A STUDY REGARDING THE INFLUENCE OF RHYTHM ON THE MANIFESTATION LEVEL OF PSYCHOMOTRIC APTITUDES

Abstract

The present paper is making a study regarding the influence and forming conditions of psychomotric aptitudes to what rhythm is concerned. Rhythm represents a specific form of organizing and perceiving phenomena, assuring the more disciplined execution of certain movements, the better coordination of exercises. Starting from the sense of rhythm, the elements of motric coordination, correlated with the aural and visual ones, must be based on an optimal projection, both analytical and global. Introducing music has determined an improvement of the aural and visual memory as well as an improvement of the complex coordinative capacity, the grades obtained being quite relevant. Besides the importance of introducing music, the comparative results obtained by students on whom the study has been undergone, shows the efficiency of rhythm development with beneficial results on the manifestation level of psychomotric aptitudes. [PUBLICATION ABSTRACT]

Moldovan Elena1*

Enoiu Räzvan Sandu2,

Albulescu Eugene3

1'2 Transylvania University of Brasov, Romania

3Lehi$h University, Bethlehem, Pensylvania, USA

Abstract

The present paper is making a study regarding the influence and forming conditions of psychomotric aptitudes to what rhythm is concerned. Rhythm represents a specific form of organizing and perceiving phenomena, assuring the more disciplined execution of certain movements, the better coordination of exercises. Starting from the sense of rhythm, the elements of motric coordination, correlated with the aural and visual ones, must be based on an optimal projection, both analytical and global. Introducing music has determined an improvement of the aural and visual memory as well as an improvement of the complex coordinative capacity, the grades obtained being quite relevant. Besides the importance of introducing music, the comparative results obtained by students on whom the study has been undergone, shows the efficiency of rhythm development with beneficial results on the manifestation level of psychomotric aptitudes.

Keywords: rhythm, psychomotric aptitudes

1. Introduction

The entire universe is ancillary to rhythm and harmony. The specific organization capacity of certain rhythmical structures has always been grasped by human perception, which has determined the adoption of rhythm as an expression for the need of order within the created structures of human intelligence. The existence of rhythmical phenomena in nature is directly tied to the human body, the latter being a complex and integrated system within the natural and social environment (S. Hayward, 1999). Rhythm, as an element of temporality, is a fundamental physiological phenomenon expressed through the processes that take place at a cellular level, the cell being the headquarters of rhythmical activity, such an idea being expressed by different authors: M. Ifrim (1986), F. Schneider (2002) and others.

Thus in our day to day activity we distinguish spatial perceptions, temporal perceptions and movement perceptions.

Spatial perceptions ensure the environment orientation and refer to perception of size, form, volume and depth of objects; they are enabled based on the collaboration of several analyzers. Temporal perceptions are done during one's lifetime, based on experience and nervous process mechanisms; time perception is absolutely necessary; we are talking about rhythm, tempo and length perception.

Allport G. (1981) was the one who introduced the notion of "analyzer" and determined a change in approaching and interpreting neurophysiologic mechanisms to what sensory processes are concerned. Sensation and perception represent the result of a unitary activity of the entire analyzer. A decisive role in accomplishing sensations and temporal perceptions is played by the aural analyzer which is an intelligent mechanism in which one realizes logical operations of comparison, classification, choice, correlation and combination. The human ear has the ability to discriminate and the ability to associate different emotional effects that is the vibrations with a periodic character and the ones with a non periodic character (C. Voice, 1978). One considers that every person with a normal physiologic hearing within an activity of perception and execution to what different melodic entities are concerned comes to elaborate a satisfying melodic hearing (M. Golu, 1978).

