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Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Portuguesa |
Q4279594
Literatura
Os movimentos literários constituem respostas estéticas
às transformações históricas, sociais e culturais de cada
época. A compreensão das características de um
movimento e de seus principais autores permite
reconhecer
continuidades,
rupturas e diferentes
concepções de linguagem que marcaram a literatura
portuguesa ao longo dos séculos. (MOISÉS, 2013).
Relacione os autores da Coluna I aos respectivos movimentos literários da Coluna II.
Coluna I - Autores
1. Luís de Camões. 2. Padre Antônio Vieira. 3. Almeida Garrett. 4. Camilo Pessanha. 5. Fernando Pessoa.
Coluna II – Movimentos literários
( ) Romantismo. ( ) Modernismo. ( ) Classicismo. ( ) Simbolismo. ( ) Barroco.
Assinale a alternativa CORRETA, de cima para baixo.
Relacione os autores da Coluna I aos respectivos movimentos literários da Coluna II.
Coluna I - Autores
1. Luís de Camões. 2. Padre Antônio Vieira. 3. Almeida Garrett. 4. Camilo Pessanha. 5. Fernando Pessoa.
Coluna II – Movimentos literários
( ) Romantismo. ( ) Modernismo. ( ) Classicismo. ( ) Simbolismo. ( ) Barroco.
Assinale a alternativa CORRETA, de cima para baixo.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Portuguesa |
Q4279593
Pedagogia
A avaliação da aprendizagem integra o processo
pedagógico e fornece informações relevantes para o
acompanhamento do desenvolvimento dos estudantes,
subsidiando decisões didáticas relacionadas às práticas
de ensino e às estratégias de aprendizagem. Sua
realização requer critérios coerentes com os objetivos
educacionais e com as competências previstas para o
processo formativo (LUCKESI, 2011).
Com base nos princípios da avaliação da aprendizagem em Língua Portuguesa, assinale a alternativa CORRETA.
Com base nos princípios da avaliação da aprendizagem em Língua Portuguesa, assinale a alternativa CORRETA.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Portuguesa |
Q4279592
Pedagogia
A expansão das tecnologias digitais transformou as
práticas educacionais ao favorecer metodologias que
articulam diferentes linguagens, ampliam a interação
entre professores e estudantes e diversificam as formas
de construção do conhecimento (MORAN, 2018).
Com base nas concepções contemporâneas sobre recursos didáticos e tecnológicos aplicados ao ensino da língua, assinale a alternativa CORRETA.
Com base nas concepções contemporâneas sobre recursos didáticos e tecnológicos aplicados ao ensino da língua, assinale a alternativa CORRETA.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Portuguesa |
Q4279591
Português
A produção textual compreende um conjunto de
procedimentos articulados que envolvem planejamento,
textualização e revisão. Essas etapas orientam a
construção de textos adequados ao gênero discursivo,
aos interlocutores e aos objetivos comunicativos,
favorecendo a organização das ideias e a produção de
sentidos (KOCH; ELIAS, 2018).
Com base nos princípios da produção textual, assinale a alternativa CORRETA.
Com base nos princípios da produção textual, assinale a alternativa CORRETA.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Portuguesa |
Q4279590
Português
Texto associado
Bateria quântica armazena energia em metade do
tempo necessário para carregar sua versão clássica
Para os acompanhantes das novidades científicas,
tornou-se rotineiro observar avanços em tecnologias
baseadas no controle de propriedades físicas de átomos
e partículas subatômicas, tais como a computação, a
criptografia e o sensoriamento quânticos. Contudo, uma
quarta aplicação ganha espaço: as baterias quânticas.
No curto prazo, esses dispositivos aumentam a eficiência
de computadores quânticos e, no futuro, permitirão o
carregamento quase instantâneo de celulares e veículos
elétricos.
O físico brasileiro Alan Costa dos Santos, do Instituto de
Física Fundamental do Conselho Superior de
Investigações Científicas em Madri, ressalta o enorme
potencial teórico da tecnologia, embora reconheça que
ainda há um longo percurso até sua consolidação.
Santos, ao lado dos físicos Andreia Saguia e Marcelo
Sarandy, da Universidade Federal Fluminense,
coordenou o planejamento teórico de um experimento
conduzido na Universidade de Ciência e Tecnologia do
Sul, na China, sob a liderança dos físicos Chang-Kang
Hu e Dian Tan. A pesquisa, que reuniu os três teóricos
brasileiros e vinte experimentais chineses, foi capa da
revista Physical Review Letters em fevereiro.
A equipe demonstrou de forma inédita que uma bateria
capaz de gerar emaranhamento quântico carrega na
metade do tempo exigido por um dispositivo sem essa
propriedade. No emaranhamento, duas ou mais
partículas comportam-se de maneira entrelaçada como
um único ente, independentemente da distância entre
elas.
Para o teste, construiu-se um circuito
supercondutor quadrado de dez milímetros dotado de
dezesseis bits quânticos, ou qubits. O desempenho foi
avaliado
comparando-se
os
qubits
totalmente
desconectados — equivalente a uma bateria clássica —
com uma configuração em que parte dos qubits interagia
de forma entrelaçada. Ambas as condições receberam a
mesma quantidade de energia.
Os resultados revelaram que a bateria quântica carregou
60% mais rápido com cinco qubits entrelaçados e atingiu
uma taxa de armazenamento quase 100% superior ao
utilizar doze qubits emaranhados, que foi o limite
alcançado no teste. Em entrevista, Dian Tan explicou
que a realização exigiu controle e calibração delicados
para equilibrar as interações entre os qubits e otimizar a
carga sem perturbar o sistema, destacando os desafios
de aplicar pulsos precisos de micro-ondas enquanto se
ampliava a quantidade de bits ativos.
Um dos maiores obstáculos no setor é expandir o
emaranhamento para o maior número possível de qubits.
Diversamente das baterias convencionais de íons de
lítio, nas quais uma capacidade maior exige mais tempo
de recarga, os sistemas quânticos operam de forma inversa: quanto maior o sistema, mais veloz é a recarga.
Em tese, elevar a quantidade de qubits em dez mil vezes
reduziria o tempo de carregamento na mesma
proporção, viabilizando recargas em frações de segundo
se os dispositivos atingirem o porte das baterias
comerciais.
No âmbito da física, qualquer estrutura capaz de
armazenar energia temporariamente é considerada uma
bateria, seja uma represa hidrelétrica ou um acumulador
eletroquímico. As baterias modernas de lítio utilizam o
mesmo princípio básico da pilha criada por Alessandro
Volta em 1800, forçando a separação de partículas
encarregadas de gerar corrente elétrica. Por sua vez, um
qubit é um sistema quântico que transita entre o estado
fundamental zero e o estado excitado um, podendo
permanecer em sobreposição de ambos até que uma
medição seja feita. O processo de carga da bateria
quântica consiste em transferir energia aos qubits para
elevar seus estados de zero para um.
Atualmente, diferentes métodos buscam explorar tais
propriedades. Uma equipe liderada por James Quach, da
Organização da Commonwealth para Pesquisa Científica
e Industrial na Austrália, publicou na Light: Science &
Applications em março de 2026 um modelo baseado em
lasers e moléculas. O protótipo usa uma película com
centenas de trilhões de moléculas do corante ftalocianina
de cobre em uma cavidade óptica. O feixe de laser ativa
um estado coletivo chamado superabsorção, que amplia
a eficiência do processo em relação à absorção
individual.
O protótipo australiano obteve carga em
femtossegundos, unidade de medida de tempo que vale
um quatrilionésimo de segundo, e reteve a energia
durante nanossegundos. Houve um ganho substancial
na extração de energia elétrica à medida que mais
moléculas foram expostas ao laser, superando em até
120% o modelo sem cavidade. Quach sinalizou que o
próximo objetivo da equipe é estender o tempo de
retenção dessa energia para viabilizar comercialmente a
tecnologia.
Paralelamente, um grupo sino-brasileiro planeja integrar
no mesmo circuito a bateria quântica e um motor térmico
quântico, que reaproveitaria o calor residual dos
computadores quânticos para reconvertê-lo em energia
reutilizável. Segundo pesquisadores, a integração criaria
um ciclo fechado de geração, armazenamento e uso de
energia, abrandando ruídos térmicos na máquina.
Por fim, Alan Costa dos Santos lembrou que questões
como a autodescarga espontânea ainda precisam ser
detalhadamente compreendidas no plano quântico.
https://revistapesquisa.fapesp.br/sustentabilidade/.adaptado.
Em tese, "elevar" a quantidade de qubits em dez mil
vezes "reduziria" o tempo de carregamento na mesma
proporção, viabilizando recargas em frações de segundo
se os dispositivos "atingirem" o porte das baterias
comerciais.
Em relação aos verbos destacados, assinale a alternativa CORRETA.
Em relação aos verbos destacados, assinale a alternativa CORRETA.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Portuguesa |
Q4279589
Português
Texto associado
Bateria quântica armazena energia em metade do
tempo necessário para carregar sua versão clássica
Para os acompanhantes das novidades científicas,
tornou-se rotineiro observar avanços em tecnologias
baseadas no controle de propriedades físicas de átomos
e partículas subatômicas, tais como a computação, a
criptografia e o sensoriamento quânticos. Contudo, uma
quarta aplicação ganha espaço: as baterias quânticas.
No curto prazo, esses dispositivos aumentam a eficiência
de computadores quânticos e, no futuro, permitirão o
carregamento quase instantâneo de celulares e veículos
elétricos.
O físico brasileiro Alan Costa dos Santos, do Instituto de
Física Fundamental do Conselho Superior de
Investigações Científicas em Madri, ressalta o enorme
potencial teórico da tecnologia, embora reconheça que
ainda há um longo percurso até sua consolidação.
Santos, ao lado dos físicos Andreia Saguia e Marcelo
Sarandy, da Universidade Federal Fluminense,
coordenou o planejamento teórico de um experimento
conduzido na Universidade de Ciência e Tecnologia do
Sul, na China, sob a liderança dos físicos Chang-Kang
Hu e Dian Tan. A pesquisa, que reuniu os três teóricos
brasileiros e vinte experimentais chineses, foi capa da
revista Physical Review Letters em fevereiro.
A equipe demonstrou de forma inédita que uma bateria
capaz de gerar emaranhamento quântico carrega na
metade do tempo exigido por um dispositivo sem essa
propriedade. No emaranhamento, duas ou mais
partículas comportam-se de maneira entrelaçada como
um único ente, independentemente da distância entre
elas.
Para o teste, construiu-se um circuito
supercondutor quadrado de dez milímetros dotado de
dezesseis bits quânticos, ou qubits. O desempenho foi
avaliado
comparando-se
os
qubits
totalmente
desconectados — equivalente a uma bateria clássica —
com uma configuração em que parte dos qubits interagia
de forma entrelaçada. Ambas as condições receberam a
mesma quantidade de energia.
Os resultados revelaram que a bateria quântica carregou
60% mais rápido com cinco qubits entrelaçados e atingiu
uma taxa de armazenamento quase 100% superior ao
utilizar doze qubits emaranhados, que foi o limite
alcançado no teste. Em entrevista, Dian Tan explicou
que a realização exigiu controle e calibração delicados
para equilibrar as interações entre os qubits e otimizar a
carga sem perturbar o sistema, destacando os desafios
de aplicar pulsos precisos de micro-ondas enquanto se
ampliava a quantidade de bits ativos.
Um dos maiores obstáculos no setor é expandir o
emaranhamento para o maior número possível de qubits.
Diversamente das baterias convencionais de íons de
lítio, nas quais uma capacidade maior exige mais tempo
de recarga, os sistemas quânticos operam de forma inversa: quanto maior o sistema, mais veloz é a recarga.
Em tese, elevar a quantidade de qubits em dez mil vezes
reduziria o tempo de carregamento na mesma
proporção, viabilizando recargas em frações de segundo
se os dispositivos atingirem o porte das baterias
comerciais.
No âmbito da física, qualquer estrutura capaz de
armazenar energia temporariamente é considerada uma
bateria, seja uma represa hidrelétrica ou um acumulador
eletroquímico. As baterias modernas de lítio utilizam o
mesmo princípio básico da pilha criada por Alessandro
Volta em 1800, forçando a separação de partículas
encarregadas de gerar corrente elétrica. Por sua vez, um
qubit é um sistema quântico que transita entre o estado
fundamental zero e o estado excitado um, podendo
permanecer em sobreposição de ambos até que uma
medição seja feita. O processo de carga da bateria
quântica consiste em transferir energia aos qubits para
elevar seus estados de zero para um.
Atualmente, diferentes métodos buscam explorar tais
propriedades. Uma equipe liderada por James Quach, da
Organização da Commonwealth para Pesquisa Científica
e Industrial na Austrália, publicou na Light: Science &
Applications em março de 2026 um modelo baseado em
lasers e moléculas. O protótipo usa uma película com
centenas de trilhões de moléculas do corante ftalocianina
de cobre em uma cavidade óptica. O feixe de laser ativa
um estado coletivo chamado superabsorção, que amplia
a eficiência do processo em relação à absorção
individual.
O protótipo australiano obteve carga em
femtossegundos, unidade de medida de tempo que vale
um quatrilionésimo de segundo, e reteve a energia
durante nanossegundos. Houve um ganho substancial
na extração de energia elétrica à medida que mais
moléculas foram expostas ao laser, superando em até
120% o modelo sem cavidade. Quach sinalizou que o
próximo objetivo da equipe é estender o tempo de
retenção dessa energia para viabilizar comercialmente a
tecnologia.
Paralelamente, um grupo sino-brasileiro planeja integrar
no mesmo circuito a bateria quântica e um motor térmico
quântico, que reaproveitaria o calor residual dos
computadores quânticos para reconvertê-lo em energia
reutilizável. Segundo pesquisadores, a integração criaria
um ciclo fechado de geração, armazenamento e uso de
energia, abrandando ruídos térmicos na máquina.
Por fim, Alan Costa dos Santos lembrou que questões
como a autodescarga espontânea ainda precisam ser
detalhadamente compreendidas no plano quântico.
https://revistapesquisa.fapesp.br/sustentabilidade/.adaptado.
O desenvolvimento de tecnologias baseadas em
fenômenos quânticos tem ampliado as possibilidades de
armazenamento e utilização de energia, reunindo
avanços experimentais e perspectivas futuras que ainda
dependem da superação de desafios científicos e
tecnológicos.
Com base no texto, assinale a alternativa CORRETA.
Com base no texto, assinale a alternativa CORRETA.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Portuguesa |
Q4279588
Português
Texto associado
Bateria quântica armazena energia em metade do
tempo necessário para carregar sua versão clássica
Para os acompanhantes das novidades científicas,
tornou-se rotineiro observar avanços em tecnologias
baseadas no controle de propriedades físicas de átomos
e partículas subatômicas, tais como a computação, a
criptografia e o sensoriamento quânticos. Contudo, uma
quarta aplicação ganha espaço: as baterias quânticas.
No curto prazo, esses dispositivos aumentam a eficiência
de computadores quânticos e, no futuro, permitirão o
carregamento quase instantâneo de celulares e veículos
elétricos.
O físico brasileiro Alan Costa dos Santos, do Instituto de
Física Fundamental do Conselho Superior de
Investigações Científicas em Madri, ressalta o enorme
potencial teórico da tecnologia, embora reconheça que
ainda há um longo percurso até sua consolidação.
