对于舞蹈专业生物力学的一点看法从上世纪80年代初以来，本人一直从事和体育专业生物力学教学、实验有关的工作，对于体育领域运动生物力学的来源、发展和内容还是比较了解的，也曾经比较专注于运用人体解剖学和运动生物力学的方法解析人体的运动规律和分析人体动作，在讲授舞蹈专业人体解剖学的动作分析章节时，总感觉体育领域的运动生物力学解析方法似乎和舞蹈专业的需求有所区别，一时又说不清楚区别究竟在哪里，后来看到关于拉班的动作解析理论，才多少有些想法。
那么什么是拉班的动作解析理论？还是看一段英文原文说的更详细一些。
Laban Movement AnalysisFrom Wikipedia, the free encyclopediaLaban Movement Analysis (LMA) is a system and language for understanding, observing, describing and notating all forms of movement. Devised by Rudolf Laban, LMA draws on his theories of effort and shape to describe, interpret and document human movement. Used as a tool by dancers, athletes, physical and occupational therapists, it is one of the most widely used systems of human movement analysis.Extended by the work of Irmgard Bartenieff, the system is known also as Laban/Bartenieff Movement Analysis or Laban Movement Studies and comprises:· Laban Movement Analysis· Anatomy and Kinesiology· Bartenieff Fundamentals(sm)· LabanotationQualified practitioners are known as "Certified Movement Analysts" (CMAs) or "Certified Laban Movement Analysts" (CLMAs).On a stylistic note, terms which have specific meaning in the system are typically capitalized. Thus there is a difference between "strong weight effort" and "Strong Weight Effort". The former is an English phrase with a variety of connotations. The latter is LMA specific vocabulary referring to one of the two configurations of Weight Effort, a qualitative category of movement expression.Contents· 1 Laban Movement Analysiso 1.1 Bodyo 1.2 Efforto 1.3 Shapeo 1.4 Space· 2 Anatomy and kinesiology· 3 Labanotation· 4 Bartenieff Fundamentals(sm)· 5 Centers· 6 See also· 7 External linksLaban Movement AnalysisLMA (Laban Movement Analysis) is a development of Laban's theories. It includes studies in 4 inter-related categories: Body/ Effort/Shape/Space. LMA/BF is the integrated study of Laban and Irmgard Bartenieff's embodiment of his theories.LMA has four main categories: Body, Effort, Shape, and Space.BodyThe body category describes structural and physical characteristics of the human body while moving. This category isresponsible for describing which body parts are moving, which parts are connected, which parts are influenced by others, and general statements about body organization. The majority of this category's work was not developed by Laban himself, but developed by his student/collaborator Irmgard Bartenieff, the founder of the Laban/Bartenieff Institute in NYC, through the "Bartenieff Fundamentals"(sm). The Body category, as well as the other categories, continue to be further developed through the work of numerous CMAS, and applied to ever extending fields, such as: fitness, somatic therapies, rehabilitation, dance technique, and more.Several subcategories of Body are:· Initiation of movement start ing from specific body parts;· Connection of different body parts to each other;· Sequencing of movement between parts of the body; and · Patterns of body organization and connectivity, called "Patterns of Total Body Connectivity", "Developmental Movement Patterns", or "Neuromuscular Patterns".EffortEffort, or what Laban sometimes described as dynamics, is a system for understanding the more subtle characteristics about the way a movement is done with respect to inner intention. The difference between punching someone in anger and reaching for a glass is slight in terms of body organization - both rely on extension of the arm. The attention to the strength of the movement, the control of the movement and the timing of the movement are very different. Effort has four subcategories, each of which has two opposite polarities.· Space: Direct / Indirect· Weight: Strong / Light· Time: Sudden / Sustained· Flow: Bound / FreeLaban effort graphLaban named the combination of the first three categories (Space, Weight, and Time) the Effort Actions, or Action Drive. The eight combinations are descriptively named Float, Punch(Thrust), Glide, Slash, Dab, Wring, Flick, and Press. The Action Efforts have been used extensively in some acting schools to train the ability to change quickly between physical manifestations of emotion.Flow, on the other hand, is responsible for the continuousness or ongoingness of motions. Without any Flow Effort, movement must be contained in a single initiation and action, which is why there are specific names for the Flow-less Action configurations of Effort. In general it is very difficult to remove Flow from much movement, and so a full analysis of Effort will typically need to go beyond the Effort Actions.ShapeWhile the Body category primarily develops connections within the body and the body/space intent, the way the body changes shape during movement is further experienced and analyzed through the Shape category. It is important to remember that all categories are related, and Shape is often an integrating factor for combining the categories into meaningful movement.There are several subcategories in Shape:· "Shape Forms" describe static shapes that the body takes, such as Wall-like, Ball-like, and Pin-like.