Zlate M. (1999) states that: "rhythm is of a motric nature" and forms the following conclusions, based on the effectuated experiences:

1. Rhythm perception comprises movement reactions, being a motric and aural process.

2. The movement reactions are not conscious.

3. The subject lives the rhythm when it plays along and acts together with it.

4. Living the accent is accompanied by stronger movement reactions.

Movement perceptions include both spatial and temporal elements; the analysis of movement sends us to reporting spatial sizes to temporal sizes; they are expressed through the exterior movement perception of the body and through movement perception of one's own body (M. Epuran, V. Horgidan, 1999). In synthesis, movements are tied to the psychic and imply entirely the individual's personality, whereas the psychic is tied to the movements that condition its development, thus making the movement to appear in a form of reasoning that is being in the same time the result of psychological processes and a modeling factor of the latter (A. Albu, C. Albu, 1999).

Hence, the expression of maturity and integration to what motric and psychological functions are concerned, to the alleged level the individual's good functional integration within the environment, is the psychomotricity. It is a function that expresses the complex relationships and the inter dependencies between motric acts and psychological activity (V. Horghidan, 2000).

The elements of psychomotricity are valuable when being integrated in an adapted unitary motric behavior adaptable in the same time to the different changed situations. Leading one's body presumes the existence of a background filled with qualities structured by practice and adapted to mechanisms of anticipation and control.

In conclusion, we highlight the idea that rhythm represents a specific form of organizing and perceiving phenomena, assuring a more disciplined execution of movements and a better coordination of exercises.

Whether at a preschool age or at a school age, the psychomotric education represents a self education through one's own body capable to bias the harmonious development of different aspects of personality, as well as the autonomy and one's self realization after educative intentions and stages adequate to the child's age and needs and within three relational situations: with oneself, with the object world and with the adult world. The psychomotric education is identified by proper pedagogical means (movement, body language, drawing, music, games, psycho drama, etc.) to be included within the methods of active pedagogy.

2. Material and methods

The research's hypothesis, One has assumed that by using the specific means and methods for educating the rhythm of motric activities in students within physical education classes, systematically and continuingly, we shall obtain an increase in the manifestation level of the psychomotric aptitudes.

For doing this research 12 pupils (girls) from the 12th grade, human profile have been selected. The obtained data have been statistically arranged and we have presented them in graphics. Based on the results different conclusions and propositions have been expressed. The activity with the girl group has been organized and has been done according to the proposed means and methods, one introducing in every hour the first three links, the musical background and 15 minutes of aerobics.

At the end of the experimental activity the effectuated tests have been reproduced, the results being recorded and statistically arranged following the arithmetic mean, the variability coefficient and the standard aberration.

Research methods, The researched parameters have been the musical hearing, the aural and visual memory and the sensorial and motric coordination.

1. The level of the musical hearing has been determined by appreciating and distinguishing sounds, the latter being selected on the piano's keyboard, from one up to three notes. Appreciating the development level of the rhythmic sense has been done based on drumming certain proposed rhythmical themes, composed of two acts, in the 4/4 musical measurement, in a certain tempo. The rhythmic drawing has been identical to all pupils. Proving the theme has been done only one time. The rhythmic drawing has been graded with 10 points, a point for each sound, the latter being put in a determined rhythmic organization, the lack of a sound or the wrong execution of a theme determining the loss of a point.

2. The development level of the aural and visual memory has been done with the help of a trial though which one emphasized the celerity of memorization, the containment of things memorized, the precision of the reproduction and the expedition of the reenactments. The trial comprised two parts. The first consisted of 20 words that designated objects, phenomena, states of mind, etc. the words had to be read and memorized during 2 minutes. Then, one had to draw out the memorized words. The second part consisted of a rectangle in half. In the superior part there were several geometrical figures that had to be read and memorized during 2 minutes. Then, covering the superior part, one had to draw out the memorized figures.

3. The level of complex coordination. One has devised a structure of 32 measurements, though which one has valued both the complex coordination and the execution rhythm of the mentioned structure. The latter is based on imitating certain movements executed by the professor during the aerobics program. This structure has been assimilated and then evaluated based on the movement continence and the equity of their execution.