Santos, ao lado dos físicos Andreia Saguia e Marcelo
Sarandy, da Universidade Federal Fluminense,
coordenou o planejamento teórico de um experimento
conduzido na Universidade de Ciência e Tecnologia do
Sul, na China, sob a liderança dos físicos Chang-Kang
Hu e Dian Tan. A pesquisa, que reuniu os três teóricos
brasileiros e vinte experimentais chineses, foi capa da
revista Physical Review Letters em fevereiro.
A equipe demonstrou de forma inédita que uma bateria
capaz de gerar emaranhamento quântico carrega na
metade do tempo exigido por um dispositivo sem essa
propriedade. No emaranhamento, duas ou mais
partículas comportam-se de maneira entrelaçada como
um único ente, independentemente da distância entre
elas.
Para o teste, construiu-se um circuito
supercondutor quadrado de dez milímetros dotado de
dezesseis bits quânticos, ou qubits. O desempenho foi
avaliado
comparando-se
os
qubits
totalmente
desconectados — equivalente a uma bateria clássica —
com uma configuração em que parte dos qubits interagia
de forma entrelaçada. Ambas as condições receberam a
mesma quantidade de energia.
Os resultados revelaram que a bateria quântica carregou
60% mais rápido com cinco qubits entrelaçados e atingiu
uma taxa de armazenamento quase 100% superior ao
utilizar doze qubits emaranhados, que foi o limite
alcançado no teste. Em entrevista, Dian Tan explicou
que a realização exigiu controle e calibração delicados
para equilibrar as interações entre os qubits e otimizar a
carga sem perturbar o sistema, destacando os desafios
de aplicar pulsos precisos de micro-ondas enquanto se
ampliava a quantidade de bits ativos.
Um dos maiores obstáculos no setor é expandir o
emaranhamento para o maior número possível de qubits.
Diversamente das baterias convencionais de íons de
lítio, nas quais uma capacidade maior exige mais tempo
de recarga, os sistemas quânticos operam de forma inversa: quanto maior o sistema, mais veloz é a recarga.
Em tese, elevar a quantidade de qubits em dez mil vezes
reduziria o tempo de carregamento na mesma
proporção, viabilizando recargas em frações de segundo
se os dispositivos atingirem o porte das baterias
comerciais.
No âmbito da física, qualquer estrutura capaz de
armazenar energia temporariamente é considerada uma
bateria, seja uma represa hidrelétrica ou um acumulador
eletroquímico. As baterias modernas de lítio utilizam o
mesmo princípio básico da pilha criada por Alessandro
Volta em 1800, forçando a separação de partículas
encarregadas de gerar corrente elétrica. Por sua vez, um
qubit é um sistema quântico que transita entre o estado
fundamental zero e o estado excitado um, podendo
permanecer em sobreposição de ambos até que uma
medição seja feita. O processo de carga da bateria
quântica consiste em transferir energia aos qubits para
elevar seus estados de zero para um.
Atualmente, diferentes métodos buscam explorar tais
propriedades. Uma equipe liderada por James Quach, da
Organização da Commonwealth para Pesquisa Científica
e Industrial na Austrália, publicou na Light: Science &
Applications em março de 2026 um modelo baseado em
lasers e moléculas. O protótipo usa uma película com
centenas de trilhões de moléculas do corante ftalocianina
de cobre em uma cavidade óptica. O feixe de laser ativa
um estado coletivo chamado superabsorção, que amplia
a eficiência do processo em relação à absorção
individual.
O protótipo australiano obteve carga em
femtossegundos, unidade de medida de tempo que vale
um quatrilionésimo de segundo, e reteve a energia
durante nanossegundos. Houve um ganho substancial
na extração de energia elétrica à medida que mais
moléculas foram expostas ao laser, superando em até
120% o modelo sem cavidade. Quach sinalizou que o
próximo objetivo da equipe é estender o tempo de
retenção dessa energia para viabilizar comercialmente a
tecnologia.
Paralelamente, um grupo sino-brasileiro planeja integrar
no mesmo circuito a bateria quântica e um motor térmico
quântico, que reaproveitaria o calor residual dos
computadores quânticos para reconvertê-lo em energia
reutilizável. Segundo pesquisadores, a integração criaria
um ciclo fechado de geração, armazenamento e uso de
energia, abrandando ruídos térmicos na máquina.
Por fim, Alan Costa dos Santos lembrou que questões
como a autodescarga espontânea ainda precisam ser
detalhadamente compreendidas no plano quântico.
https://revistapesquisa.fapesp.br/sustentabilidade/.adaptado.
No emaranhamento, duas ou mais partículas
comportam-se de maneira entrelaçada como um único
ente, independentemente da distância entre elas.
Em relação ao emprego da pontuação no período, analise as afirmativas a seguir.
I. O termo "No emaranhamento" exerce função de adjunto adverbial e encontra-se deslocado para o início da oração, justificando o emprego da vírgula na redação apresentada.
II. A vírgula antes da expressão "independentemente da distância entre elas" separa um termo de valor adverbial posposto à oração principal.
III. A retirada da primeira vírgula preserva a correção gramatical do período, pois o adjunto adverbial inicial apresenta reduzida extensão.
IV. O segmento "independentemente da distância entre elas" exerce função de termo integrante do predicado, razão pela qual a vírgula empregada antes desse segmento promove a separação entre o verbo e seu complemento.
Assinale a alternativa CORRETA.
Em relação ao emprego da pontuação no período, analise as afirmativas a seguir.
I. O termo "No emaranhamento" exerce função de adjunto adverbial e encontra-se deslocado para o início da oração, justificando o emprego da vírgula na redação apresentada.
II. A vírgula antes da expressão "independentemente da distância entre elas" separa um termo de valor adverbial posposto à oração principal.
III. A retirada da primeira vírgula preserva a correção gramatical do período, pois o adjunto adverbial inicial apresenta reduzida extensão.
IV. O segmento "independentemente da distância entre elas" exerce função de termo integrante do predicado, razão pela qual a vírgula empregada antes desse segmento promove a separação entre o verbo e seu complemento.
Assinale a alternativa CORRETA.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Portuguesa |
Q4279587
Português
Texto associado
Bateria quântica armazena energia em metade do
tempo necessário para carregar sua versão clássica
Para os acompanhantes das novidades científicas,
tornou-se rotineiro observar avanços em tecnologias
baseadas no controle de propriedades físicas de átomos
e partículas subatômicas, tais como a computação, a
criptografia e o sensoriamento quânticos. Contudo, uma
quarta aplicação ganha espaço: as baterias quânticas.
No curto prazo, esses dispositivos aumentam a eficiência
de computadores quânticos e, no futuro, permitirão o
carregamento quase instantâneo de celulares e veículos
elétricos.
O físico brasileiro Alan Costa dos Santos, do Instituto de
Física Fundamental do Conselho Superior de
Investigações Científicas em Madri, ressalta o enorme
potencial teórico da tecnologia, embora reconheça que
ainda há um longo percurso até sua consolidação.
Santos, ao lado dos físicos Andreia Saguia e Marcelo
Sarandy, da Universidade Federal Fluminense,
coordenou o planejamento teórico de um experimento
conduzido na Universidade de Ciência e Tecnologia do
Sul, na China, sob a liderança dos físicos Chang-Kang
Hu e Dian Tan. A pesquisa, que reuniu os três teóricos
brasileiros e vinte experimentais chineses, foi capa da
revista Physical Review Letters em fevereiro.
A equipe demonstrou de forma inédita que uma bateria
capaz de gerar emaranhamento quântico carrega na
metade do tempo exigido por um dispositivo sem essa
propriedade. No emaranhamento, duas ou mais
partículas comportam-se de maneira entrelaçada como
um único ente, independentemente da distância entre
elas.
Para o teste, construiu-se um circuito
supercondutor quadrado de dez milímetros dotado de
dezesseis bits quânticos, ou qubits. O desempenho foi
avaliado
comparando-se
os
qubits
totalmente
desconectados — equivalente a uma bateria clássica —
com uma configuração em que parte dos qubits interagia
de forma entrelaçada. Ambas as condições receberam a
mesma quantidade de energia.
Os resultados revelaram que a bateria quântica carregou
60% mais rápido com cinco qubits entrelaçados e atingiu
uma taxa de armazenamento quase 100% superior ao
utilizar doze qubits emaranhados, que foi o limite
alcançado no teste. Em entrevista, Dian Tan explicou
que a realização exigiu controle e calibração delicados
para equilibrar as interações entre os qubits e otimizar a
carga sem perturbar o sistema, destacando os desafios
de aplicar pulsos precisos de micro-ondas enquanto se
ampliava a quantidade de bits ativos.
Um dos maiores obstáculos no setor é expandir o
emaranhamento para o maior número possível de qubits.
Diversamente das baterias convencionais de íons de
lítio, nas quais uma capacidade maior exige mais tempo
de recarga, os sistemas quânticos operam de forma inversa: quanto maior o sistema, mais veloz é a recarga.
Em tese, elevar a quantidade de qubits em dez mil vezes
reduziria o tempo de carregamento na mesma
proporção, viabilizando recargas em frações de segundo
se os dispositivos atingirem o porte das baterias
comerciais.
No âmbito da física, qualquer estrutura capaz de
armazenar energia temporariamente é considerada uma
bateria, seja uma represa hidrelétrica ou um acumulador
eletroquímico. As baterias modernas de lítio utilizam o
mesmo princípio básico da pilha criada por Alessandro
Volta em 1800, forçando a separação de partículas
encarregadas de gerar corrente elétrica. Por sua vez, um
qubit é um sistema quântico que transita entre o estado
fundamental zero e o estado excitado um, podendo
permanecer em sobreposição de ambos até que uma
medição seja feita. O processo de carga da bateria
quântica consiste em transferir energia aos qubits para
elevar seus estados de zero para um.
Atualmente, diferentes métodos buscam explorar tais
propriedades. Uma equipe liderada por James Quach, da
Organização da Commonwealth para Pesquisa Científica
e Industrial na Austrália, publicou na Light: Science &
Applications em março de 2026 um modelo baseado em
lasers e moléculas. O protótipo usa uma película com
centenas de trilhões de moléculas do corante ftalocianina
de cobre em uma cavidade óptica. O feixe de laser ativa
um estado coletivo chamado superabsorção, que amplia
a eficiência do processo em relação à absorção
individual.
O protótipo australiano obteve carga em
femtossegundos, unidade de medida de tempo que vale
um quatrilionésimo de segundo, e reteve a energia
durante nanossegundos. Houve um ganho substancial
na extração de energia elétrica à medida que mais
moléculas foram expostas ao laser, superando em até
120% o modelo sem cavidade. Quach sinalizou que o
próximo objetivo da equipe é estender o tempo de
retenção dessa energia para viabilizar comercialmente a
tecnologia.
Paralelamente, um grupo sino-brasileiro planeja integrar
no mesmo circuito a bateria quântica e um motor térmico
quântico, que reaproveitaria o calor residual dos
computadores quânticos para reconvertê-lo em energia
reutilizável. Segundo pesquisadores, a integração criaria
um ciclo fechado de geração, armazenamento e uso de
energia, abrandando ruídos térmicos na máquina.
Por fim, Alan Costa dos Santos lembrou que questões
como a autodescarga espontânea ainda precisam ser
detalhadamente compreendidas no plano quântico.
https://revistapesquisa.fapesp.br/sustentabilidade/.adaptado.
Diversamente das baterias convencionais de íons de
lítio, nas quais uma capacidade maior exige mais tempo
de recarga, os sistemas quânticos "operam" de forma
inversa.
Em relação à regência do verbo destacado no período, assinale a alternativa CORRETA.
Em relação à regência do verbo destacado no período, assinale a alternativa CORRETA.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Portuguesa |
Q4279586
Português
Texto associado
Bateria quântica armazena energia em metade do
tempo necessário para carregar sua versão clássica
Para os acompanhantes das novidades científicas,
tornou-se rotineiro observar avanços em tecnologias
baseadas no controle de propriedades físicas de átomos
e partículas subatômicas, tais como a computação, a
criptografia e o sensoriamento quânticos. Contudo, uma
quarta aplicação ganha espaço: as baterias quânticas.
No curto prazo, esses dispositivos aumentam a eficiência
de computadores quânticos e, no futuro, permitirão o
carregamento quase instantâneo de celulares e veículos
elétricos.
O físico brasileiro Alan Costa dos Santos, do Instituto de
Física Fundamental do Conselho Superior de
Investigações Científicas em Madri, ressalta o enorme
potencial teórico da tecnologia, embora reconheça que
ainda há um longo percurso até sua consolidação.
Santos, ao lado dos físicos Andreia Saguia e Marcelo
Sarandy, da Universidade Federal Fluminense,
coordenou o planejamento teórico de um experimento
conduzido na Universidade de Ciência e Tecnologia do
Sul, na China, sob a liderança dos físicos Chang-Kang
Hu e Dian Tan. A pesquisa, que reuniu os três teóricos
brasileiros e vinte experimentais chineses, foi capa da
revista Physical Review Letters em fevereiro.
A equipe demonstrou de forma inédita que uma bateria
capaz de gerar emaranhamento quântico carrega na
metade do tempo exigido por um dispositivo sem essa
propriedade. No emaranhamento, duas ou mais
partículas comportam-se de maneira entrelaçada como
um único ente, independentemente da distância entre
elas.
Para o teste, construiu-se um circuito
supercondutor quadrado de dez milímetros dotado de
dezesseis bits quânticos, ou qubits. O desempenho foi
avaliado
comparando-se
os
qubits
totalmente
desconectados — equivalente a uma bateria clássica —
com uma configuração em que parte dos qubits interagia
de forma entrelaçada. Ambas as condições receberam a
mesma quantidade de energia.
Os resultados revelaram que a bateria quântica carregou
60% mais rápido com cinco qubits entrelaçados e atingiu
uma taxa de armazenamento quase 100% superior ao
utilizar doze qubits emaranhados, que foi o limite
alcançado no teste. Em entrevista, Dian Tan explicou
que a realização exigiu controle e calibração delicados
para equilibrar as interações entre os qubits e otimizar a
carga sem perturbar o sistema, destacando os desafios
de aplicar pulsos precisos de micro-ondas enquanto se
ampliava a quantidade de bits ativos.
Um dos maiores obstáculos no setor é expandir o
emaranhamento para o maior número possível de qubits.
Diversamente das baterias convencionais de íons de
lítio, nas quais uma capacidade maior exige mais tempo
de recarga, os sistemas quânticos operam de forma inversa: quanto maior o sistema, mais veloz é a recarga.
Em tese, elevar a quantidade de qubits em dez mil vezes
reduziria o tempo de carregamento na mesma
proporção, viabilizando recargas em frações de segundo
se os dispositivos atingirem o porte das baterias
comerciais.
No âmbito da física, qualquer estrutura capaz de
armazenar energia temporariamente é considerada uma
bateria, seja uma represa hidrelétrica ou um acumulador
eletroquímico. As baterias modernas de lítio utilizam o
mesmo princípio básico da pilha criada por Alessandro
Volta em 1800, forçando a separação de partículas
encarregadas de gerar corrente elétrica. Por sua vez, um
qubit é um sistema quântico que transita entre o estado
fundamental zero e o estado excitado um, podendo
permanecer em sobreposição de ambos até que uma
medição seja feita. O processo de carga da bateria
quântica consiste em transferir energia aos qubits para
elevar seus estados de zero para um.