· "Modes of Sh ape Change" describe the way the body is interacting with and the relationship the body has to the environment. There are three Modes of Shape Change: o Shape Flow: Representing a relationship of the body to itself. This could be amoebic movement or could be mundane habitual actions, like shrugging, shivering, rubbing an injured shoulder, etc.o Directional: Representing a relationship where the body is directed toward some part of the environment. It is divided further into Spoke-like (punching, pointing, etc.) and Arc-like (swinging a tennis racket, painting a fence)o Carving: Representing a relationship where the body is actively and three dimensionally interacting with the volume of the environment. Examples include kneading bread dough, wringing out a towel, or miming the shape of an imaginary object. In some cases, and historically, this is referred to as Shaping, though many practitioners feel that all three Modes of Shape Change are "shaping" in some way, and that the term is thus ambiguous and overloaded.· "Shape Qualities" describe the way the body is changing (in an active way) toward some point in space. In the simplest form, this describes whether the body is currently Opening (growing larger with more extension) or Closing (growing smaller with more flexion). There are more specific terms - Rising, Sinking, Spreading, Enclosing, Advancing, and Retreating, which refer to specific dimensions of spatial orientations.· "Shape Flow Support" describes the way the torso (primarily) can change in shape to support movements in the rest of the body. It is often referred to as something which is present or absent, though there are more refined descriptors.The majority of the Shape category was not developed during Laban's life, but added later by his followers. Warren Lamb was instrumental in creating a significant amount of the theoretical structure for understanding this category.SpaceOne of Laban's primary contributions to Laban Movement Analysis (LMA) are his theories of Space. This category involves motion in connection with the environment, and with spatial patterns, pathways, and lines of spatial tension. Laban described a complex system of geometry based on crystalline forms, Platonic solids, and the structure of the human body. He felt that there were ways of organizing and moving in space that were specifically harmonious, in the same sense as music can be harmonious. Some combinations and organizations were more theoretically and aesthetically pleasing. Like with music, Space Harmony sometimes takes the form of set 'scales' of movement within geometric forms. These scales can be practiced in order to refine the range of movement and reveal individual movement preferences. The abstract and theoretical depth of this part of the system is often considered to be much greater than the rest of the system. In practical terms, there is much of the Space category that does not specifically contribute to the ideas of Space Harmony.This category also describes and notates choices which refer specifically to space, paying attention to:· Kinesphere: the area that the body is moving within and how the mover is paying attention to it.· Spatial Intention: the directions or points in space that the mover is identifying or using.· Geometrical observations of w here the movement is being done, in terms of emphasis of directions, places in space, planar movement, etc.The Space category is currently under continuing development, more so since exploration of non-Euclidian geometry and physics has evolved.The applications of LMA/BF, originally directed toward the performing arts, have been spreading to many and new exciting fields, such as peace studies, anthropology, business consulting, leadership development, psychotherapy, health & wellness, and more.Anatomy and kinesiologyThe system involves no departure whatsoever from conventional anatomy and kinesiology.LabanotationLabanotation uses abstract symbols to define the:· Direction of the movement· Part of the body doing the movement· Level of the movement· Length of time it takes to do the movementThe shapes of the symbols indicate nine different directions in space and the shading of the symbol specifies the level of the movement.Labanotation is a record of how you move so that you can do the same thing again and again. The symbols are placed on a vertical staff, the horizontal dimension of the staff represents the symmetry of the body, and the vertical dimension time. The location of the symbol on the staff defines the body part itrepresents. The centre line of the staff represents the centre line of the body, symbols on the right represent the right side of the body, symbols on the left, the left side.The staff is read from bottom to top and the length of a symbol