After collecting the data, the latter has been introduced in a table that has allowed the presentation of the subject results. Thus, one can see the index numbers and the recorded differences between the two testings for the investigated sample in the three tests.

The results obtained in points have been transformed in value classes (very good, good, medium, mediocre, and weak) to which grades were given, thus making possible the statistic arrangement.

The results show a difference between the two testings. They are much better both to what hearing, aural and visual memory and complex coordination are concerned.

Hence, we can observe that the subject V.C. has the biggest progress, form 6, 66 at the initial testing to 9, 33 at the final testing. The subject V.C. also manages to improve her results at the three tests, having a progress from 5, 66 to 8.

Better hearing, aural and visual memory and complex coordination qualities are emphasized.

The lowest values of certain subjects are due to the fact that a state of fatigue has been installed quite rapidly, mostly caused by external disturbing factors that have a strong influence.

The direct observation of the way in which one approaches and solves situations, as well as the psychomotric tests have made possible an appreciation of certain affective and motivational characteristics. Thus, the investigated sample presented a better adaptability to the final testing.

On the other hand, within the investigated group, we noticed that the subjects with a certain inhibition for more difficult tests hardly manage to focus their attention and memory, accumulating a lower score.

After calculating the variability coefficient that measures the degree of the collective's uniformity, we noticed that the variability coefficient, at the final testing, proved a better variability and a bigger uniformity at the same time.

After effectuating the final testings, one could compare the obtained results to the experimental tests, the obtained values by calculating the subjects' averages showing an increase in the general average of the investigated group, from 6, 86 (initial testing) to 8, 64 (final testing), the difference being of 1, 81 to the general average.

From analyzing all the data we noticed that the values of the researched parameters and the performances at the three tests have improved, though there are no significant and powerful links between them.

The increase of the expressed values by calculated arithmetic means proves that the pupil's motric activity can be improved, and his/her rhythm can be influenced to what skills and motric aptitudes are concerned.

4. Conclusions

The motric activity is integrated in the didactic complex activity together with the communicative, projective, creative, constructive, Gnostic and organizatorial activity. The results of the research have proved the necessity of a thorough analysis to what this activity is concerned, furthermore to what the temporal characteristics are concerned that is rhythm and tempo.

Moreover, one must notice the necessity of a complex coordination within the motric activity, its components being testing in our research, the results expressing a significant value growth.

The increased results are due to introducing musical background, aerobics and due to elaborating a specific method of the aerobics activities done for the experimental group. The program consisted of specific gymnastics and athletic means. Furthermore, the used means had a different rhythmical structure and their dosage has been done according to the approached theme and type of lessons.

Introducing a musical background has determined an improvement of the coordinative ability, the obtained grades to the coordination complex being quite relevant.

The comparison of the initial and final testing for the 12th grade pupils proves the efficiency of the methodical elaborations regarding rhythm forming through specific means of different sporting disciplines with a transfer character.

Rhythm forming within the motric activity is a problem that must be dealt with even from a primary age, to be improved later on through a future activity. It is a problem with large hereditary implications and the ones who have such a problem supply it by resorting to initiative or expositive methods of such kind.

For the professor's motric and didactic activity be as pleasant and as efficient as possible one recommends introducing musical background that can level the problem of rhythm education to what pupils are concerned.

We think it is necessary to utilize the musical background during the entire classes that is using certain apparatuses that can imprint tempo and rhythm even to the portative objects.