Atualmente, diferentes métodos buscam explorar tais
propriedades. Uma equipe liderada por James Quach, da
Organização da Commonwealth para Pesquisa Científica
e Industrial na Austrália, publicou na Light: Science &
Applications em março de 2026 um modelo baseado em
lasers e moléculas. O protótipo usa uma película com
centenas de trilhões de moléculas do corante ftalocianina
de cobre em uma cavidade óptica. O feixe de laser ativa
um estado coletivo chamado superabsorção, que amplia
a eficiência do processo em relação à absorção
individual.
O protótipo australiano obteve carga em
femtossegundos, unidade de medida de tempo que vale
um quatrilionésimo de segundo, e reteve a energia
durante nanossegundos. Houve um ganho substancial
na extração de energia elétrica à medida que mais
moléculas foram expostas ao laser, superando em até
120% o modelo sem cavidade. Quach sinalizou que o
próximo objetivo da equipe é estender o tempo de
retenção dessa energia para viabilizar comercialmente a
tecnologia.
Paralelamente, um grupo sino-brasileiro planeja integrar
no mesmo circuito a bateria quântica e um motor térmico
quântico, que reaproveitaria o calor residual dos
computadores quânticos para reconvertê-lo em energia
reutilizável. Segundo pesquisadores, a integração criaria
um ciclo fechado de geração, armazenamento e uso de
energia, abrandando ruídos térmicos na máquina.
Por fim, Alan Costa dos Santos lembrou que questões
como a autodescarga espontânea ainda precisam ser
detalhadamente compreendidas no plano quântico.
https://revistapesquisa.fapesp.br/sustentabilidade/.adaptado.
Os gêneros textuais constituem práticas comunicativas
historicamente consolidadas, definidas pela finalidade
social, pelo contexto de circulação, pela organização
composicional e pelas escolhas linguísticas que orientam
a interação entre produtores e leitores. Em um mesmo texto, diferentes sequências discursivas podem coexistir
sem descaracterizar o gênero predominante, cuja
identificação decorre do conjunto de suas características
constitutivas.
Com base na organização composicional, na finalidade comunicativa e nas estratégias discursivas predominantes do texto-base, assinale a alternativa CORRETA quanto ao gênero textual predominante.
Com base na organização composicional, na finalidade comunicativa e nas estratégias discursivas predominantes do texto-base, assinale a alternativa CORRETA quanto ao gênero textual predominante.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Inglesa |
Q4279250
Inglês
Texto associado
The Hidden History of Women Game Designers
Educational games were all the rage in the early
ninteenth century. As the narrator of Sir Walter Scott's
1814 novel, Waverley, observed, "the history of England
is now reduced to a game at cards, the problems of
mathematics to puzzles and riddles." This bemusement
reflects the burgeoning industry of instructional card,
dice, and board games that sprang up in the late 1700s,
partly in response to changing attitudes towards juvenile
education outlined early on by the philosopher John
Locke a century before.
Women at the time were, of course, generally barred
from attending college and generally discouraged from
the pursuit of learning beyond acquiring the skills of a
governess. Yet the wave of enthusiasm for educational
games nevertheless created an opportunity for some
enterprising
women—despite significant structural
obstacles—to find an intellectual and creative outlet.
Standout figures in the history of game design include
Margaret Bryan, who directed a girl's school in
Blackheath in southeastern London. A writer on science
with a particular interest in astronomy, Bryan produced
the boardgame Science in Sport, or the Pleasures of
Astronomy in collaboration with the well-known game
publisher John Wallis.
This game, a variation on the staple of the Game of the
Goose (akin to Chutes and Ladders), requires players to
spin a teetotum and race their pieces along the board.
Most of the squares illustrate scientific phenomena,
explained in an accompanying rule booklet, but some
depict bad behavior, such as square six, which features
"The County Gaol...for those who attend to the motion of
Billiard Balls, more than to the motion of the Planets,"
and square twelve, which features "a blockhead." Landing on these meant losing a turn or worse, a player's
place on the board.
Learning the rules of music theory by rote could seem
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself to
gamification.
Other pioneering game designers include children's
author Alicia Catherine Mant, who also published an
astronomy-themed board game, while the ludic
inventions of the poet and schoolteacher Elizabeth
Rowse encompassed A Grammatical Game, in Rhyme,
by a Lady (1802) and Mythological Amusement (1804).
Perhaps the most creative arena for female game
designers, however, was music, and more specifically,
music theory. Among the middle and upper classes,
music was generally seen as a female accomplishment,
and teaching its rudiments to children was typically left to mothers, governesses, or schoolmistresses. Learning the
rules of music theory by rote could seem difficult and
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself
remarkably well to gamification.
The nineteenth century's best-known musical game
designer was the Edinburgh-based pianist and music
teacher Anne Young. In 1801, she received a royal
patent for a set of games intended to "render familiar and
impress upon the memory, the fundamental principles of
the science of music." The first British patent ever
granted for a game, it was also the only one awarded that
year to a female inventor, as David Ghere and Fred
Amram have discovered. Two years after the launch of
the Musical Games, Young, now the respectably married
Mrs.
Gunn, published a two-hundred-fifty page
companion treatise entitled An Introduction to Music,
which explained music theory fundamentals via
instructions for playing her Musical Games. The treatise
is organized as seven sections, each corresponding to a
different set of games, and includes a number of optional
variations, outlining twenty-two different games in total.
A handful of Young's Musical Games can be found in
libraries, museums, and private collections today. They're
luxury items: the boards were made of mahogany, while
most of the nearly two hundred parts in each
game—pins, dice, plates, and counters—were carved out
of ivory and ebony. Priced originally at seven guineas,
which was more than the annual wages of a laborer at
the time, this game set would have been affordable only
for the very wealthy.
Unlike earlier musical dice games, which were designed
to encourage composition, Musical Games aimed to
teach the rudiments of theory. Some of the games that
can be played on the set involve racing, with players
competing to move their pieces up and down various
configurations on the board. Others involve the
acquisition of points for correct answers, tallied with
delicate ivory counters. A child following the treatise's
progression of games would engage many of the
fundamentals of music theory, ranging from notation
through more advanced topics in harmony including
chord resolution and modulation.
Young's invention haunted musical journals throughout
the nineteenth century, resurfacing from time to time in
newspaper queries, sometimes from readers intrigued by
the warm endorsement it got from her husband John
Gunn, a distinguished Scottish music pedagogue who
wroteinstructional treatises. (In his writings, Gunn
protested "without having ever previously heard the name
of the ingenious and scientific Inventor, I was struck with
the merits of these Games.") Interestingly, the Musical
Games reappear nearly a century later in the essay
"Games of Music," published in 1907 in the
London-based magazine The Musical Times by Bertha
Harrison, who was very likely the anti-suffrage activist
also known as Ethel Bertha Harrison. Harrison was
interested in music history—her earlier writings in The
Musical Times had treated topics such as child prodigies
and historic concert venues—but it was only in her essay on musical games that she revealed her political
leanings.
In
what may be one of the earliest pieces of
ludomusicology, the study of music and games,
Harrison's essay surveys the role of musical games from
the eighteenth century to her present day. Although she
ostensibly examines musical games in general, most of
her article is dedicated to Young, whom she
characterizes as a woman "possessed of an uncommon
order of mind." Harrison describes Young's games as "so
clever and ingenious, so full of nice detail, that all the
music games of the present day seem poor in design and
clumsy in execution in comparison with it."
However, the crux of Harrison's argument appears in a
subsequent paragraph, where she struggles to put a
positive spin on the striking disparity in the quality of
games designed by women and men, writing that "is a
curious and interesting fact that, among musical games,
those invented by women are very complicated and
extraordinarily full of detail, while those invented by men
are, with very rare exceptions, quite simple and generally
adaptations from other games. From this we may draw
one of two conclusions: either that in this particular line
woman has more originality than man, or that when she
begins to invent, her mind becomes so engrossed with
details as to lose sight of the main issue, and, in the
words of the proverb, she cannot see the wood for the
trees."
Conceding that women might be intrinsically better at
musical game design, Harrison immediately undercuts
this notion with the claim that women are overly
concerned with details, and that is why their games tend
to be more complex. The stereotype of the detail-oriented
woman, as exemplified in this example, is a trope that, as
Naomi Schor reminds us, has informed and limited
understandings of female ability for centuries.
Harrison's critique notwithstanding, the nineteenth
century saw many impressive music educational games
invented by women. The 1851 Great Exhibition in London
featured Gioco di Euterpe, (a game whose name invokes
the Greek goddess of music) designed by Abelinde
Prince and "intended to assist beginners in the
knowledge of the relative value of musical characters,
and to render them good timeists." The editor of The
Girl's Own Book (1869) described a game developed by
an anonymous female friend, entitled "Sir Samuel
Semibreve," which taught sight-singing and could be
ordered from a music shop in Middlesex.
Across the Atlantic, Abbie T. Hays, principal of a music
school in Wichita, Kansas, filed a patent in 1895 for a
"musical game device" designed to teach notation with
pictures depicting the words spelled out by note-names
(think B-A-G or B-E-E). Later that year, Sarah W.
Featherstone, a schoolteacher in Toledo, Ohio, filed a
patent for Nota Bene, which used a spinning wheel to
teach children rhythm. And in 1897, the enterpreneurial
Evelyn Fletcher of Toronto filed both Canadian and US
patents for a Music Block Game. Her "Fletcher Music
Method" would later be endorsed by luminaries such as John Philip Sousa and Hugo Riemann, and it was highly
popular with schoolteachers. This is just a small selection
of the names and devices that pop out of the archive.
In my experience searching historical patent records, one
is more likely to come across games designed by women
than by men. Bertha Harrison seems to have gotten that
right, at least!
Today, using gamification to teach music seems like a
no-brainer. Indeed, many music videogames have
become wildly popular—think instrument-based rhythm
games like Guitar Hero. While these games generally
teach synchronization, there are also plenty of music
theory games available to try online, such as ToneGym,
Solfege Story, or Chet — Ear Training. Although these
modern creations would have been unthinkable a
hundred years ago, these games are still part of an
unusual—and unusually female—tradition.
https://daily.jstor.org/the-hidden-history-of-women-game-designers/
The article states that Anne Young's game set cost more
than a laborer's annual wages and "would have been
affordable only for the very wealthy." The modal
construction expresses a conclusion based on historical
economic evidence. Mark the alternative that presents
the CORRECT interpretation of "would have been
affordable."
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Inglesa |
Q4279249
Inglês
Texto associado
The Hidden History of Women Game Designers
Educational games were all the rage in the early
ninteenth century. As the narrator of Sir Walter Scott's
1814 novel, Waverley, observed, "the history of England
is now reduced to a game at cards, the problems of
mathematics to puzzles and riddles." This bemusement
reflects the burgeoning industry of instructional card,
dice, and board games that sprang up in the late 1700s,
partly in response to changing attitudes towards juvenile
education outlined early on by the philosopher John
Locke a century before.
Women at the time were, of course, generally barred
from attending college and generally discouraged from
the pursuit of learning beyond acquiring the skills of a
governess. Yet the wave of enthusiasm for educational
games nevertheless created an opportunity for some
enterprising
women—despite significant structural
obstacles—to find an intellectual and creative outlet.
Standout figures in the history of game design include
Margaret Bryan, who directed a girl's school in
Blackheath in southeastern London. A writer on science
with a particular interest in astronomy, Bryan produced
the boardgame Science in Sport, or the Pleasures of
Astronomy in collaboration with the well-known game
publisher John Wallis.
This game, a variation on the staple of the Game of the
Goose (akin to Chutes and Ladders), requires players to
spin a teetotum and race their pieces along the board.
Most of the squares illustrate scientific phenomena,
explained in an accompanying rule booklet, but some
depict bad behavior, such as square six, which features
"The County Gaol...for those who attend to the motion of
Billiard Balls, more than to the motion of the Planets,"
and square twelve, which features "a blockhead." Landing on these meant losing a turn or worse, a player's
place on the board.
Learning the rules of music theory by rote could seem
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself to
gamification.
Other pioneering game designers include children's
author Alicia Catherine Mant, who also published an
astronomy-themed board game, while the ludic
inventions of the poet and schoolteacher Elizabeth
Rowse encompassed A Grammatical Game, in Rhyme,
by a Lady (1802) and Mythological Amusement (1804).
Perhaps the most creative arena for female game
designers, however, was music, and more specifically,
music theory. Among the middle and upper classes,
music was generally seen as a female accomplishment,
and teaching its rudiments to children was typically left to mothers, governesses, or schoolmistresses. Learning the
rules of music theory by rote could seem difficult and
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself
remarkably well to gamification.
The nineteenth century's best-known musical game
designer was the Edinburgh-based pianist and music
teacher Anne Young. In 1801, she received a royal
patent for a set of games intended to "render familiar and
impress upon the memory, the fundamental principles of
the science of music." The first British patent ever
granted for a game, it was also the only one awarded that
year to a female inventor, as David Ghere and Fred
Amram have discovered. Two years after the launch of
the Musical Games, Young, now the respectably married
Mrs.
Gunn, published a two-hundred-fifty page
companion treatise entitled An Introduction to Music,
which explained music theory fundamentals via
instructions for playing her Musical Games. The treatise
is organized as seven sections, each corresponding to a
different set of games, and includes a number of optional
variations, outlining twenty-two different games in total.
A handful of Young's Musical Games can be found in
libraries, museums, and private collections today. They're
luxury items: the boards were made of mahogany, while
most of the nearly two hundred parts in each
game—pins, dice, plates, and counters—were carved out
of ivory and ebony. Priced originally at seven guineas,
which was more than the annual wages of a laborer at
the time, this game set would have been affordable only
for the very wealthy.
Unlike earlier musical dice games, which were designed
to encourage composition, Musical Games aimed to
teach the rudiments of theory. Some of the games that
can be played on the set involve racing, with players
competing to move their pieces up and down various
configurations on the board. Others involve the
acquisition of points for correct answers, tallied with
delicate ivory counters. A child following the treatise's
progression of games would engage many of the
fundamentals of music theory, ranging from notation
through more advanced topics in harmony including
chord resolution and modulation.
Young's invention haunted musical journals throughout
the nineteenth century, resurfacing from time to time in
newspaper queries, sometimes from readers intrigued by
the warm endorsement it got from her husband John
Gunn, a distinguished Scottish music pedagogue who
wroteinstructional treatises. (In his writings, Gunn
protested "without having ever previously heard the name
of the ingenious and scientific Inventor, I was struck with
the merits of these Games.") Interestingly, the Musical
Games reappear nearly a century later in the essay
"Games of Music," published in 1907 in the
London-based magazine The Musical Times by Bertha
Harrison, who was very likely the anti-suffrage activist
also known as Ethel Bertha Harrison. Harrison was
interested in music history—her earlier writings in The
Musical Times had treated topics such as child prodigies
and historic concert venues—but it was only in her essay on musical games that she revealed her political
leanings.
In
what may be one of the earliest pieces of
ludomusicology, the study of music and games,
Harrison's essay surveys the role of musical games from
the eighteenth century to her present day. Although she
ostensibly examines musical games in general, most of
her article is dedicated to Young, whom she
characterizes as a woman "possessed of an uncommon
order of mind." Harrison describes Young's games as "so
clever and ingenious, so full of nice detail, that all the
music games of the present day seem poor in design and
clumsy in execution in comparison with it."
