Since the decision was made to host the Tokyo Olympics, synchronized diving competitions have been attracting more and more attention in the Japanese diving world. Synchronized diving is a competition in which a pair of divers perform at the same time from a springboard or a fixed platform and compete for superiority and synchronization.

In fact, the synchronization of the movements in synchronized performance cannot be creat ed simply by matching the timing of entering the water or by matching the external features of synchronized diving. No research report that discusses the unique kinetic orientation of synchro nization from the perspective of shared kinaesthetic sensations has been published.

In this research, a pair of Japanese athletes who participated in a synchronized competition in the Tokyo Olympics is featured as an illustrative example. The author attempts to identify the kinetic abilities necessary to enhance synchronized movement.

The result shows that the approach and stepping aspects are the most important for improv ing synchronization. It is necessary that the sense of motion of each member of the pair be com posed of a double melody as if it were a chorus, including the sense of a motion melody regarding the other person’s approach: “the other person will move this way”; and a sense of motion melody for one’s own approach: “I should move this way”. It also became apparent that the double sense of melody was a result of shared kinaesthetic sensations.

Attackers in volleyball need to acquire many attack techniques that are used as elements of tactical actions against a defending team. In this study, we focused on the process of acquiring attack techniques by a female attacker in volleyball who had a 12-year career as a competitive athlete. We described the process of acquiring various attack techniques by the subject, based on a qualitative research method. Then, we systematized these types of mastered attack techniques from the viewpoint of the theory of human movement in sports. As a result, it was clarified that the subject of this study had mastered various attack techniques 1) by being able to use various coping skills that had been developed to deal with variations in the toss by the setter, 2) by being instructed on new and concrete variations of attack techniques from coaches, and 3) by devising a new attack techniques by herself. Additionally, systematization of the attack techniques from the standpoint of the morphology of movement revealed that the attack movements acquired by the subject included new types that had not been reported previously and that were worth adopting as target techniques in technique training. Thus, it is concluded that coaches should teach many variations of attack techniques as target techniques in the technique training of attackers.

Salto rückwärts gestreckt mit 2/1 Drehung über die Stange im Hang am Reck wurde erstemal am 47th Weltmeisterschaften(Montreal 2017) von japanischen Turner Miyachi Hidetaka demonstriert. Daraus wurde diese neue Übung Miyachi im Wertungsvorschriften Männer 2017 genannt．Miyachi ist nicht nur selten, sondern auch als die höchste Stufe im allen Elementen auch im heute gültige Wertungsvorschriften Männer 2022 geschätzt．

Wenn man diese Übung eignet wollten, solte eine rationalen Lernmethodik konstruiert werden. Zur Konstruierung der Lernsmethodik solte die ausführlichen Strukturanalyse über die Übung geleistet werden．

Der Zweck dieser Arbeit ist darin, die kinästhetischen Bewusstseins von Salto rückwärts gestrekt mit 2/1 Drehung über die Stange im Hang am Reck im Kunstturnen als Voraussetzung für Lehr - und Lernmethodik vom Standpunkt ästesiologischen Morphologie von Prof．Kaneko aus erläutet werden soll．

Daraus konnten wir die ausfürlichen kinästhetishen Bewustseinsinformation als Voraussetzung zur Konstruierung der Methodik dieser Übung dargestellt．

Von offiziellen Stellen wird der Bedarf an Bewegung in der frühen Kindheit immer wieder betont. Darüber hinaus werden in Materialien, die Ministerien veröffentlichen und in Büchern über den frühkindlichen Sportunterricht, Richtlinien für Übungszeiten und spezifische Beispiele für spielerische Bewegungsübungen definiert und zur Verfügung gestellt.

Kleinkinder lernen durch das Spielen eine Vielzahl von Bewegungsweise. Ohne die sorgfältige Beobachtung der Genese der kinästhesiomorphe von Kleinkindern kann man leicht übersehen, welche vergangenen leibhaftigen Erfahrungen an der Entwicklung dieser Bewegungsweise beteiligt sind.

Die Entwicklung neuer Bewegungsweise steht in engem Zusammenhang mit vergangenen leibhaftigen Erfahrungen. Auch Kleinkinder, die ihr Bewegungsgefühl noch nicht gut in Worte fassen können, lernen ständig neue Bewegungsweise, indem sie bekannte kinästhetische Strukturen neu kombinieren.