References

1. ALBU ?., ALBU C. (1999), Psìhomotrìcìtatea. 202, Iasi : Spini Haret.

2. ALLPORT G. (1981), Structura §i dezvoltarea personalitäß, Bucuresti : Didáctica si Pedagogica.

3. EPURAN M. (1992), Metodologia cercetärii activitäfilor corporaleBucuresti: A.N.E.F.S., Voi. 1-2.

4. EPURAN M., HORGHIDAN V. (1999), Psihologie §colarà cu aplicapi m educafie flzicä, 388, Bucuresti: Univ. Ecologica.

5. EYSENCK H., EYSENCK M. (1998), Descìfrarea comportamentuluì uman. 254, Bucuresti: Teora.

6. GOLU M. (1993), Dinamica personalitäfii, Bucuresti: Geneza.

7. HAYWARD S. (1999), Biopsihologie, Bucuresti: Termica.

8. IFRIM M. (1986), Antropologie motricä, Bucuresti: §tiin|ificä si Enciclopedica.

9. SCHNEIDER F. (2002), Introducere in flziologia clinica, 144, Bucuresti: Viaja medicala româneasca.

10. VOICA A. (1998), Repere in interpretarea prozodicä, 326, Iasi: Edit. Univ. "Al. I. Cuza".

11. ZLATE M. (1 999), Psihologia mecanismelor cognitive, Iasi: Polirom.

* E-mail: [email protected]

STUDIU PRIVIND INFLUENJA RITMULUI ASUPRA NIVELULUI DE MANIFESTRAE A APTITUDINILOR PSIHOMOTRICE

Moldovan Elena 1 Enoiu Räzvan Sandu 2, Albulescu Eugene 3

1'2Univehtatea Transilvania din Brasov, Romania

3 Lehigh University, Bethlehem, Pensylvania, USA

Cuvinte cheie: ritm, aptitudini psihomotrice

Rezumat

Lucrarea de fata face un studili privind influenta si conditiile de formare a deprinderilor psihomotrice sub aspectul ritmului. Ritmul reprezinta o forma specifica de organizare si percepere a fenomenelor, asigurând executarea mai disciplinata a miscärilor, coordonarea mai bunä a pärtilor exercitiilor. Pornind de la simtul ritmului, deméntele coordonärii motrice, corelate cu cea auditiva si vizualä, trebuie sä se bazeze pe o proiectare optima, atât analitica cât si globalä. Introducerea fondului muzical a déterminât o îmbunatatire a memoriei auditive, vizuale precum si a capacitagli de coordonare complexe, nótele objinute la fiind relevante. In afarä de importan ja introducerii fondului muzical, compararea rezultatelor obtinute de elevi, asupra cârora a fost ìndreptat studiul, releva encienta dezvoltärii ritmului cu influente benefice asupra nivelului manifestarli aptitudinilor psihomotrice

1. Introducere

Universul întreg este subordonat armoniei si ritmului. Capacitatea de organizare specifica a unor structuri ritmice a fost ìntotdeauna sesizatä de percepita umana, ceea ce a déterminât adoptarea ritmului, ca expresie a nevoii de ordine ìn cadmi structurilor create de inteligenja umana. Existent fenomenelor ritmice ìn natura se rasfrânge direct si asupra corpului omenesc, acesta fiind un sistem complex intégrât în mediu natural si social (S.Hayward, 1999). Ritmul, ca element al temporalitäjii, este un fenomen fisiologie fundamental, exprimat prin procésele ce se petrec de la nivel celular, célula fiind sediul activitäjii ritmice, idee exprímala de autorii: M.Ifrim (1986), F.Schneider (2002) si ap.

Astfel ìn activitatea noasträ distingem: percepitile spaziale, percepitile temporale, percepita miscärilor.

Percepitile spaziale, asigurä orientarea in mediu si se refera la: percepita märimii, formet, volumului si profiinzimii obiectelor; se realizeazä pe baza colaborärii mai multor analizatori.

Percepitile temporale, se realizeazä pe parcursul viejii, sub influenza experienjei, pe baza mecanismelor proceselor nervoase; percepita timpului este absolut necesarä; vorbim de percepita ritmului, tempo-ului si a duratei.