However, the crux of Harrison's argument appears in a
subsequent paragraph, where she struggles to put a
positive spin on the striking disparity in the quality of
games designed by women and men, writing that "is a
curious and interesting fact that, among musical games,
those invented by women are very complicated and
extraordinarily full of detail, while those invented by men
are, with very rare exceptions, quite simple and generally
adaptations from other games. From this we may draw
one of two conclusions: either that in this particular line
woman has more originality than man, or that when she
begins to invent, her mind becomes so engrossed with
details as to lose sight of the main issue, and, in the
words of the proverb, she cannot see the wood for the
trees."
Conceding that women might be intrinsically better at
musical game design, Harrison immediately undercuts
this notion with the claim that women are overly
concerned with details, and that is why their games tend
to be more complex. The stereotype of the detail-oriented
woman, as exemplified in this example, is a trope that, as
Naomi Schor reminds us, has informed and limited
understandings of female ability for centuries.
Harrison's critique notwithstanding, the nineteenth
century saw many impressive music educational games
invented by women. The 1851 Great Exhibition in London
featured Gioco di Euterpe, (a game whose name invokes
the Greek goddess of music) designed by Abelinde
Prince and "intended to assist beginners in the
knowledge of the relative value of musical characters,
and to render them good timeists." The editor of The
Girl's Own Book (1869) described a game developed by
an anonymous female friend, entitled "Sir Samuel
Semibreve," which taught sight-singing and could be
ordered from a music shop in Middlesex.
Across the Atlantic, Abbie T. Hays, principal of a music
school in Wichita, Kansas, filed a patent in 1895 for a
"musical game device" designed to teach notation with
pictures depicting the words spelled out by note-names
(think B-A-G or B-E-E). Later that year, Sarah W.
Featherstone, a schoolteacher in Toledo, Ohio, filed a
patent for Nota Bene, which used a spinning wheel to
teach children rhythm. And in 1897, the enterpreneurial
Evelyn Fletcher of Toronto filed both Canadian and US
patents for a Music Block Game. Her "Fletcher Music
Method" would later be endorsed by luminaries such as John Philip Sousa and Hugo Riemann, and it was highly
popular with schoolteachers. This is just a small selection
of the names and devices that pop out of the archive.
In my experience searching historical patent records, one
is more likely to come across games designed by women
than by men. Bertha Harrison seems to have gotten that
right, at least!
Today, using gamification to teach music seems like a
no-brainer. Indeed, many music videogames have
become wildly popular—think instrument-based rhythm
games like Guitar Hero. While these games generally
teach synchronization, there are also plenty of music
theory games available to try online, such as ToneGym,
Solfege Story, or Chet — Ear Training. Although these
modern creations would have been unthinkable a
hundred years ago, these games are still part of an
unusual—and unusually female—tradition.
https://daily.jstor.org/the-hidden-history-of-women-game-designers/
The article explains that an industry of instructional
games "sprang up" in the late eighteenth century. The
verb phrase describes the appearance of a new
commercial and educational activity in response to
changing ideas about childhood education. Mark the
alternative that replaces "sprang up" without changing the
meaning of the passage.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Inglesa |
Q4279248
Inglês
Texto associado
The Hidden History of Women Game Designers
Educational games were all the rage in the early
ninteenth century. As the narrator of Sir Walter Scott's
1814 novel, Waverley, observed, "the history of England
is now reduced to a game at cards, the problems of
mathematics to puzzles and riddles." This bemusement
reflects the burgeoning industry of instructional card,
dice, and board games that sprang up in the late 1700s,
partly in response to changing attitudes towards juvenile
education outlined early on by the philosopher John
Locke a century before.
Women at the time were, of course, generally barred
from attending college and generally discouraged from
the pursuit of learning beyond acquiring the skills of a
governess. Yet the wave of enthusiasm for educational
games nevertheless created an opportunity for some
enterprising
women—despite significant structural
obstacles—to find an intellectual and creative outlet.
Standout figures in the history of game design include
Margaret Bryan, who directed a girl's school in
Blackheath in southeastern London. A writer on science
with a particular interest in astronomy, Bryan produced
the boardgame Science in Sport, or the Pleasures of
Astronomy in collaboration with the well-known game
publisher John Wallis.
This game, a variation on the staple of the Game of the
Goose (akin to Chutes and Ladders), requires players to
spin a teetotum and race their pieces along the board.
Most of the squares illustrate scientific phenomena,
explained in an accompanying rule booklet, but some
depict bad behavior, such as square six, which features
"The County Gaol...for those who attend to the motion of
Billiard Balls, more than to the motion of the Planets,"
and square twelve, which features "a blockhead." Landing on these meant losing a turn or worse, a player's
place on the board.
Learning the rules of music theory by rote could seem
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself to
gamification.
Other pioneering game designers include children's
author Alicia Catherine Mant, who also published an
astronomy-themed board game, while the ludic
inventions of the poet and schoolteacher Elizabeth
Rowse encompassed A Grammatical Game, in Rhyme,
by a Lady (1802) and Mythological Amusement (1804).
Perhaps the most creative arena for female game
designers, however, was music, and more specifically,
music theory. Among the middle and upper classes,
music was generally seen as a female accomplishment,
and teaching its rudiments to children was typically left to mothers, governesses, or schoolmistresses. Learning the
rules of music theory by rote could seem difficult and
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself
remarkably well to gamification.
The nineteenth century's best-known musical game
designer was the Edinburgh-based pianist and music
teacher Anne Young. In 1801, she received a royal
patent for a set of games intended to "render familiar and
impress upon the memory, the fundamental principles of
the science of music." The first British patent ever
granted for a game, it was also the only one awarded that
year to a female inventor, as David Ghere and Fred
Amram have discovered. Two years after the launch of
the Musical Games, Young, now the respectably married
Mrs.
Gunn, published a two-hundred-fifty page
companion treatise entitled An Introduction to Music,
which explained music theory fundamentals via
instructions for playing her Musical Games. The treatise
is organized as seven sections, each corresponding to a
different set of games, and includes a number of optional
variations, outlining twenty-two different games in total.
A handful of Young's Musical Games can be found in
libraries, museums, and private collections today. They're
luxury items: the boards were made of mahogany, while
most of the nearly two hundred parts in each
game—pins, dice, plates, and counters—were carved out
of ivory and ebony. Priced originally at seven guineas,
which was more than the annual wages of a laborer at
the time, this game set would have been affordable only
for the very wealthy.
Unlike earlier musical dice games, which were designed
to encourage composition, Musical Games aimed to
teach the rudiments of theory. Some of the games that
can be played on the set involve racing, with players
competing to move their pieces up and down various
configurations on the board. Others involve the
acquisition of points for correct answers, tallied with
delicate ivory counters. A child following the treatise's
progression of games would engage many of the
fundamentals of music theory, ranging from notation
through more advanced topics in harmony including
chord resolution and modulation.
Young's invention haunted musical journals throughout
the nineteenth century, resurfacing from time to time in
newspaper queries, sometimes from readers intrigued by
the warm endorsement it got from her husband John
Gunn, a distinguished Scottish music pedagogue who
wroteinstructional treatises. (In his writings, Gunn
protested "without having ever previously heard the name
of the ingenious and scientific Inventor, I was struck with
the merits of these Games.") Interestingly, the Musical
Games reappear nearly a century later in the essay
"Games of Music," published in 1907 in the
London-based magazine The Musical Times by Bertha
Harrison, who was very likely the anti-suffrage activist
also known as Ethel Bertha Harrison. Harrison was
interested in music history—her earlier writings in The
Musical Times had treated topics such as child prodigies
and historic concert venues—but it was only in her essay on musical games that she revealed her political
leanings.
In
what may be one of the earliest pieces of
ludomusicology, the study of music and games,
Harrison's essay surveys the role of musical games from
the eighteenth century to her present day. Although she
ostensibly examines musical games in general, most of
her article is dedicated to Young, whom she
characterizes as a woman "possessed of an uncommon
order of mind." Harrison describes Young's games as "so
clever and ingenious, so full of nice detail, that all the
music games of the present day seem poor in design and
clumsy in execution in comparison with it."
However, the crux of Harrison's argument appears in a
subsequent paragraph, where she struggles to put a
positive spin on the striking disparity in the quality of
games designed by women and men, writing that "is a
curious and interesting fact that, among musical games,
those invented by women are very complicated and
extraordinarily full of detail, while those invented by men
are, with very rare exceptions, quite simple and generally
adaptations from other games. From this we may draw
one of two conclusions: either that in this particular line
woman has more originality than man, or that when she
begins to invent, her mind becomes so engrossed with
details as to lose sight of the main issue, and, in the
words of the proverb, she cannot see the wood for the
trees."
Conceding that women might be intrinsically better at
musical game design, Harrison immediately undercuts
this notion with the claim that women are overly
concerned with details, and that is why their games tend
to be more complex. The stereotype of the detail-oriented
woman, as exemplified in this example, is a trope that, as
Naomi Schor reminds us, has informed and limited
understandings of female ability for centuries.
Harrison's critique notwithstanding, the nineteenth
century saw many impressive music educational games
invented by women. The 1851 Great Exhibition in London
featured Gioco di Euterpe, (a game whose name invokes
the Greek goddess of music) designed by Abelinde
Prince and "intended to assist beginners in the
knowledge of the relative value of musical characters,
and to render them good timeists." The editor of The
Girl's Own Book (1869) described a game developed by
an anonymous female friend, entitled "Sir Samuel
Semibreve," which taught sight-singing and could be
ordered from a music shop in Middlesex.
Across the Atlantic, Abbie T. Hays, principal of a music
school in Wichita, Kansas, filed a patent in 1895 for a
"musical game device" designed to teach notation with
pictures depicting the words spelled out by note-names
(think B-A-G or B-E-E). Later that year, Sarah W.
Featherstone, a schoolteacher in Toledo, Ohio, filed a
patent for Nota Bene, which used a spinning wheel to
teach children rhythm. And in 1897, the enterpreneurial
Evelyn Fletcher of Toronto filed both Canadian and US
patents for a Music Block Game. Her "Fletcher Music
Method" would later be endorsed by luminaries such as John Philip Sousa and Hugo Riemann, and it was highly
popular with schoolteachers. This is just a small selection
of the names and devices that pop out of the archive.
In my experience searching historical patent records, one
is more likely to come across games designed by women
than by men. Bertha Harrison seems to have gotten that
right, at least!
Today, using gamification to teach music seems like a
no-brainer. Indeed, many music videogames have
become wildly popular—think instrument-based rhythm
games like Guitar Hero. While these games generally
teach synchronization, there are also plenty of music
theory games available to try online, such as ToneGym,
Solfege Story, or Chet — Ear Training. Although these
modern creations would have been unthinkable a
hundred years ago, these games are still part of an
unusual—and unusually female—tradition.
https://daily.jstor.org/the-hidden-history-of-women-game-designers/
Read the excerpt:
"A handful of Young's Musical Games can be found in libraries, museums, and private collections today. They're luxury items: the boards were made of mahogany..."
In this passage, the pronoun "they" refers to:
"A handful of Young's Musical Games can be found in libraries, museums, and private collections today. They're luxury items: the boards were made of mahogany..."
In this passage, the pronoun "they" refers to:
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Inglesa |
Q4279247
Inglês
Texto associado
The Hidden History of Women Game Designers
Educational games were all the rage in the early
ninteenth century. As the narrator of Sir Walter Scott's
1814 novel, Waverley, observed, "the history of England
is now reduced to a game at cards, the problems of
mathematics to puzzles and riddles." This bemusement
reflects the burgeoning industry of instructional card,
dice, and board games that sprang up in the late 1700s,
partly in response to changing attitudes towards juvenile
education outlined early on by the philosopher John
Locke a century before.
Women at the time were, of course, generally barred
from attending college and generally discouraged from
the pursuit of learning beyond acquiring the skills of a
governess. Yet the wave of enthusiasm for educational
games nevertheless created an opportunity for some
enterprising
women—despite significant structural
obstacles—to find an intellectual and creative outlet.
Standout figures in the history of game design include
Margaret Bryan, who directed a girl's school in
Blackheath in southeastern London. A writer on science
with a particular interest in astronomy, Bryan produced
the boardgame Science in Sport, or the Pleasures of
Astronomy in collaboration with the well-known game
publisher John Wallis.
This game, a variation on the staple of the Game of the
Goose (akin to Chutes and Ladders), requires players to
spin a teetotum and race their pieces along the board.
Most of the squares illustrate scientific phenomena,
explained in an accompanying rule booklet, but some
depict bad behavior, such as square six, which features
"The County Gaol...for those who attend to the motion of
Billiard Balls, more than to the motion of the Planets,"
and square twelve, which features "a blockhead." Landing on these meant losing a turn or worse, a player's
place on the board.
Learning the rules of music theory by rote could seem
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself to
gamification.
Other pioneering game designers include children's
author Alicia Catherine Mant, who also published an
astronomy-themed board game, while the ludic
inventions of the poet and schoolteacher Elizabeth
Rowse encompassed A Grammatical Game, in Rhyme,
by a Lady (1802) and Mythological Amusement (1804).
Perhaps the most creative arena for female game
designers, however, was music, and more specifically,
music theory. Among the middle and upper classes,
music was generally seen as a female accomplishment,
and teaching its rudiments to children was typically left to mothers, governesses, or schoolmistresses. Learning the
rules of music theory by rote could seem difficult and
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself
remarkably well to gamification.
The nineteenth century's best-known musical game
designer was the Edinburgh-based pianist and music
teacher Anne Young. In 1801, she received a royal
patent for a set of games intended to "render familiar and
impress upon the memory, the fundamental principles of
the science of music." The first British patent ever
granted for a game, it was also the only one awarded that
year to a female inventor, as David Ghere and Fred
Amram have discovered. Two years after the launch of
the Musical Games, Young, now the respectably married
Mrs.
Gunn, published a two-hundred-fifty page
companion treatise entitled An Introduction to Music,
which explained music theory fundamentals via
instructions for playing her Musical Games. The treatise
is organized as seven sections, each corresponding to a
different set of games, and includes a number of optional
variations, outlining twenty-two different games in total.
A handful of Young's Musical Games can be found in
libraries, museums, and private collections today. They're
luxury items: the boards were made of mahogany, while
most of the nearly two hundred parts in each
game—pins, dice, plates, and counters—were carved out
of ivory and ebony. Priced originally at seven guineas,
which was more than the annual wages of a laborer at
the time, this game set would have been affordable only
for the very wealthy.
Unlike earlier musical dice games, which were designed
to encourage composition, Musical Games aimed to
teach the rudiments of theory. Some of the games that
can be played on the set involve racing, with players
competing to move their pieces up and down various
configurations on the board. Others involve the
acquisition of points for correct answers, tallied with
delicate ivory counters. A child following the treatise's
progression of games would engage many of the
fundamentals of music theory, ranging from notation
through more advanced topics in harmony including
chord resolution and modulation.
Young's invention haunted musical journals throughout
the nineteenth century, resurfacing from time to time in
newspaper queries, sometimes from readers intrigued by
the warm endorsement it got from her husband John
Gunn, a distinguished Scottish music pedagogue who
wroteinstructional treatises. (In his writings, Gunn
protested "without having ever previously heard the name
of the ingenious and scientific Inventor, I was struck with
the merits of these Games.") Interestingly, the Musical
Games reappear nearly a century later in the essay
"Games of Music," published in 1907 in the
London-based magazine The Musical Times by Bertha
Harrison, who was very likely the anti-suffrage activist
also known as Ethel Bertha Harrison. Harrison was
interested in music history—her earlier writings in The
Musical Times had treated topics such as child prodigies
and historic concert venues—but it was only in her essay on musical games that she revealed her political
leanings.