In der vorliegenden Arbeit wurde der Lernprozess der „Rolle rückwärts“ bei Matten-Übungen für Kleinkinder untersucht. Am Beispiel der passiven Genesis der „Rolle rückwärts“ wurde gezeigt, dass sie zur Entwicklung der Bewegungsweise beiträgt, auch wenn sie im vergangenen Erfahrungshorizont nur als Leergestalt oder Leervorstellung niederschlägt.

Die Grundtechnik für die „Rolle rückwärts“ besteht darin, den Körper mit den Händen über den Kopf zu ‚drücken‘. Das Kleinkind hier vollendet die „Rolle rückwärts“ jedoch, indem es nach hinten ‚greift‘ sich festhält und den Körper über den Kopf ‚zieht‘. Diese Art der Bewegung kann als improvisiertes Urteil betrachtet werden, das basierend auf vergangenen leibhaftigen Erfahrungen gefällt wurde.

In dieser Arbeit wurden zwei Punkte aus der Sicht der kinästhetischen Bewegungslehre nach Kaneko analysiert:

-Welche Art von leibhaftiger Erfahrung war an der Entwicklung des Bewegungsweise des ‚Greifens‘ und ‚Ziehens‘ bei der „Rolle rückwärts“ beteiligt.

-Welche Bedeutung kommt die Kinästhesiomorphe ‚Greifen’ und ‚Ziehen‘ zu.

Die Erkenntnisse aus dieser Arbeit werden zur theoretischen Weiterentwicklung des frühkindlichen Sportunterrichts beitragen.

Gymnastics techniques change over time. The technique and value of each element in the gymnastics have also been changing. We cannot understand the elements and techniques that are currently being practiced without recognizing the values that have been shared and developed historically, nor can we predict the direction of future development without doing those. In order to understand the value associated with gymnastics development, it is necessary to research the historical transition of elements and techniques that has ever occurred. The evolution of elements and techniques up to around 1970 was described in “Coaching of Artistic Gymnastics” (Kaneko，1974). However, the historical evolution of elements and techniques since then has not been well studied.

Therefore, the purpose of this study is to understand the development trends and changes in techniques, consider the factors behind the occurrence of techniques due to changes in scoring rules and equipment, and predict the future developments by focusing on the support forward swing system on the parallel bars, one of the gymnastic techniques.

As a result, the following results were obtained.

1. In the 1970s, changes made to the code of points brought about an appreciation of the technology brought to “back support”. As a result, several new elements were developed for “back support.”

2. In the 1990s, there was a good balance between the original technical development and the structural complexity technical development.

3. In the 1990s, there was a bias towards technical development that made exsting techniques structurally complicated, but that trend has also plateaued.

4. In the 2000s, only one new elements occurred, and technological development has been stagnant.

5. After 2010, technological development continued to stagnate, with new element occurring at a rate of only one every 10 years.

The purpose of this case study was to reveal the reason that makes it difficult for students at the nursery teacher training school to get into rhythms and show points coaching/teaching of rhythm-dance getting into rhythms for students. The participants of this case study were two students at the nursery teacher training school. The movements, utterances, and reflection sheets of participants and the author’s teaching records were analyzed. From the results obtained, the following three points were suggested. 1) The following two points are probably prevented students from getting into rhythms. (a) the misidentified that dancing to music, especially to the beats is to dance getting into rhythms. (b) the way perceiving of bouncy movements. 2) In the process of mastery to dance getting into rhythms, there are individual differences in whether students become actively intentioned to the rhythms of the movements or the rhythms of the music. And the process of integrating the rhythms of the movements and the rhythms of the music probably be different.3) Words with concrete images and onomatopoeia during the coaching assisted to get into rhythms, and there were differences in the words that students preferred and used as clues.

Although the kinetic structure of the goalkeeper's goal-keeping motions in handball is highly complex, no structural analysis of the motions has been conducted. Without investigating goalkeeping motions and performing systematization based on such investigation, it is not possible to create systematic and step-by-step instruction methods. The purpose of this study is to contribute to the development of an instruction methodology for goalkeeping in games by clarifying these issues.