Allport G (1981), a fost eel care a introdus nojiunea de "analizator" si a determinai o schimbare ìn abordarea si interpretara mecanismelor neurofiziologice ale proceselor senzoriale. Senzajia si percep^ia reprezinta rezultatul activitäjii imitare a întregului analizator. Un rol hotârâtor în realizarea senzajiilor si a perceptor temporale îl are analizatorul auditiv, care este un mecanism inteligent în cadrul cäruia se realizeazä operaci logice de comparare, clasificare, alegere , cordare si combinare. Auzul uman dispune de capacitatea de a discrimina si de a asocia cu efecte emozionale distincte, vibratile cu carácter periodic si cele cu carácter aperiodic ( C.Voica, 1978). Se considera cä orice persoanä cu auz fiziologic normal în cadrul unei activitäji de percepere si executare a diferitelor entitäji melodice ajunge sa-si elaboreze un auz melodie satisfacätor(M.Golu, 1978).

Zlate,M.(1999) afirmä cä: "ritmul este de natura motricä" si formuleazä urmätoarele concluzii, în urma experimentelor efectúate:

1. Perceperea ritmului cuprinde reacjii de miscare, fiind un procès auditiv si motric.

2. Reacuñe de miscare nu sunt constiente.

3. Subiectul traieste ritmul când îl acompaniazä sau acjioneazä împreuna cu el.

4. Träirea accentului este insolita de reagii mai puternice de miscare.

Percepjia miscärilor, include atât deméntele ei spaziale cat si pe cele temporale; analiza miscärilor ne duce la raportarea marimilor spaziale la cele temporale; se exprima prin: percepjia miscärilor exterioare corpului si prin percepjia miscärilor propriului corp ( M.Epuran, V.Horgidan,1999).în sintezä, miseärile sunt strâns legate de psihic si implica în totalitate personalitatea individului iar psihicul este strâns légat de miseärile care îi condijioneazä dezvoltarea, astfel miscarea apare ca o forma de gandiré, adicä este în acelasi timp, rezultatul proceselor psihice, dar si un factor de modelare a acestora (AAlbu, CAlbu, 1999).

Astfel, expresia maturizärii si integrärii funcjiilor motrice si psihice la nivelul pretins de integrarea funzionala bunä a individului în ambianjä, este psihomotricitatea. Ea este o funche ce exprima relajiile complexe, interdependence între actele motrice si activitatea psihicä (V.Horghidan, 2000).

Elementele de psihomotricitate au valoare atunci când sunt integrate întrun comportament motric unitar adaptât si adaptabil la situabile schimbate. Conducerea propriului corp presupune existera unui fond de calitäji structurate de exersare si adáptate de mecanismele de anticipare si reglaj.

în concluzie, subliniem ideea cä, ritmul reprezintä o forma specifica de organizare si percepere a fenomenelor , asigurând executarea mai disciplinata a miscärilor, coordonarea mai bunä a pär^ilor exercijiilor. De asemenea subliniem si existera asa numitelor bioritmuri care influenjeazä uneori desfasurarea eu succès a activitäfii.

Educala psihomotorie favorizeze dezvoltarea armonioasä a personalitäjii, realizarea sinelui, eu lumea obiectiva si eu lumera adultilor. Reperde educajiei psihomotrice sunt expresia corporalä, miscarea, jocul, desenul, muzica. Miseärile sunt strâns legate de psihic si implica personalitatea în totalitate iar psihicul este strâns légat de miseärile care îi condijioneazä dezvoltarea.Psihomotricitatea este "expresia maturizärii si integrärii funcjiilor motrice si psihice la nivelul pretins la integrarea funcjionalä bunä a individului în ambianjä"( M.Epuran, 1999).

Ipoteza cer cetani. S -a presupus, ca utilizatici metode si mijloace spécifiée pentru educarea ritmului activitäjilor motrice la elevi în cadmi orelor de educale fizicä, în mod sistematic si continuu, vom obline o crestere a nivelului de manifestare a aptitudinilor psihomotrice.

Pentru realizarea cercetärii au fost selectaji 12 elevi de clasa a Xll-a fete, profil uman. Datele otyinute au fost prelucrate statistic ci le-am prezentat prin intermediul graficelor. în urma rezultatelor au fost formulate concluzii §i propuneri. Activitatea cu grupa de fete s-a organizat si desfasurat conform elaborärilor mijloacelor si metodelor propuse, introducându-se în fiecare ora în primele trei verigi, fondul muzical si 15 minute de aerobic.