In
what may be one of the earliest pieces of
ludomusicology, the study of music and games,
Harrison's essay surveys the role of musical games from
the eighteenth century to her present day. Although she
ostensibly examines musical games in general, most of
her article is dedicated to Young, whom she
characterizes as a woman "possessed of an uncommon
order of mind." Harrison describes Young's games as "so
clever and ingenious, so full of nice detail, that all the
music games of the present day seem poor in design and
clumsy in execution in comparison with it."
However, the crux of Harrison's argument appears in a
subsequent paragraph, where she struggles to put a
positive spin on the striking disparity in the quality of
games designed by women and men, writing that "is a
curious and interesting fact that, among musical games,
those invented by women are very complicated and
extraordinarily full of detail, while those invented by men
are, with very rare exceptions, quite simple and generally
adaptations from other games. From this we may draw
one of two conclusions: either that in this particular line
woman has more originality than man, or that when she
begins to invent, her mind becomes so engrossed with
details as to lose sight of the main issue, and, in the
words of the proverb, she cannot see the wood for the
trees."
Conceding that women might be intrinsically better at
musical game design, Harrison immediately undercuts
this notion with the claim that women are overly
concerned with details, and that is why their games tend
to be more complex. The stereotype of the detail-oriented
woman, as exemplified in this example, is a trope that, as
Naomi Schor reminds us, has informed and limited
understandings of female ability for centuries.
Harrison's critique notwithstanding, the nineteenth
century saw many impressive music educational games
invented by women. The 1851 Great Exhibition in London
featured Gioco di Euterpe, (a game whose name invokes
the Greek goddess of music) designed by Abelinde
Prince and "intended to assist beginners in the
knowledge of the relative value of musical characters,
and to render them good timeists." The editor of The
Girl's Own Book (1869) described a game developed by
an anonymous female friend, entitled "Sir Samuel
Semibreve," which taught sight-singing and could be
ordered from a music shop in Middlesex.
Across the Atlantic, Abbie T. Hays, principal of a music
school in Wichita, Kansas, filed a patent in 1895 for a
"musical game device" designed to teach notation with
pictures depicting the words spelled out by note-names
(think B-A-G or B-E-E). Later that year, Sarah W.
Featherstone, a schoolteacher in Toledo, Ohio, filed a
patent for Nota Bene, which used a spinning wheel to
teach children rhythm. And in 1897, the enterpreneurial
Evelyn Fletcher of Toronto filed both Canadian and US
patents for a Music Block Game. Her "Fletcher Music
Method" would later be endorsed by luminaries such as John Philip Sousa and Hugo Riemann, and it was highly
popular with schoolteachers. This is just a small selection
of the names and devices that pop out of the archive.
In my experience searching historical patent records, one
is more likely to come across games designed by women
than by men. Bertha Harrison seems to have gotten that
right, at least!
Today, using gamification to teach music seems like a
no-brainer. Indeed, many music videogames have
become wildly popular—think instrument-based rhythm
games like Guitar Hero. While these games generally
teach synchronization, there are also plenty of music
theory games available to try online, such as ToneGym,
Solfege Story, or Chet — Ear Training. Although these
modern creations would have been unthinkable a
hundred years ago, these games are still part of an
unusual—and unusually female—tradition.
https://daily.jstor.org/the-hidden-history-of-women-game-designers/
An English teacher wants to adapt Anne Young's
educational principles to a language lesson. The
objective is to help students distinguish phrasal verbs
through
repeated
contextual
use,
collaborative
decision-making, and immediate feedback rather than
isolated memorization. Mark the alternative that presents
the CORRECT activity design.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Inglesa |
Q4279246
Inglês
Texto associado
The Hidden History of Women Game Designers
Educational games were all the rage in the early
ninteenth century. As the narrator of Sir Walter Scott's
1814 novel, Waverley, observed, "the history of England
is now reduced to a game at cards, the problems of
mathematics to puzzles and riddles." This bemusement
reflects the burgeoning industry of instructional card,
dice, and board games that sprang up in the late 1700s,
partly in response to changing attitudes towards juvenile
education outlined early on by the philosopher John
Locke a century before.
Women at the time were, of course, generally barred
from attending college and generally discouraged from
the pursuit of learning beyond acquiring the skills of a
governess. Yet the wave of enthusiasm for educational
games nevertheless created an opportunity for some
enterprising
women—despite significant structural
obstacles—to find an intellectual and creative outlet.
Standout figures in the history of game design include
Margaret Bryan, who directed a girl's school in
Blackheath in southeastern London. A writer on science
with a particular interest in astronomy, Bryan produced
the boardgame Science in Sport, or the Pleasures of
Astronomy in collaboration with the well-known game
publisher John Wallis.
This game, a variation on the staple of the Game of the
Goose (akin to Chutes and Ladders), requires players to
spin a teetotum and race their pieces along the board.
Most of the squares illustrate scientific phenomena,
explained in an accompanying rule booklet, but some
depict bad behavior, such as square six, which features
"The County Gaol...for those who attend to the motion of
Billiard Balls, more than to the motion of the Planets,"
and square twelve, which features "a blockhead." Landing on these meant losing a turn or worse, a player's
place on the board.
Learning the rules of music theory by rote could seem
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself to
gamification.
Other pioneering game designers include children's
author Alicia Catherine Mant, who also published an
astronomy-themed board game, while the ludic
inventions of the poet and schoolteacher Elizabeth
Rowse encompassed A Grammatical Game, in Rhyme,
by a Lady (1802) and Mythological Amusement (1804).
Perhaps the most creative arena for female game
designers, however, was music, and more specifically,
music theory. Among the middle and upper classes,
music was generally seen as a female accomplishment,
and teaching its rudiments to children was typically left to mothers, governesses, or schoolmistresses. Learning the
rules of music theory by rote could seem difficult and
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself
remarkably well to gamification.
The nineteenth century's best-known musical game
designer was the Edinburgh-based pianist and music
teacher Anne Young. In 1801, she received a royal
patent for a set of games intended to "render familiar and
impress upon the memory, the fundamental principles of
the science of music." The first British patent ever
granted for a game, it was also the only one awarded that
year to a female inventor, as David Ghere and Fred
Amram have discovered. Two years after the launch of
the Musical Games, Young, now the respectably married
Mrs.
Gunn, published a two-hundred-fifty page
companion treatise entitled An Introduction to Music,
which explained music theory fundamentals via
instructions for playing her Musical Games. The treatise
is organized as seven sections, each corresponding to a
different set of games, and includes a number of optional
variations, outlining twenty-two different games in total.
A handful of Young's Musical Games can be found in
libraries, museums, and private collections today. They're
luxury items: the boards were made of mahogany, while
most of the nearly two hundred parts in each
game—pins, dice, plates, and counters—were carved out
of ivory and ebony. Priced originally at seven guineas,
which was more than the annual wages of a laborer at
the time, this game set would have been affordable only
for the very wealthy.
Unlike earlier musical dice games, which were designed
to encourage composition, Musical Games aimed to
teach the rudiments of theory. Some of the games that
can be played on the set involve racing, with players
competing to move their pieces up and down various
configurations on the board. Others involve the
acquisition of points for correct answers, tallied with
delicate ivory counters. A child following the treatise's
progression of games would engage many of the
fundamentals of music theory, ranging from notation
through more advanced topics in harmony including
chord resolution and modulation.
Young's invention haunted musical journals throughout
the nineteenth century, resurfacing from time to time in
newspaper queries, sometimes from readers intrigued by
the warm endorsement it got from her husband John
Gunn, a distinguished Scottish music pedagogue who
wroteinstructional treatises. (In his writings, Gunn
protested "without having ever previously heard the name
of the ingenious and scientific Inventor, I was struck with
the merits of these Games.") Interestingly, the Musical
Games reappear nearly a century later in the essay
"Games of Music," published in 1907 in the
London-based magazine The Musical Times by Bertha
Harrison, who was very likely the anti-suffrage activist
also known as Ethel Bertha Harrison. Harrison was
interested in music history—her earlier writings in The
Musical Times had treated topics such as child prodigies
and historic concert venues—but it was only in her essay on musical games that she revealed her political
leanings.
In
what may be one of the earliest pieces of
ludomusicology, the study of music and games,
Harrison's essay surveys the role of musical games from
the eighteenth century to her present day. Although she
ostensibly examines musical games in general, most of
her article is dedicated to Young, whom she
characterizes as a woman "possessed of an uncommon
order of mind." Harrison describes Young's games as "so
clever and ingenious, so full of nice detail, that all the
music games of the present day seem poor in design and
clumsy in execution in comparison with it."
However, the crux of Harrison's argument appears in a
subsequent paragraph, where she struggles to put a
positive spin on the striking disparity in the quality of
games designed by women and men, writing that "is a
curious and interesting fact that, among musical games,
those invented by women are very complicated and
extraordinarily full of detail, while those invented by men
are, with very rare exceptions, quite simple and generally
adaptations from other games. From this we may draw
one of two conclusions: either that in this particular line
woman has more originality than man, or that when she
begins to invent, her mind becomes so engrossed with
details as to lose sight of the main issue, and, in the
words of the proverb, she cannot see the wood for the
trees."
Conceding that women might be intrinsically better at
musical game design, Harrison immediately undercuts
this notion with the claim that women are overly
concerned with details, and that is why their games tend
to be more complex. The stereotype of the detail-oriented
woman, as exemplified in this example, is a trope that, as
Naomi Schor reminds us, has informed and limited
understandings of female ability for centuries.
Harrison's critique notwithstanding, the nineteenth
century saw many impressive music educational games
invented by women. The 1851 Great Exhibition in London
featured Gioco di Euterpe, (a game whose name invokes
the Greek goddess of music) designed by Abelinde
Prince and "intended to assist beginners in the
knowledge of the relative value of musical characters,
and to render them good timeists." The editor of The
Girl's Own Book (1869) described a game developed by
an anonymous female friend, entitled "Sir Samuel
Semibreve," which taught sight-singing and could be
ordered from a music shop in Middlesex.
Across the Atlantic, Abbie T. Hays, principal of a music
school in Wichita, Kansas, filed a patent in 1895 for a
"musical game device" designed to teach notation with
pictures depicting the words spelled out by note-names
(think B-A-G or B-E-E). Later that year, Sarah W.
Featherstone, a schoolteacher in Toledo, Ohio, filed a
patent for Nota Bene, which used a spinning wheel to
teach children rhythm. And in 1897, the enterpreneurial
Evelyn Fletcher of Toronto filed both Canadian and US
patents for a Music Block Game. Her "Fletcher Music
Method" would later be endorsed by luminaries such as John Philip Sousa and Hugo Riemann, and it was highly
popular with schoolteachers. This is just a small selection
of the names and devices that pop out of the archive.
In my experience searching historical patent records, one
is more likely to come across games designed by women
than by men. Bertha Harrison seems to have gotten that
right, at least!
Today, using gamification to teach music seems like a
no-brainer. Indeed, many music videogames have
become wildly popular—think instrument-based rhythm
games like Guitar Hero. While these games generally
teach synchronization, there are also plenty of music
theory games available to try online, such as ToneGym,
Solfege Story, or Chet — Ear Training. Although these
modern creations would have been unthinkable a
hundred years ago, these games are still part of an
unusual—and unusually female—tradition.
https://daily.jstor.org/the-hidden-history-of-women-game-designers/
Consider the following statements about the chronology
described in the article.
I. Anne Young received a royal patent in 1801.
II. She published her companion treatise two years later.
III. The patent had been granted before the treatise appeared.
IV. Her treatise has remained the first British patent ever granted for a game.
Mark the alternative that presents the propositions that are CORRECT.
I. Anne Young received a royal patent in 1801.
II. She published her companion treatise two years later.
III. The patent had been granted before the treatise appeared.
IV. Her treatise has remained the first British patent ever granted for a game.
Mark the alternative that presents the propositions that are CORRECT.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Inglesa |
Q4279245
Inglês
Texto associado
The Hidden History of Women Game Designers
Educational games were all the rage in the early
ninteenth century. As the narrator of Sir Walter Scott's
1814 novel, Waverley, observed, "the history of England
is now reduced to a game at cards, the problems of
mathematics to puzzles and riddles." This bemusement
reflects the burgeoning industry of instructional card,
dice, and board games that sprang up in the late 1700s,
partly in response to changing attitudes towards juvenile
education outlined early on by the philosopher John
Locke a century before.
Women at the time were, of course, generally barred
from attending college and generally discouraged from
the pursuit of learning beyond acquiring the skills of a
governess. Yet the wave of enthusiasm for educational
games nevertheless created an opportunity for some
enterprising
women—despite significant structural
obstacles—to find an intellectual and creative outlet.
Standout figures in the history of game design include
Margaret Bryan, who directed a girl's school in
Blackheath in southeastern London. A writer on science
with a particular interest in astronomy, Bryan produced
the boardgame Science in Sport, or the Pleasures of
Astronomy in collaboration with the well-known game
publisher John Wallis.
This game, a variation on the staple of the Game of the
Goose (akin to Chutes and Ladders), requires players to
spin a teetotum and race their pieces along the board.
Most of the squares illustrate scientific phenomena,
explained in an accompanying rule booklet, but some
depict bad behavior, such as square six, which features
"The County Gaol...for those who attend to the motion of
Billiard Balls, more than to the motion of the Planets,"
and square twelve, which features "a blockhead." Landing on these meant losing a turn or worse, a player's
place on the board.
Learning the rules of music theory by rote could seem
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself to
gamification.
Other pioneering game designers include children's
author Alicia Catherine Mant, who also published an
astronomy-themed board game, while the ludic
inventions of the poet and schoolteacher Elizabeth
Rowse encompassed A Grammatical Game, in Rhyme,
by a Lady (1802) and Mythological Amusement (1804).
Perhaps the most creative arena for female game
designers, however, was music, and more specifically,
music theory. Among the middle and upper classes,
music was generally seen as a female accomplishment,
and teaching its rudiments to children was typically left to mothers, governesses, or schoolmistresses. Learning the
rules of music theory by rote could seem difficult and
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself
remarkably well to gamification.
The nineteenth century's best-known musical game
designer was the Edinburgh-based pianist and music
teacher Anne Young. In 1801, she received a royal
patent for a set of games intended to "render familiar and
impress upon the memory, the fundamental principles of
the science of music." The first British patent ever
granted for a game, it was also the only one awarded that
year to a female inventor, as David Ghere and Fred
Amram have discovered. Two years after the launch of
the Musical Games, Young, now the respectably married
Mrs.
Gunn, published a two-hundred-fifty page
companion treatise entitled An Introduction to Music,
which explained music theory fundamentals via
instructions for playing her Musical Games. The treatise
is organized as seven sections, each corresponding to a
different set of games, and includes a number of optional
variations, outlining twenty-two different games in total.
A handful of Young's Musical Games can be found in
libraries, museums, and private collections today. They're
luxury items: the boards were made of mahogany, while
most of the nearly two hundred parts in each
game—pins, dice, plates, and counters—were carved out
of ivory and ebony. Priced originally at seven guineas,
which was more than the annual wages of a laborer at
the time, this game set would have been affordable only
for the very wealthy.
