching Greek traditional dances in Primary Education; theimplementation of this system on students of that age, enhanced their creativity skillsand upgraded qualitatively the learning process of Greek traditional dances, as it wasenriched with new kinetic activities and various exercises. Last but not least, thepractice of Music and Movement Education could probably offer answers andsolutions to the problems faced by the instructors as far as the learning process ofGreek traditional dances in Primary Education is concerned.ix 10. x 11. " , . , . . . , , . : . , " (, 1982, . 68). . . . H . , . , , , , ."", , " , , . !" (, . 1981, . 295).xi 12. , . , , . , , . , (Orff, 1955).xii 13. viABSTRACTviiixixiii .....xvi ....xix ......1...1 62. ..62.1. 72.2. ...102.3. ...122.4. ....142.5. ...262.6. .292.6.1. Emile Jaques Dalcroze (1865-1950)..312.6.2. Laban (1879-1958)....322.6.3. Kodaly (1882-1958)...332.6.4. Carl Orff (1895-1982)342.7. ...352.7.1. 38xiii 14. 2.7.2. ...392.7.3. 402.7.4. .....402.8. ....412.8.1. - ....422.8.2. : - - ......432.8.3. : - - ....452.8.4. - - ...472.8.5. : - - Orff..492.8.6. - - .502.8.7. - 522.9. 542.9.1. ..562.9.2. .592.9.3. ...612.9.4. .612.9.5. .....622.9.6. ..632.9.7. - ..642.9.8. . 682.9.9. .....68 ....703. ...703.1. 713.2. ..733.3. - ....763.3. ....873.4. .883.5. .96 V984. ..98 xiv 15. 4.1. ...984.1.1. 1084.2. ..1164.3. ..119K V...1395. .1395.1. 1455.2. 148K V.1506. ...1506.1. 11516.2. 2....1536.3. 3...157 VI..1717. .........1717.1. .1717.2. ....180 xv 16. 1: 71 2: 72 3: ..72 4: Pre-test...79 5: 3 (Pre-test)82 6: Post-test.83 7: (Post-test)..86 8: (pre-test).99 9: (pre-test)...99 10: (pre-test)100 11: (pre-test)..100 12: ...101 13: ( - ) ( - ), ......104 14: ( - ) (1, 2, 3), .....106 15: ...107 16: F1 F2..109xvi 17. 17: ( ).110 18: ( ).112 19: (1, 2, 3)..113 20: ......119 21: ..121 22: 123 23: 125 24: .126 25: ..127 26: ..128 27: 129 28: 130 29: 131xvii 18. 30: .133 31: 135 32: 137 xviii 19. 1: 3 (pre-test) (, , , ).81 2: 2 (post-test) (, , , )85 3: ..102 4: 103 5: , 115 xix 20. xx 21. H , , . . , , . . , , . Gulbenkian Dance Report (1980) , , . , (Sanderson, 1988). , . - , (Shreeves, 1994). 1 22. ( ) . , ( ) (, , , , ) . , , . . , , . , . Orff , (Kugler M, 1991, . 276). , , . , , ( ) . (, ) 2 23. , . , , , , , . , , , , . , , . . , , , (, 1994). . , . , , . (, , ) . . 3 24. , . ., , . . , , , . Orff (1955) . . Orff : " . . , . , , " ( - , 1998, . 4) , " , , , " (, 1978, . 17). "" , . , , ,