La finalul activitäjii expérimentale téstele efectúate au fost reluate, rezultatele fiind înregistrate si prelucrate statistic, urmärind media aritmetica, coeficientul de variabilitate si abaterea standard.

Metode de cercetare. Parametrii cercetaji au fost: auzul muzical, memoria vizualä si auditiva si coordonarea senzo-motorie.

1. Nivelul auzului muzical s-a déterminât prin aprecierea si distingerea sunetelor, acestea fiind selectate pe claviatura pianului, de la unu pana la trei note. Aprecierea nivelului de dezvoltare a simfului ritmului, am realizat-o pe baza baterii unor teme ritmice propuse, compuse din douä tacte, în mäsura muzicalä 4/4, într-un anumit tempo. Desenul ritmic a fost identic pentru toji elevii. Demonstrarea sarcinii temei s-a realizat o singurä data. Desenul ritmic a fost notât eu 10 puñete, câte un punct pentru flecare sunet, símetele fiind asezate într-o organizare ritmica determinata, lipsa unui sunet sau exécuta incorectä a temei, determina pierderea unui punct.

2. Nivelul dezvoltärii memoriei vizuale si auditive s-a realizat cu ajutorul unei probe prin care au punit fi evidenziate: rapiditatea memorarli; pästrarea celor memorate; exactitatea reproducerii; promptitudinea reactualizarilor.

Proba a cuprins doua parÇi. Prima consta din 20 de cuvinte care desemneazä obiecte, fenomene, stari etc. Trebuiesc citite si memorate cuvintele respective într-un timp de 2 minute. Apoi pe o foaie de hârtie se noteazä cuvintele memorate.

A doua parte consta dintr-un dreptunghi ínjumatajit. în partea superioarä sunt desenate mai multe figuri geometrice care trebuiesc parcurse, memorate timp de 2 minute. Apoi, acoperind partea superioarä, se vor desena figurile memorate in partea de jos.

3. Nivelul coordonärii complexe. S-a coneeput o structura în 32 de timpi, prin care s-a pus în valoare, atât coordonarea complexa cât si ritmul de execute a structurii. Structura se bazeazä pe imitarea unor miscari executate de profesor în timpul derulârii programului de aerobic. Aceastä structura a fost însusita si apoi evaluatä din punct de vedere al rejinerii miseärilor si a corectitudinii execu^iei lor.

Dupä culegerea datelor, au fost introduse ìn tabel care a permis prezentarea rezultatelor subiecjilor supusi experimentului. Astfel se pot vizualiza indicii si diferencie înregistrate între cele doua testali la esantionului investigai la cele trei teste.

Rezultatele otyinute ìn puñete au fost transformate ìn clase de valori (foarte bine, bine, mediu, mediocri! si slab) cärora li s-au acordat note, astfel fiind posibilä prelucrarea statistico-matematica.

Rezultatele arata o diferenjiere ìntre cele douä testan, sunt mult mai bune, atât în ceea ce priveste rezultatele privind auzul, memoria auditiva si vizualä precum si coordonarea complexa.

Astfel putem observa cä subiectul V.C., realizeazä eel mai mare progrès, de la nota 6,66 la testarea iniziala, ajunge la testare finalä, la nota 9,33. Subiectul V.C. reuseste la fei sä-si imbunätäjeascä rezultatele la cele trei testali, având un progres de la nota 5,66 la nota 8. Se evidenjiaza mai bune calitaji ale auzului, memoriei si coordonarii complexe.

Vaiolile mai mici la nivelul subiecjilor care au otyinut un progres nu foarte concludent, se datoreazä faptului cä starea de obosealä se instaleazä mult mai repede, factorii perturbatori externi care ìi influenfeaza mai puternic.