Unlike earlier musical dice games, which were designed
to encourage composition, Musical Games aimed to
teach the rudiments of theory. Some of the games that
can be played on the set involve racing, with players
competing to move their pieces up and down various
configurations on the board. Others involve the
acquisition of points for correct answers, tallied with
delicate ivory counters. A child following the treatise's
progression of games would engage many of the
fundamentals of music theory, ranging from notation
through more advanced topics in harmony including
chord resolution and modulation.
Young's invention haunted musical journals throughout
the nineteenth century, resurfacing from time to time in
newspaper queries, sometimes from readers intrigued by
the warm endorsement it got from her husband John
Gunn, a distinguished Scottish music pedagogue who
wroteinstructional treatises. (In his writings, Gunn
protested "without having ever previously heard the name
of the ingenious and scientific Inventor, I was struck with
the merits of these Games.") Interestingly, the Musical
Games reappear nearly a century later in the essay
"Games of Music," published in 1907 in the
London-based magazine The Musical Times by Bertha
Harrison, who was very likely the anti-suffrage activist
also known as Ethel Bertha Harrison. Harrison was
interested in music history—her earlier writings in The
Musical Times had treated topics such as child prodigies
and historic concert venues—but it was only in her essay on musical games that she revealed her political
leanings.
In
what may be one of the earliest pieces of
ludomusicology, the study of music and games,
Harrison's essay surveys the role of musical games from
the eighteenth century to her present day. Although she
ostensibly examines musical games in general, most of
her article is dedicated to Young, whom she
characterizes as a woman "possessed of an uncommon
order of mind." Harrison describes Young's games as "so
clever and ingenious, so full of nice detail, that all the
music games of the present day seem poor in design and
clumsy in execution in comparison with it."
However, the crux of Harrison's argument appears in a
subsequent paragraph, where she struggles to put a
positive spin on the striking disparity in the quality of
games designed by women and men, writing that "is a
curious and interesting fact that, among musical games,
those invented by women are very complicated and
extraordinarily full of detail, while those invented by men
are, with very rare exceptions, quite simple and generally
adaptations from other games. From this we may draw
one of two conclusions: either that in this particular line
woman has more originality than man, or that when she
begins to invent, her mind becomes so engrossed with
details as to lose sight of the main issue, and, in the
words of the proverb, she cannot see the wood for the
trees."
Conceding that women might be intrinsically better at
musical game design, Harrison immediately undercuts
this notion with the claim that women are overly
concerned with details, and that is why their games tend
to be more complex. The stereotype of the detail-oriented
woman, as exemplified in this example, is a trope that, as
Naomi Schor reminds us, has informed and limited
understandings of female ability for centuries.
Harrison's critique notwithstanding, the nineteenth
century saw many impressive music educational games
invented by women. The 1851 Great Exhibition in London
featured Gioco di Euterpe, (a game whose name invokes
the Greek goddess of music) designed by Abelinde
Prince and "intended to assist beginners in the
knowledge of the relative value of musical characters,
and to render them good timeists." The editor of The
Girl's Own Book (1869) described a game developed by
an anonymous female friend, entitled "Sir Samuel
Semibreve," which taught sight-singing and could be
ordered from a music shop in Middlesex.
Across the Atlantic, Abbie T. Hays, principal of a music
school in Wichita, Kansas, filed a patent in 1895 for a
"musical game device" designed to teach notation with
pictures depicting the words spelled out by note-names
(think B-A-G or B-E-E). Later that year, Sarah W.
Featherstone, a schoolteacher in Toledo, Ohio, filed a
patent for Nota Bene, which used a spinning wheel to
teach children rhythm. And in 1897, the enterpreneurial
Evelyn Fletcher of Toronto filed both Canadian and US
patents for a Music Block Game. Her "Fletcher Music
Method" would later be endorsed by luminaries such as John Philip Sousa and Hugo Riemann, and it was highly
popular with schoolteachers. This is just a small selection
of the names and devices that pop out of the archive.
In my experience searching historical patent records, one
is more likely to come across games designed by women
than by men. Bertha Harrison seems to have gotten that
right, at least!
Today, using gamification to teach music seems like a
no-brainer. Indeed, many music videogames have
become wildly popular—think instrument-based rhythm
games like Guitar Hero. While these games generally
teach synchronization, there are also plenty of music
theory games available to try online, such as ToneGym,
Solfege Story, or Chet — Ear Training. Although these
modern creations would have been unthinkable a
hundred years ago, these games are still part of an
unusual—and unusually female—tradition.
https://daily.jstor.org/the-hidden-history-of-women-game-designers/
In
the opening paragraph, the author states that
educational games "were all the rage" in the early
nineteenth century. The same paragraph describes a
rapidly expanding market for instructional card, dice, and
board games. Considering this context, mark the
alternative that presents the CORRECT meaning of the
expression "all the rage."
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Inglesa |
Q4279244
Inglês
Texto associado
The Hidden History of Women Game Designers
Educational games were all the rage in the early
ninteenth century. As the narrator of Sir Walter Scott's
1814 novel, Waverley, observed, "the history of England
is now reduced to a game at cards, the problems of
mathematics to puzzles and riddles." This bemusement
reflects the burgeoning industry of instructional card,
dice, and board games that sprang up in the late 1700s,
partly in response to changing attitudes towards juvenile
education outlined early on by the philosopher John
Locke a century before.
Women at the time were, of course, generally barred
from attending college and generally discouraged from
the pursuit of learning beyond acquiring the skills of a
governess. Yet the wave of enthusiasm for educational
games nevertheless created an opportunity for some
enterprising
women—despite significant structural
obstacles—to find an intellectual and creative outlet.
Standout figures in the history of game design include
Margaret Bryan, who directed a girl's school in
Blackheath in southeastern London. A writer on science
with a particular interest in astronomy, Bryan produced
the boardgame Science in Sport, or the Pleasures of
Astronomy in collaboration with the well-known game
publisher John Wallis.
This game, a variation on the staple of the Game of the
Goose (akin to Chutes and Ladders), requires players to
spin a teetotum and race their pieces along the board.
Most of the squares illustrate scientific phenomena,
explained in an accompanying rule booklet, but some
depict bad behavior, such as square six, which features
"The County Gaol...for those who attend to the motion of
Billiard Balls, more than to the motion of the Planets,"
and square twelve, which features "a blockhead." Landing on these meant losing a turn or worse, a player's
place on the board.
Learning the rules of music theory by rote could seem
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself to
gamification.
Other pioneering game designers include children's
author Alicia Catherine Mant, who also published an
astronomy-themed board game, while the ludic
inventions of the poet and schoolteacher Elizabeth
Rowse encompassed A Grammatical Game, in Rhyme,
by a Lady (1802) and Mythological Amusement (1804).
Perhaps the most creative arena for female game
designers, however, was music, and more specifically,
music theory. Among the middle and upper classes,
music was generally seen as a female accomplishment,
and teaching its rudiments to children was typically left to mothers, governesses, or schoolmistresses. Learning the
rules of music theory by rote could seem difficult and
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself
remarkably well to gamification.
The nineteenth century's best-known musical game
designer was the Edinburgh-based pianist and music
teacher Anne Young. In 1801, she received a royal
patent for a set of games intended to "render familiar and
impress upon the memory, the fundamental principles of
the science of music." The first British patent ever
granted for a game, it was also the only one awarded that
year to a female inventor, as David Ghere and Fred
Amram have discovered. Two years after the launch of
the Musical Games, Young, now the respectably married
Mrs.
Gunn, published a two-hundred-fifty page
companion treatise entitled An Introduction to Music,
which explained music theory fundamentals via
instructions for playing her Musical Games. The treatise
is organized as seven sections, each corresponding to a
different set of games, and includes a number of optional
variations, outlining twenty-two different games in total.
A handful of Young's Musical Games can be found in
libraries, museums, and private collections today. They're
luxury items: the boards were made of mahogany, while
most of the nearly two hundred parts in each
game—pins, dice, plates, and counters—were carved out
of ivory and ebony. Priced originally at seven guineas,
which was more than the annual wages of a laborer at
the time, this game set would have been affordable only
for the very wealthy.
Unlike earlier musical dice games, which were designed
to encourage composition, Musical Games aimed to
teach the rudiments of theory. Some of the games that
can be played on the set involve racing, with players
competing to move their pieces up and down various
configurations on the board. Others involve the
acquisition of points for correct answers, tallied with
delicate ivory counters. A child following the treatise's
progression of games would engage many of the
fundamentals of music theory, ranging from notation
through more advanced topics in harmony including
chord resolution and modulation.
Young's invention haunted musical journals throughout
the nineteenth century, resurfacing from time to time in
newspaper queries, sometimes from readers intrigued by
the warm endorsement it got from her husband John
Gunn, a distinguished Scottish music pedagogue who
wroteinstructional treatises. (In his writings, Gunn
protested "without having ever previously heard the name
of the ingenious and scientific Inventor, I was struck with
the merits of these Games.") Interestingly, the Musical
Games reappear nearly a century later in the essay
"Games of Music," published in 1907 in the
London-based magazine The Musical Times by Bertha
Harrison, who was very likely the anti-suffrage activist
also known as Ethel Bertha Harrison. Harrison was
interested in music history—her earlier writings in The
Musical Times had treated topics such as child prodigies
and historic concert venues—but it was only in her essay on musical games that she revealed her political
leanings.
In
what may be one of the earliest pieces of
ludomusicology, the study of music and games,
Harrison's essay surveys the role of musical games from
the eighteenth century to her present day. Although she
ostensibly examines musical games in general, most of
her article is dedicated to Young, whom she
characterizes as a woman "possessed of an uncommon
order of mind." Harrison describes Young's games as "so
clever and ingenious, so full of nice detail, that all the
music games of the present day seem poor in design and
clumsy in execution in comparison with it."
However, the crux of Harrison's argument appears in a
subsequent paragraph, where she struggles to put a
positive spin on the striking disparity in the quality of
games designed by women and men, writing that "is a
curious and interesting fact that, among musical games,
those invented by women are very complicated and
extraordinarily full of detail, while those invented by men
are, with very rare exceptions, quite simple and generally
adaptations from other games. From this we may draw
one of two conclusions: either that in this particular line
woman has more originality than man, or that when she
begins to invent, her mind becomes so engrossed with
details as to lose sight of the main issue, and, in the
words of the proverb, she cannot see the wood for the
trees."
Conceding that women might be intrinsically better at
musical game design, Harrison immediately undercuts
this notion with the claim that women are overly
concerned with details, and that is why their games tend
to be more complex. The stereotype of the detail-oriented
woman, as exemplified in this example, is a trope that, as
Naomi Schor reminds us, has informed and limited
understandings of female ability for centuries.
Harrison's critique notwithstanding, the nineteenth
century saw many impressive music educational games
invented by women. The 1851 Great Exhibition in London
featured Gioco di Euterpe, (a game whose name invokes
the Greek goddess of music) designed by Abelinde
Prince and "intended to assist beginners in the
knowledge of the relative value of musical characters,
and to render them good timeists." The editor of The
Girl's Own Book (1869) described a game developed by
an anonymous female friend, entitled "Sir Samuel
Semibreve," which taught sight-singing and could be
ordered from a music shop in Middlesex.
Across the Atlantic, Abbie T. Hays, principal of a music
school in Wichita, Kansas, filed a patent in 1895 for a
"musical game device" designed to teach notation with
pictures depicting the words spelled out by note-names
(think B-A-G or B-E-E). Later that year, Sarah W.
Featherstone, a schoolteacher in Toledo, Ohio, filed a
patent for Nota Bene, which used a spinning wheel to
teach children rhythm. And in 1897, the enterpreneurial
Evelyn Fletcher of Toronto filed both Canadian and US
patents for a Music Block Game. Her "Fletcher Music
Method" would later be endorsed by luminaries such as John Philip Sousa and Hugo Riemann, and it was highly
popular with schoolteachers. This is just a small selection
of the names and devices that pop out of the archive.
In my experience searching historical patent records, one
is more likely to come across games designed by women
than by men. Bertha Harrison seems to have gotten that
right, at least!
Today, using gamification to teach music seems like a
no-brainer. Indeed, many music videogames have
become wildly popular—think instrument-based rhythm
games like Guitar Hero. While these games generally
teach synchronization, there are also plenty of music
theory games available to try online, such as ToneGym,
Solfege Story, or Chet — Ear Training. Although these
modern creations would have been unthinkable a
hundred years ago, these games are still part of an
unusual—and unusually female—tradition.
https://daily.jstor.org/the-hidden-history-of-women-game-designers/
The article contains the expression "The County Gaol,"
quoted from a British educational game, and later uses
the word "laborer" when explaining the price of Anne
Young's game set. These forms reflect different spelling
traditions. Match the words in Column I with the
descriptions in Column II.
Column I
1. Gaol. 2. Jail. 3. Laborer. 4. Labourer.
Column II
I. Traditional British spelling for a place of imprisonment.
II. Common modern spelling in both American and British usage.
III. American spelling without the letter "u."
IV. British spelling retaining the letter "u."
Mark the alternative that presents the CORRECT matching.
Column I
1. Gaol. 2. Jail. 3. Laborer. 4. Labourer.
Column II
I. Traditional British spelling for a place of imprisonment.
II. Common modern spelling in both American and British usage.
III. American spelling without the letter "u."
IV. British spelling retaining the letter "u."
Mark the alternative that presents the CORRECT matching.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Inglesa |
Q4279243
Inglês
Texto associado
The Hidden History of Women Game Designers
Educational games were all the rage in the early
ninteenth century. As the narrator of Sir Walter Scott's
1814 novel, Waverley, observed, "the history of England
is now reduced to a game at cards, the problems of
mathematics to puzzles and riddles." This bemusement
reflects the burgeoning industry of instructional card,
dice, and board games that sprang up in the late 1700s,
partly in response to changing attitudes towards juvenile
education outlined early on by the philosopher John
Locke a century before.
Women at the time were, of course, generally barred
from attending college and generally discouraged from
the pursuit of learning beyond acquiring the skills of a
governess. Yet the wave of enthusiasm for educational
games nevertheless created an opportunity for some
enterprising
women—despite significant structural
obstacles—to find an intellectual and creative outlet.
Standout figures in the history of game design include
Margaret Bryan, who directed a girl's school in
Blackheath in southeastern London. A writer on science
with a particular interest in astronomy, Bryan produced
the boardgame Science in Sport, or the Pleasures of
Astronomy in collaboration with the well-known game
publisher John Wallis.
This game, a variation on the staple of the Game of the
Goose (akin to Chutes and Ladders), requires players to
spin a teetotum and race their pieces along the board.
Most of the squares illustrate scientific phenomena,
explained in an accompanying rule booklet, but some
depict bad behavior, such as square six, which features
"The County Gaol...for those who attend to the motion of
Billiard Balls, more than to the motion of the Planets,"
and square twelve, which features "a blockhead." Landing on these meant losing a turn or worse, a player's
place on the board.
Learning the rules of music theory by rote could seem
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself to
gamification.
Other pioneering game designers include children's
author Alicia Catherine Mant, who also published an
astronomy-themed board game, while the ludic
inventions of the poet and schoolteacher Elizabeth
Rowse encompassed A Grammatical Game, in Rhyme,
by a Lady (1802) and Mythological Amusement (1804).