defines the duration of the movement. Drawing on western music notation, Labannotation uses bar lines to mark time measures and double bar lines at the start and end of the movement score. The starting position of the dancer can be given before the double bar lines at the start of the score.Spatial distance, spatial relationships, transference of weight, centre of weight, jumps, turns, body parts, paths, and floor plans can all be notated by specific symbols.Although the abstract symbols represent Laban's work on shape, Laban's theories of effort (see Laban Movement Analysis) can also be represented in Labanotation. The four effort categories are:· Space: Direct / Indirect· Weight: Strong / Light· Time: Sudden / Sustained· Flow: Bound / Freeand they appear in the notation as an effort graph:Laban effort graphThe basic difference between Kinetography Laban and Labanotation is how the system is perceived:· Those practicing Kinetography Laban (International Council of Kinetography Laban) believe that the system is based on spatial analysis.· Those practicing Labanotation (The Dance Notation Bureau) believe that the system was developed to record body movement.It is this difference that explains the differing interpretationsof the notation by the two groups.Labanotation is used in a variety of settings including Laban Movement Analysis, dance notation, documentation and reconstruction, Movement analysis, Robotics, Human movement simulation and Human movement synthesis.Motif Description is a subset of Labanotation that depicts the overall structure or essential elements of a movement sequence.Bartenieff Fundamentals(sm)Bartenieff Fundamentals(sm) are an extension of LMA originally developed by Irmgard Bartenieff , the Founder of the Laban/Bartenieff Institute of Movement Studies - LIMS NYC, who trained with Laban before becoming a physiotherapist in the US.A set of concepts, principles and exercises that apply Laban’s movement theory to the physical / kinesiological functioning of the human body, the BF include:· Dynamic Alignment· Breath Support· Core Support· Rotary Factor· Initiation and Sequencing· Spatial Intent· Centre of Weight/Weight Transference· Effort Intent· Developmental Patterning and its Support for Level ChangeCentersThere are two main institutions dedicated to Laban's work: The LABAN Centre for Movement and Dance in London (UK) and the Laban/Bartenieff Institute of Movement Studies in New York(US).The LABAN Center for Movement and Dance Studies (London), founded in 1948 as the Art of Movement Studio, is a leading accredited Performing Arts University, with Undergraduate (BA Honors), Graduate (MSc and MA) and Post Graduate (PhD) degree programs. Their library offers the largest and most varied open access specialist research collection on dance and related subjects in the UK. In addition, its archives contain the most complete records of Rudolf Laban's research, manuscripts and models entrusted to the institution since 1953.The Laban/Bartenieff Institute of Movement Studies - LIMS NYC was established by Irmgard Bartenieff in 1978 as an organization for Laban & Bartenieff movement studies in all walks of life and offers the title of CMA(Certified Movement Analyst) through graduate level Certification Programs从上文介绍的Laban Movement Analysis 一文可以看出舞蹈领域对于人体运动规律的认知和理解和体育专业不太一样。
‘Structural Chemistry ’Course SyllabusCourse Code：09040001Course Category：Major BasicMajors：ChemistrySemester：SpringTotal Hours：54 Hours Credit：3Lecture Hours：54 HoursTextbooks：《Structural Chemistry》孙墨珑编著，东北林业大学出版社。
I.Introduction to Structural ChemistryThe major targets this course includes the followings: (1) to introduce the material structure of the basic concepts, basic theory, and basic methods for learning “Structural Chemistry”; (2) to explore the relationship between the microstructures and properties of atoms, molecules, and crystals; (3) to systematically clarify the essence of the periodic law of elements; (4) to deeply and qualitatively clarify the essence of the chemical bonds. This course introduces the basic principles of quantum mechanics and their applications in simple systems, structure of atoms, molecules, and crystals, symmetry of molecular orbitals, molecular orbital theory, and ligand field theory, etc. After learning this course, the students should be able to analyze and solve the basic chemistry problems from the point of view of quantum mechanics.II.Table of contentsSection I (Chapter 1) Basic knowledge of quantum mechanics1.1 Failures of classical mechanics1）Black-body radiation & Planck’s solution;2）Ph otoelectric effect & Einstein’s theory;3）Hydrogen spectrum & Bohr’s model.1.2Characteristics of the motion of microscopic particles1)Wave-particle duality;2)Uncertainty principle.1.3The basic postulates of quantum mechanics1)Postulate 1: wavefunction;2)Postulate 2: Hermitian operators;3)Postulate 3: Schrödinger equation;4)Postulate 4: linearity