Observaba directa asupra modului de abordare si solucionare a situajiilor, cât si téstele psihomotrice, au facut posibilä aprecierea unor caracteristici motivajional-afective. Astfel, esantionul investigai prezintä o adaptabilitate mai bunä la testarea finalä.

Pe de alta parte, ìn grupul investigai, observäm cä sunt subieeji cu o anumitä inhibidle în abordarea testelor mai dificile, reusesc cu greu sä-si concentreze atenea si memoria, acestia acumulând un punctaj mai mie.

Dupä calcului coeficientului de variabilitate care da mäsura gradului de omogenitate a colectivului observäm cä, coeficientul de variabilitate, la testarea finalä, demonstreazä o variabilitate bunä, si în acelasi timp o omogenitate mare.

In urma efectuärii testelor finale, a fost posibilä o comparare între rezultatele objinute la téstele supuse experimentului, vaiolile objinute prin calcularea mediilor subiecjilor, arata o crestere a mediei generale a grupului investigai, de la 6,86 (testare inaiala) la 8,64 (testare finalä) diferenja fiind de 1,81 la media generala realizatä de esantionul investigai.

Din analiza tuturor datelor recoltate si prelucrate statistic am constatât, cä valoarea parametrilor cercetaji si performanjele la probele testate s-au améliorât, desi între acestia nu exista legäturi puternice si semnificative.

Cresterea valorilor exprimate prin mediile aritmetice calculate denota faptul cä activitatea motricä a elevilor poate fi imbunätäjitä iar ritmul acesteia poate fi oarecum influençât în ceea ce priveste modul de execute a deprinderilor si priceperilor motrice.

Concluzii. Activitatea motricä este integrata în complexul activitäjii didactice, aläturi de activitatea comunicativa, de proiectare, creativa, constructiva, de organizare si gnostica. Rezultatele cercetärii au demonstrat necesitatea analizei mai aprofundate a acestei activitäji, mai cu seamä sub aspectul caracteristicilor temporale: ritm si tempo.

De asemenea, trebuie remarcata necesitatea unei coordonäri complexe în cadmi activitäjii motrice, a cärei componente au fost testate ìn cadmi cercetärii noastre, rezultatele exprimând o crestere semnificativä a valorilor.

Cresterile realízate se datoreazä introducerii fondului muzical, a programului de aerobic in cadrul orelor de educate fizicä cat si prin elaborarea metodica specifica activitäjilor de aerobic realízate special pentru grupa experiméntala. Programul élaborât a avut un continui cuprinzând mijloace spécifiée gimnasticii si atletismului. De asemenea mijloacele utilizate au o structura ritmica diferitä iar dozarea s-a facut ìn concordanza cu tipurile de lec^ii si tematica abordatä.

Introducerea fondului muzical a determinai o imbunätäjire a capacitagli de coordonare complexa, nótele objinute la complexul de coordonare complexa fiind relevante.

Compararea rezultatelor obtinute de elévele clasei a Xll-a, la testarea iniziala si finalä, releva eficienja elaborärilor metodice privind formarea ritmului prin mijloace spécifiée diferitelor discipline sportive cu carácter de transfer.

Formarea ritmului ìn cadrul activitäjii motrice este o problema care se impune a fi realizatä ìnca din lnväjämantul primar ca apoi sä fie perfezionata în cadrul activitäjii viitoare Este o problema cu largì implicaci ereditare iar ìn activitatea didáctica, cei care au astfel de problème, o suplinesc apelând la metode expozitive sau iniziative de alta natura.

Pentru ca activitatea motrico-didacticä a profesorului de educale fizicä sä fie cât mai pläcutä si eficientä, se recomandä introducerea fondului muzical, care poate sä rezolve problema educarli ritmului la elevi.

Consideräm necesar, utilizarea acompaniamentului muzical pe tot parcursul lecjiilor, folosirea unor aparate care pot imprima tempo si ritm si chiar a obiectelor portative.

Referinte bibliografice

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