Perhaps the most creative arena for female game
designers, however, was music, and more specifically,
music theory. Among the middle and upper classes,
music was generally seen as a female accomplishment,
and teaching its rudiments to children was typically left to mothers, governesses, or schoolmistresses. Learning the
rules of music theory by rote could seem difficult and
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself
remarkably well to gamification.
The nineteenth century's best-known musical game
designer was the Edinburgh-based pianist and music
teacher Anne Young. In 1801, she received a royal
patent for a set of games intended to "render familiar and
impress upon the memory, the fundamental principles of
the science of music." The first British patent ever
granted for a game, it was also the only one awarded that
year to a female inventor, as David Ghere and Fred
Amram have discovered. Two years after the launch of
the Musical Games, Young, now the respectably married
Mrs.
Gunn, published a two-hundred-fifty page
companion treatise entitled An Introduction to Music,
which explained music theory fundamentals via
instructions for playing her Musical Games. The treatise
is organized as seven sections, each corresponding to a
different set of games, and includes a number of optional
variations, outlining twenty-two different games in total.
A handful of Young's Musical Games can be found in
libraries, museums, and private collections today. They're
luxury items: the boards were made of mahogany, while
most of the nearly two hundred parts in each
game—pins, dice, plates, and counters—were carved out
of ivory and ebony. Priced originally at seven guineas,
which was more than the annual wages of a laborer at
the time, this game set would have been affordable only
for the very wealthy.
Unlike earlier musical dice games, which were designed
to encourage composition, Musical Games aimed to
teach the rudiments of theory. Some of the games that
can be played on the set involve racing, with players
competing to move their pieces up and down various
configurations on the board. Others involve the
acquisition of points for correct answers, tallied with
delicate ivory counters. A child following the treatise's
progression of games would engage many of the
fundamentals of music theory, ranging from notation
through more advanced topics in harmony including
chord resolution and modulation.
Young's invention haunted musical journals throughout
the nineteenth century, resurfacing from time to time in
newspaper queries, sometimes from readers intrigued by
the warm endorsement it got from her husband John
Gunn, a distinguished Scottish music pedagogue who
wroteinstructional treatises. (In his writings, Gunn
protested "without having ever previously heard the name
of the ingenious and scientific Inventor, I was struck with
the merits of these Games.") Interestingly, the Musical
Games reappear nearly a century later in the essay
"Games of Music," published in 1907 in the
London-based magazine The Musical Times by Bertha
Harrison, who was very likely the anti-suffrage activist
also known as Ethel Bertha Harrison. Harrison was
interested in music history—her earlier writings in The
Musical Times had treated topics such as child prodigies
and historic concert venues—but it was only in her essay on musical games that she revealed her political
leanings.
In
what may be one of the earliest pieces of
ludomusicology, the study of music and games,
Harrison's essay surveys the role of musical games from
the eighteenth century to her present day. Although she
ostensibly examines musical games in general, most of
her article is dedicated to Young, whom she
characterizes as a woman "possessed of an uncommon
order of mind." Harrison describes Young's games as "so
clever and ingenious, so full of nice detail, that all the
music games of the present day seem poor in design and
clumsy in execution in comparison with it."
However, the crux of Harrison's argument appears in a
subsequent paragraph, where she struggles to put a
positive spin on the striking disparity in the quality of
games designed by women and men, writing that "is a
curious and interesting fact that, among musical games,
those invented by women are very complicated and
extraordinarily full of detail, while those invented by men
are, with very rare exceptions, quite simple and generally
adaptations from other games. From this we may draw
one of two conclusions: either that in this particular line
woman has more originality than man, or that when she
begins to invent, her mind becomes so engrossed with
details as to lose sight of the main issue, and, in the
words of the proverb, she cannot see the wood for the
trees."
Conceding that women might be intrinsically better at
musical game design, Harrison immediately undercuts
this notion with the claim that women are overly
concerned with details, and that is why their games tend
to be more complex. The stereotype of the detail-oriented
woman, as exemplified in this example, is a trope that, as
Naomi Schor reminds us, has informed and limited
understandings of female ability for centuries.
Harrison's critique notwithstanding, the nineteenth
century saw many impressive music educational games
invented by women. The 1851 Great Exhibition in London
featured Gioco di Euterpe, (a game whose name invokes
the Greek goddess of music) designed by Abelinde
Prince and "intended to assist beginners in the
knowledge of the relative value of musical characters,
and to render them good timeists." The editor of The
Girl's Own Book (1869) described a game developed by
an anonymous female friend, entitled "Sir Samuel
Semibreve," which taught sight-singing and could be
ordered from a music shop in Middlesex.
Across the Atlantic, Abbie T. Hays, principal of a music
school in Wichita, Kansas, filed a patent in 1895 for a
"musical game device" designed to teach notation with
pictures depicting the words spelled out by note-names
(think B-A-G or B-E-E). Later that year, Sarah W.
Featherstone, a schoolteacher in Toledo, Ohio, filed a
patent for Nota Bene, which used a spinning wheel to
teach children rhythm. And in 1897, the enterpreneurial
Evelyn Fletcher of Toronto filed both Canadian and US
patents for a Music Block Game. Her "Fletcher Music
Method" would later be endorsed by luminaries such as John Philip Sousa and Hugo Riemann, and it was highly
popular with schoolteachers. This is just a small selection
of the names and devices that pop out of the archive.
In my experience searching historical patent records, one
is more likely to come across games designed by women
than by men. Bertha Harrison seems to have gotten that
right, at least!
Today, using gamification to teach music seems like a
no-brainer. Indeed, many music videogames have
become wildly popular—think instrument-based rhythm
games like Guitar Hero. While these games generally
teach synchronization, there are also plenty of music
theory games available to try online, such as ToneGym,
Solfege Story, or Chet — Ear Training. Although these
modern creations would have been unthinkable a
hundred years ago, these games are still part of an
unusual—and unusually female—tradition.
https://daily.jstor.org/the-hidden-history-of-women-game-designers/
The article reconstructs the participation of women in the
development of educational games from the late
eighteenth century onward. Rather than presenting their
work as an isolated curiosity, the author connects game
design with access to education, gender restrictions,
technological change, and the preservation of historical
records. Based on the text, mark the alternative that
presents the CORRECT interpretation of its central
argument.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Inglesa |
Q4279242
Inglês
Texto associado
The Hidden History of Women Game Designers
Educational games were all the rage in the early
ninteenth century. As the narrator of Sir Walter Scott's
1814 novel, Waverley, observed, "the history of England
is now reduced to a game at cards, the problems of
mathematics to puzzles and riddles." This bemusement
reflects the burgeoning industry of instructional card,
dice, and board games that sprang up in the late 1700s,
partly in response to changing attitudes towards juvenile
education outlined early on by the philosopher John
Locke a century before.
Women at the time were, of course, generally barred
from attending college and generally discouraged from
the pursuit of learning beyond acquiring the skills of a
governess. Yet the wave of enthusiasm for educational
games nevertheless created an opportunity for some
enterprising
women—despite significant structural
obstacles—to find an intellectual and creative outlet.
Standout figures in the history of game design include
Margaret Bryan, who directed a girl's school in
Blackheath in southeastern London. A writer on science
with a particular interest in astronomy, Bryan produced
the boardgame Science in Sport, or the Pleasures of
Astronomy in collaboration with the well-known game
publisher John Wallis.
This game, a variation on the staple of the Game of the
Goose (akin to Chutes and Ladders), requires players to
spin a teetotum and race their pieces along the board.
Most of the squares illustrate scientific phenomena,
explained in an accompanying rule booklet, but some
depict bad behavior, such as square six, which features
"The County Gaol...for those who attend to the motion of
Billiard Balls, more than to the motion of the Planets,"
and square twelve, which features "a blockhead." Landing on these meant losing a turn or worse, a player's
place on the board.
Learning the rules of music theory by rote could seem
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself to
gamification.
Other pioneering game designers include children's
author Alicia Catherine Mant, who also published an
astronomy-themed board game, while the ludic
inventions of the poet and schoolteacher Elizabeth
Rowse encompassed A Grammatical Game, in Rhyme,
by a Lady (1802) and Mythological Amusement (1804).
Perhaps the most creative arena for female game
designers, however, was music, and more specifically,
music theory. Among the middle and upper classes,
music was generally seen as a female accomplishment,
and teaching its rudiments to children was typically left to mothers, governesses, or schoolmistresses. Learning the
rules of music theory by rote could seem difficult and
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself
remarkably well to gamification.
The nineteenth century's best-known musical game
designer was the Edinburgh-based pianist and music
teacher Anne Young. In 1801, she received a royal
patent for a set of games intended to "render familiar and
impress upon the memory, the fundamental principles of
the science of music." The first British patent ever
granted for a game, it was also the only one awarded that
year to a female inventor, as David Ghere and Fred
Amram have discovered. Two years after the launch of
the Musical Games, Young, now the respectably married
Mrs.
Gunn, published a two-hundred-fifty page
companion treatise entitled An Introduction to Music,
which explained music theory fundamentals via
instructions for playing her Musical Games. The treatise
is organized as seven sections, each corresponding to a
different set of games, and includes a number of optional
variations, outlining twenty-two different games in total.
A handful of Young's Musical Games can be found in
libraries, museums, and private collections today. They're
luxury items: the boards were made of mahogany, while
most of the nearly two hundred parts in each
game—pins, dice, plates, and counters—were carved out
of ivory and ebony. Priced originally at seven guineas,
which was more than the annual wages of a laborer at
the time, this game set would have been affordable only
for the very wealthy.
Unlike earlier musical dice games, which were designed
to encourage composition, Musical Games aimed to
teach the rudiments of theory. Some of the games that
can be played on the set involve racing, with players
competing to move their pieces up and down various
configurations on the board. Others involve the
acquisition of points for correct answers, tallied with
delicate ivory counters. A child following the treatise's
progression of games would engage many of the
fundamentals of music theory, ranging from notation
through more advanced topics in harmony including
chord resolution and modulation.
Young's invention haunted musical journals throughout
the nineteenth century, resurfacing from time to time in
newspaper queries, sometimes from readers intrigued by
the warm endorsement it got from her husband John
Gunn, a distinguished Scottish music pedagogue who
wroteinstructional treatises. (In his writings, Gunn
protested "without having ever previously heard the name
of the ingenious and scientific Inventor, I was struck with
the merits of these Games.") Interestingly, the Musical
Games reappear nearly a century later in the essay
"Games of Music," published in 1907 in the
London-based magazine The Musical Times by Bertha
Harrison, who was very likely the anti-suffrage activist
also known as Ethel Bertha Harrison. Harrison was
interested in music history—her earlier writings in The
Musical Times had treated topics such as child prodigies
and historic concert venues—but it was only in her essay on musical games that she revealed her political
leanings.
In
what may be one of the earliest pieces of
ludomusicology, the study of music and games,
Harrison's essay surveys the role of musical games from
the eighteenth century to her present day. Although she
ostensibly examines musical games in general, most of
her article is dedicated to Young, whom she
characterizes as a woman "possessed of an uncommon
order of mind." Harrison describes Young's games as "so
clever and ingenious, so full of nice detail, that all the
music games of the present day seem poor in design and
clumsy in execution in comparison with it."
However, the crux of Harrison's argument appears in a
subsequent paragraph, where she struggles to put a
positive spin on the striking disparity in the quality of
games designed by women and men, writing that "is a
curious and interesting fact that, among musical games,
those invented by women are very complicated and
extraordinarily full of detail, while those invented by men
are, with very rare exceptions, quite simple and generally
adaptations from other games. From this we may draw
one of two conclusions: either that in this particular line
woman has more originality than man, or that when she
begins to invent, her mind becomes so engrossed with
details as to lose sight of the main issue, and, in the
words of the proverb, she cannot see the wood for the
trees."
Conceding that women might be intrinsically better at
musical game design, Harrison immediately undercuts
this notion with the claim that women are overly
concerned with details, and that is why their games tend
to be more complex. The stereotype of the detail-oriented
woman, as exemplified in this example, is a trope that, as
Naomi Schor reminds us, has informed and limited
understandings of female ability for centuries.
Harrison's critique notwithstanding, the nineteenth
century saw many impressive music educational games
invented by women. The 1851 Great Exhibition in London
featured Gioco di Euterpe, (a game whose name invokes
the Greek goddess of music) designed by Abelinde
Prince and "intended to assist beginners in the
knowledge of the relative value of musical characters,
and to render them good timeists." The editor of The
Girl's Own Book (1869) described a game developed by
an anonymous female friend, entitled "Sir Samuel
Semibreve," which taught sight-singing and could be
ordered from a music shop in Middlesex.
Across the Atlantic, Abbie T. Hays, principal of a music
school in Wichita, Kansas, filed a patent in 1895 for a
"musical game device" designed to teach notation with
pictures depicting the words spelled out by note-names
(think B-A-G or B-E-E). Later that year, Sarah W.
Featherstone, a schoolteacher in Toledo, Ohio, filed a
patent for Nota Bene, which used a spinning wheel to
teach children rhythm. And in 1897, the enterpreneurial
Evelyn Fletcher of Toronto filed both Canadian and US
patents for a Music Block Game. Her "Fletcher Music
Method" would later be endorsed by luminaries such as John Philip Sousa and Hugo Riemann, and it was highly
popular with schoolteachers. This is just a small selection
of the names and devices that pop out of the archive.
In my experience searching historical patent records, one
is more likely to come across games designed by women
than by men. Bertha Harrison seems to have gotten that
right, at least!
Today, using gamification to teach music seems like a
no-brainer. Indeed, many music videogames have
become wildly popular—think instrument-based rhythm
games like Guitar Hero. While these games generally
teach synchronization, there are also plenty of music
theory games available to try online, such as ToneGym,
Solfege Story, or Chet — Ear Training. Although these
modern creations would have been unthinkable a
hundred years ago, these games are still part of an
unusual—and unusually female—tradition.
https://daily.jstor.org/the-hidden-history-of-women-game-designers/
The article includes the proverb "she cannot see the
wood for the trees" and repeatedly uses the modal verb
"would." Although "wood" and "would" differ in spelling
and meaning, they are pronounced alike in standard
varieties of English. Evaluate the statements and mark
them as true (T) or false (F).
( ) "Wood" and "would" form a pair of homophones.
( ) Their pronunciation is generally represented by the same phonemic sequence.
( ) Their grammatical functions are identical because their pronunciation is the same.
( ) Context allows listeners to distinguish their meanings in connected speech.
Mark the alternative that presents the CORRECT sequence.
( ) "Wood" and "would" form a pair of homophones.
( ) Their pronunciation is generally represented by the same phonemic sequence.
( ) Their grammatical functions are identical because their pronunciation is the same.
( ) Context allows listeners to distinguish their meanings in connected speech.
Mark the alternative that presents the CORRECT sequence.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Inglesa |
Q4279241
Inglês
Texto associado
The Hidden History of Women Game Designers
Educational games were all the rage in the early
ninteenth century. As the narrator of Sir Walter Scott's
1814 novel, Waverley, observed, "the history of England
is now reduced to a game at cards, the problems of
mathematics to puzzles and riddles." This bemusement
reflects the burgeoning industry of instructional card,
dice, and board games that sprang up in the late 1700s,
partly in response to changing attitudes towards juvenile
education outlined early on by the philosopher John
Locke a century before.
Women at the time were, of course, generally barred
from attending college and generally discouraged from
the pursuit of learning beyond acquiring the skills of a
governess. Yet the wave of enthusiasm for educational
games nevertheless created an opportunity for some
enterprising
women—despite significant structural
obstacles—to find an intellectual and creative outlet.