and superposition;5)Postulate 5: Pauli exclusion principle.1.4Applications of quantum mechanics in simple cases1)Free particle in one-dimensional (1D) box;2)Applications of the 1D-box model in simple chemical systems;3)Free particle in two-dimensional (2D) & three-dimensional (3D) box;4)Tunneling & scanning tunneling microscopy (STM).Section II (Chapter 2) Structures and properties of atoms2.1 One-electron atom: H atom1)The Schrödinger equation of H atoms;2)Solution of the Schrödinger equation of H atom.2.2Quantum numbers1)Principle quantum number, n;2)Angular momentum quantum number, l;3)Magnetic quantum number, m;4)Zeeman effect.2.3Wavefunction and electron cloud1)Radial distribution;2)Angular distribution;3)Spatial distribution.2.4 Structure of multi-electron atoms1)The Schrödinger equation of multi-electron atoms•Self-consistent field method;•Central field approximation.2)The building-up principles and electron configuration of multi-electron atoms•Pauli exclusion principle;•Principle of minimum energy;Hund’s rule.2.5Electron spin and Pauli exclusion principle2.6Atomic spectroscopy1)Orbital-spin coupling;2)Spectroscopic terms & term symbol;3)Derivation of atomic term.4)Hund’s rule on the spectroscopic terms;2.7Atomic properties1)Energy of ionization;2)Electron affinity;3)Electronegativity.Section III (Chapters 3-6) Structures and properties of molecules Chapter 3 Geometric structure of molecules─Molecular symmetry & symmetry point group3.1Symmetry elements and symmetry operations1)Symmetry elements and symmetry operations;2)Combination rules of symmetry elements;3.2Point groups & symmetry classification of molecules3.3Point groups & groups multiplication3.4Applications of molecular symmetry1)Chirality & optical activity;2)Polarity & dipole moment.Chapter 4 S tructure of biatomic molecules (X2 & XY)4.1 Linear variation method and structure of H2+ ion1) Shrödinger equation of H2+ ion;2) Linear variation method;3) Treatment of H2+ ion using linear variation method;4) Solutions of H2+ ion.4.2 Molecular orbital theory and diatomic molecules1) Molecular orbital theory;2) Structure of homonuclear diatomic molecules (X2);3) Structure of heteronuclear diatomic molecules (XY).4.3 Valence bond (VB) theory and H2 moleculeChapter 5 Structure of polyatomic molecules (A)5.1 Structure of Methane (CH4)1) Delocalized molecular orbitals of methane (CH4);2) Localized molecular orbitals of methane (CH4).5.2 Molecular orbital hybridization1) Theory of molecular orbital hybridization;2) Construction of hybrid orbitals;3) Structure of AB n molecules;4) Molecular stereochemistry: valence shell electron-pair repulsion (VSEPR)model.5.3 Delocalized molecular orbital theory─Hückel molecular orbital (HMO) theory1) HMO method & conjugated systems;2) HMO treatment for butadiene;3) HMO treatment for cyclic conjugated polyene (C n H n);4) Molecular diagrams;5) Delocalized π bonds.5.4 Structure of electron deficient molecules5.5 Symmetry of molecular orbitals and symmetry rules for molecular reactions5.6 Molecular spectroscopy1)Infrared absorption spectroscopy: molecular vibrations;2)Raman scattering spectroscopy: molecular vibrations;3)Fluorescence spectroscopy: electronic transitions;4)NMR spectroscopy: nuclear magnetic resonances.Chapter 6 Structure of polyatomic molecules (B), coordination compounds 6.1 Crystal field theory6.2 CO and N2 coordination complexes6.3 Organic metal complexes1) Zeise’s salts;2) Sandwich complexes.6.4 Clusters1) Transition-metal cluster compounds2) Carbon clusters and nanotubesSection IV (Chapters 7-9) Structure of crystalsChapter 7 Basics of crystallography7.1 Periodicity and lattices of crystal structure1) Characteristics of crystal structure;2) Lattices and unit cells;3) Bravais lattices and unit cells of crystals;4) Real crystals & crystal defects.7.2 Symmetry in crystal structure1) Symmetry elements and symmetry operations;2) Point groups (32) and space groups (230).7.3 X-Ray diffraction of crystals1) X-ray diffraction of crystals•Laue equation;•Bragg’s law;•Reciprocal lattice.2) Instrumentation of X-ray diffraction;3) Applications of X-Ray diffraction•Single crystal diffraction: crystal structure determination;•Powder diffraction: qualitative & quantitative analysis of crystalline materialsChapter 8 Crystalline solids, I: metals and alloys8.1 Close Packing of Spheres1) Close packing of identical spheres;2) Packing density;3) Interstices.8.2 Structures and Properties of Pure Metals8.3 Structures and Properties of AlloyChapter 9 Crystalline solids, II: ionic crystals9.1 Packing of Ions;9.2 Crystal Structure of Some Typical Ionic Compounds9.3 Trend of Variation of Ionic Radii9.4 Pauling Rule of Ionic Crystal Structure9.5 Crystals of Functional Materials1) Nonlinear optical materials;2) Magnetic materials;3) Conductive polymers;4) Semiconductors: band gap and photocatalysisIII.Table of ScheduleReferences[1] 王荣顺主编，东北师范大学等，《结构化学》，高等教育出版社，2003年。