In this study, we first examined the bases for capturing the kinetic structure of goalkeepers’ goal-saving motions using Kaneko's concept of structure theory. From this, we were able to formulate eleven basic words and two determiners. Next, we discussed systematization of goal-saving motions in consideration of the situational semantic structure. The significance of this systematization is threefold: (1) The classification of goal-saving motions based on basic representations made classification easier to understand and reflect in practice for athletes; (2) By classifying and organizing goal-saving motions while taking into account the situation, it is expected that we can provide training materials for acquiring more practical goal-saving motions; and (3) The categorization and organization of goal-saving motions, taking into account the circumstances, are expected to provide training materials for the acquisition of more practical goal-saving motions.

The current rules require gymnasts to perform techniques that are as difficult and complex as possible to obtain high scores. Today, many of them perform the Kolman (Level E) in the men’s horizontal bar event. This technique becomes “backward stretch somersault with one twist chinning while going over the bar (Cassina) ” (Level G) when doing the somersault with the body stretched. Also, it becomes the “backward tuck somersault with two twist chinning while going over the bar(Bretschneider)” (Level H), when adding another twist to the somersault. Therefore, the Kolman is considered the basic form for those techniques. However, there have not been many studies on the technical training of the Kolman.

Therefore, in this study, the author gives a pure description of how the Kolman has gone through modifications from the standpoint of phenomenological movement analysis and clarifies the significance of the skills used for this technique.

The following two factors have influenced the generation of skills required to stabilize the Kolman.

1.Getting into the correct position for the hanging phase with relaxed shoulders

2.Clear understanding of the movement while hanging

The result of this study should enable gymnasts, who are aiming to acquire this technique, and their coaches to gain a prior understanding and train more effectively.

The purpose of this study is to determine the general movement technique for control in pitching, based on the analysis of the personal technique of individual “A”. As a first step, this study analyzes the execution of the “movement” and “mindset” behind them as performed by individual “A”. Next, it examines the adequacy and effectiveness of the “movement” and “mindset” while explaining how confidence in this method was achieved. As a result of this analysis, two effective methods of “movement” and “mindset”were achieved from individual “A”.

The first is the movement to leave the glove side arm when shifting the weight to the home base side to prevent “early torso rotation”. It was by chance during the match that “A” realized “early torso rotation” led to failure of “control”. After that, while focusing on preventing it and practicing repeatedly, “A” gradually became convinced that preventing “early torso rotation” was essential for “control”. In this process, “A” also noticed that the movement to leave the glove side arm when stepping to the home plate side is effective in order to accomplish this. Now, this is an essential movement for “A”.

The second is the movement to tilt the knee of the pivot leg towards the home base side, which is effective for increasing strength in the direction of home base to prevent “early torso rotation”. This is based on the “mindset” that if the strength toward the home base is weak when stepping forward, the pitcher will rely on the power of the upper body. Which will make “early torso rotation” more prone to occur. This “mindset” was also something that “A” realized through repeated trial and error, focusing on suppressing “early torso rotation”. “A” now firmly believes that it is effective to tilt the knee of the pivot leg to the home base side in order to increase the strength in the direction of home plate.

To resolve the issues revolving Kintaka et al.’s (2001) proposed method for the descriptive analysis of kinesthetic consciousness in people who exercise, the present study reexamined and proposed a new descriptive analysis method for assisting people who exercise to understand and express kinesthetic consciousness.

The procedures of Kintaka et al.’s (2001) method for the descriptive analysis of kinesthetic consciousness can be summarized as follows: intentions and feelings are externalized, and these externalized emotions are placed alongside consecutive pictures. In addition, kinesthetic consciousness was descriptively analyzed by confirming the corresponding relationship between intentions and feelings when a person successfully performed a certain exercise. However, in terms of corresponding relationships, we felt that it was difficult to understand which intentions corresponded to which feelings. Furthermore, there are intentions that emerge symbolically on the surface of consciousness, while others lie latent at a deeper level. Thus, we believed it was also necessary to perceive the construction as having a “hierarchy.”

Although the corresponding relationship and hierarchy had not been expressed, we succeeded in conducting a detailed descriptive analysis of kinesthetic consciousness by supporting the procedure through the creation of a fish-bone diagram. Repeatedly asking oneself, “Is this really correct?” during the detailed analysis process of kinesthetic consciousness led to the acquisition of a “real knack” for performing certain exercises.

The abovementioned examination of a new descriptive analysis method of kinesthetic consciousness—not to mention the personal involvement—suggested that this method could be used as a tool for people who exercise to understand and express their kinesthetic consciousness.