Standout figures in the history of game design include
Margaret Bryan, who directed a girl's school in
Blackheath in southeastern London. A writer on science
with a particular interest in astronomy, Bryan produced
the boardgame Science in Sport, or the Pleasures of
Astronomy in collaboration with the well-known game
publisher John Wallis.
This game, a variation on the staple of the Game of the
Goose (akin to Chutes and Ladders), requires players to
spin a teetotum and race their pieces along the board.
Most of the squares illustrate scientific phenomena,
explained in an accompanying rule booklet, but some
depict bad behavior, such as square six, which features
"The County Gaol...for those who attend to the motion of
Billiard Balls, more than to the motion of the Planets,"
and square twelve, which features "a blockhead." Landing on these meant losing a turn or worse, a player's
place on the board.
Learning the rules of music theory by rote could seem
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself to
gamification.
Other pioneering game designers include children's
author Alicia Catherine Mant, who also published an
astronomy-themed board game, while the ludic
inventions of the poet and schoolteacher Elizabeth
Rowse encompassed A Grammatical Game, in Rhyme,
by a Lady (1802) and Mythological Amusement (1804).
Perhaps the most creative arena for female game
designers, however, was music, and more specifically,
music theory. Among the middle and upper classes,
music was generally seen as a female accomplishment,
and teaching its rudiments to children was typically left to mothers, governesses, or schoolmistresses. Learning the
rules of music theory by rote could seem difficult and
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself
remarkably well to gamification.
The nineteenth century's best-known musical game
designer was the Edinburgh-based pianist and music
teacher Anne Young. In 1801, she received a royal
patent for a set of games intended to "render familiar and
impress upon the memory, the fundamental principles of
the science of music." The first British patent ever
granted for a game, it was also the only one awarded that
year to a female inventor, as David Ghere and Fred
Amram have discovered. Two years after the launch of
the Musical Games, Young, now the respectably married
Mrs.
Gunn, published a two-hundred-fifty page
companion treatise entitled An Introduction to Music,
which explained music theory fundamentals via
instructions for playing her Musical Games. The treatise
is organized as seven sections, each corresponding to a
different set of games, and includes a number of optional
variations, outlining twenty-two different games in total.
A handful of Young's Musical Games can be found in
libraries, museums, and private collections today. They're
luxury items: the boards were made of mahogany, while
most of the nearly two hundred parts in each
game—pins, dice, plates, and counters—were carved out
of ivory and ebony. Priced originally at seven guineas,
which was more than the annual wages of a laborer at
the time, this game set would have been affordable only
for the very wealthy.
Unlike earlier musical dice games, which were designed
to encourage composition, Musical Games aimed to
teach the rudiments of theory. Some of the games that
can be played on the set involve racing, with players
competing to move their pieces up and down various
configurations on the board. Others involve the
acquisition of points for correct answers, tallied with
delicate ivory counters. A child following the treatise's
progression of games would engage many of the
fundamentals of music theory, ranging from notation
through more advanced topics in harmony including
chord resolution and modulation.
Young's invention haunted musical journals throughout
the nineteenth century, resurfacing from time to time in
newspaper queries, sometimes from readers intrigued by
the warm endorsement it got from her husband John
Gunn, a distinguished Scottish music pedagogue who
wroteinstructional treatises. (In his writings, Gunn
protested "without having ever previously heard the name
of the ingenious and scientific Inventor, I was struck with
the merits of these Games.") Interestingly, the Musical
Games reappear nearly a century later in the essay
"Games of Music," published in 1907 in the
London-based magazine The Musical Times by Bertha
Harrison, who was very likely the anti-suffrage activist
also known as Ethel Bertha Harrison. Harrison was
interested in music history—her earlier writings in The
Musical Times had treated topics such as child prodigies
and historic concert venues—but it was only in her essay on musical games that she revealed her political
leanings.
In
what may be one of the earliest pieces of
ludomusicology, the study of music and games,
Harrison's essay surveys the role of musical games from
the eighteenth century to her present day. Although she
ostensibly examines musical games in general, most of
her article is dedicated to Young, whom she
characterizes as a woman "possessed of an uncommon
order of mind." Harrison describes Young's games as "so
clever and ingenious, so full of nice detail, that all the
music games of the present day seem poor in design and
clumsy in execution in comparison with it."
However, the crux of Harrison's argument appears in a
subsequent paragraph, where she struggles to put a
positive spin on the striking disparity in the quality of
games designed by women and men, writing that "is a
curious and interesting fact that, among musical games,
those invented by women are very complicated and
extraordinarily full of detail, while those invented by men
are, with very rare exceptions, quite simple and generally
adaptations from other games. From this we may draw
one of two conclusions: either that in this particular line
woman has more originality than man, or that when she
begins to invent, her mind becomes so engrossed with
details as to lose sight of the main issue, and, in the
words of the proverb, she cannot see the wood for the
trees."
Conceding that women might be intrinsically better at
musical game design, Harrison immediately undercuts
this notion with the claim that women are overly
concerned with details, and that is why their games tend
to be more complex. The stereotype of the detail-oriented
woman, as exemplified in this example, is a trope that, as
Naomi Schor reminds us, has informed and limited
understandings of female ability for centuries.
Harrison's critique notwithstanding, the nineteenth
century saw many impressive music educational games
invented by women. The 1851 Great Exhibition in London
featured Gioco di Euterpe, (a game whose name invokes
the Greek goddess of music) designed by Abelinde
Prince and "intended to assist beginners in the
knowledge of the relative value of musical characters,
and to render them good timeists." The editor of The
Girl's Own Book (1869) described a game developed by
an anonymous female friend, entitled "Sir Samuel
Semibreve," which taught sight-singing and could be
ordered from a music shop in Middlesex.
Across the Atlantic, Abbie T. Hays, principal of a music
school in Wichita, Kansas, filed a patent in 1895 for a
"musical game device" designed to teach notation with
pictures depicting the words spelled out by note-names
(think B-A-G or B-E-E). Later that year, Sarah W.
Featherstone, a schoolteacher in Toledo, Ohio, filed a
patent for Nota Bene, which used a spinning wheel to
teach children rhythm. And in 1897, the enterpreneurial
Evelyn Fletcher of Toronto filed both Canadian and US
patents for a Music Block Game. Her "Fletcher Music
Method" would later be endorsed by luminaries such as John Philip Sousa and Hugo Riemann, and it was highly
popular with schoolteachers. This is just a small selection
of the names and devices that pop out of the archive.
In my experience searching historical patent records, one
is more likely to come across games designed by women
than by men. Bertha Harrison seems to have gotten that
right, at least!
Today, using gamification to teach music seems like a
no-brainer. Indeed, many music videogames have
become wildly popular—think instrument-based rhythm
games like Guitar Hero. While these games generally
teach synchronization, there are also plenty of music
theory games available to try online, such as ToneGym,
Solfege Story, or Chet — Ear Training. Although these
modern creations would have been unthinkable a
hundred years ago, these games are still part of an
unusual—and unusually female—tradition.
https://daily.jstor.org/the-hidden-history-of-women-game-designers/
Women in the period were generally excluded from
higher education, yet educational game design created
an alternative intellectual outlet. A researcher formulates
a counterfactual statement about this historical situation.
Mark the alternative that presents a CORRECT third
conditional sentence.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Inglesa |
Q4279240
Inglês
Texto associado
The Hidden History of Women Game Designers
Educational games were all the rage in the early
ninteenth century. As the narrator of Sir Walter Scott's
1814 novel, Waverley, observed, "the history of England
is now reduced to a game at cards, the problems of
mathematics to puzzles and riddles." This bemusement
reflects the burgeoning industry of instructional card,
dice, and board games that sprang up in the late 1700s,
partly in response to changing attitudes towards juvenile
education outlined early on by the philosopher John
Locke a century before.
Women at the time were, of course, generally barred
from attending college and generally discouraged from
the pursuit of learning beyond acquiring the skills of a
governess. Yet the wave of enthusiasm for educational
games nevertheless created an opportunity for some
enterprising
women—despite significant structural
obstacles—to find an intellectual and creative outlet.
Standout figures in the history of game design include
Margaret Bryan, who directed a girl's school in
Blackheath in southeastern London. A writer on science
with a particular interest in astronomy, Bryan produced
the boardgame Science in Sport, or the Pleasures of
Astronomy in collaboration with the well-known game
publisher John Wallis.
This game, a variation on the staple of the Game of the
Goose (akin to Chutes and Ladders), requires players to
spin a teetotum and race their pieces along the board.
Most of the squares illustrate scientific phenomena,
explained in an accompanying rule booklet, but some
depict bad behavior, such as square six, which features
"The County Gaol...for those who attend to the motion of
Billiard Balls, more than to the motion of the Planets,"
and square twelve, which features "a blockhead." Landing on these meant losing a turn or worse, a player's
place on the board.
Learning the rules of music theory by rote could seem
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself to
gamification.
Other pioneering game designers include children's
author Alicia Catherine Mant, who also published an
astronomy-themed board game, while the ludic
inventions of the poet and schoolteacher Elizabeth
Rowse encompassed A Grammatical Game, in Rhyme,
by a Lady (1802) and Mythological Amusement (1804).
Perhaps the most creative arena for female game
designers, however, was music, and more specifically,
music theory. Among the middle and upper classes,
music was generally seen as a female accomplishment,
and teaching its rudiments to children was typically left to mothers, governesses, or schoolmistresses. Learning the
rules of music theory by rote could seem difficult and
tedious. But the subject itself—with its principles,
prohibitions, and occasional exceptions—lent itself
remarkably well to gamification.
The nineteenth century's best-known musical game
designer was the Edinburgh-based pianist and music
teacher Anne Young. In 1801, she received a royal
patent for a set of games intended to "render familiar and
impress upon the memory, the fundamental principles of
the science of music." The first British patent ever
granted for a game, it was also the only one awarded that
year to a female inventor, as David Ghere and Fred
Amram have discovered. Two years after the launch of
the Musical Games, Young, now the respectably married
Mrs.
Gunn, published a two-hundred-fifty page
companion treatise entitled An Introduction to Music,
which explained music theory fundamentals via
instructions for playing her Musical Games. The treatise
is organized as seven sections, each corresponding to a
different set of games, and includes a number of optional
variations, outlining twenty-two different games in total.
A handful of Young's Musical Games can be found in
libraries, museums, and private collections today. They're
luxury items: the boards were made of mahogany, while
most of the nearly two hundred parts in each
game—pins, dice, plates, and counters—were carved out
of ivory and ebony. Priced originally at seven guineas,
which was more than the annual wages of a laborer at
the time, this game set would have been affordable only
for the very wealthy.
Unlike earlier musical dice games, which were designed
to encourage composition, Musical Games aimed to
teach the rudiments of theory. Some of the games that
can be played on the set involve racing, with players
competing to move their pieces up and down various
configurations on the board. Others involve the
acquisition of points for correct answers, tallied with
delicate ivory counters. A child following the treatise's
progression of games would engage many of the
fundamentals of music theory, ranging from notation
through more advanced topics in harmony including
chord resolution and modulation.
Young's invention haunted musical journals throughout
the nineteenth century, resurfacing from time to time in
newspaper queries, sometimes from readers intrigued by
the warm endorsement it got from her husband John
Gunn, a distinguished Scottish music pedagogue who
wroteinstructional treatises. (In his writings, Gunn
protested "without having ever previously heard the name
of the ingenious and scientific Inventor, I was struck with
the merits of these Games.") Interestingly, the Musical
Games reappear nearly a century later in the essay
"Games of Music," published in 1907 in the
London-based magazine The Musical Times by Bertha
Harrison, who was very likely the anti-suffrage activist
also known as Ethel Bertha Harrison. Harrison was
interested in music history—her earlier writings in The
Musical Times had treated topics such as child prodigies
and historic concert venues—but it was only in her essay on musical games that she revealed her political
leanings.
In
what may be one of the earliest pieces of
ludomusicology, the study of music and games,
Harrison's essay surveys the role of musical games from
the eighteenth century to her present day. Although she
ostensibly examines musical games in general, most of
her article is dedicated to Young, whom she
characterizes as a woman "possessed of an uncommon
order of mind." Harrison describes Young's games as "so
clever and ingenious, so full of nice detail, that all the
music games of the present day seem poor in design and
clumsy in execution in comparison with it."
However, the crux of Harrison's argument appears in a
subsequent paragraph, where she struggles to put a
positive spin on the striking disparity in the quality of
games designed by women and men, writing that "is a
curious and interesting fact that, among musical games,
those invented by women are very complicated and
extraordinarily full of detail, while those invented by men
are, with very rare exceptions, quite simple and generally
adaptations from other games. From this we may draw
one of two conclusions: either that in this particular line
woman has more originality than man, or that when she
begins to invent, her mind becomes so engrossed with
details as to lose sight of the main issue, and, in the
words of the proverb, she cannot see the wood for the
trees."
Conceding that women might be intrinsically better at
musical game design, Harrison immediately undercuts
this notion with the claim that women are overly
concerned with details, and that is why their games tend
to be more complex. The stereotype of the detail-oriented
woman, as exemplified in this example, is a trope that, as
Naomi Schor reminds us, has informed and limited
understandings of female ability for centuries.
Harrison's critique notwithstanding, the nineteenth
century saw many impressive music educational games
invented by women. The 1851 Great Exhibition in London
featured Gioco di Euterpe, (a game whose name invokes
the Greek goddess of music) designed by Abelinde
Prince and "intended to assist beginners in the
knowledge of the relative value of musical characters,
and to render them good timeists." The editor of The
Girl's Own Book (1869) described a game developed by
an anonymous female friend, entitled "Sir Samuel
Semibreve," which taught sight-singing and could be
ordered from a music shop in Middlesex.
Across the Atlantic, Abbie T. Hays, principal of a music
school in Wichita, Kansas, filed a patent in 1895 for a
"musical game device" designed to teach notation with
pictures depicting the words spelled out by note-names
(think B-A-G or B-E-E). Later that year, Sarah W.
Featherstone, a schoolteacher in Toledo, Ohio, filed a
patent for Nota Bene, which used a spinning wheel to
teach children rhythm. And in 1897, the enterpreneurial
Evelyn Fletcher of Toronto filed both Canadian and US
patents for a Music Block Game. Her "Fletcher Music
Method" would later be endorsed by luminaries such as John Philip Sousa and Hugo Riemann, and it was highly
popular with schoolteachers. This is just a small selection
of the names and devices that pop out of the archive.
In my experience searching historical patent records, one
is more likely to come across games designed by women
than by men. Bertha Harrison seems to have gotten that
right, at least!
Today, using gamification to teach music seems like a
no-brainer. Indeed, many music videogames have
become wildly popular—think instrument-based rhythm
games like Guitar Hero. While these games generally
teach synchronization, there are also plenty of music
theory games available to try online, such as ToneGym,
Solfege Story, or Chet — Ear Training. Although these
modern creations would have been unthinkable a
hundred years ago, these games are still part of an
unusual—and unusually female—tradition.
https://daily.jstor.org/the-hidden-history-of-women-game-designers/
The article states: "The first British patent ever granted
for a game was awarded to Anne Young." A student
rewrites the sentence in the active voice while preserving
its meaning and historical focus. Mark the alternative that
presents the CORRECT active construction.
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