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Thesis (Ed.M.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

The first children’s video game called Mixed up Mother Goose was created by Roberta Williams in 1987. This game was created for a desktop. Today, many children’s games exist on a range of digital platforms. While these platforms offer different types of interactions for engagement and learning, many of these interactions are limited to tapping, dragging and clicking. Current studies have shown that physical interaction is important for young children’s development. Traditionally, nursery rhymes have been this source of physical interaction to engage children in the process of learning. This study looks at the physical engagement of children with nursery rhymes in oral, print and digital mediums. Engagement in oral medium consists of learning nursery rhymes through the movement of the body such as action rhymes and finger plays. Engagement in print medium consists of learning nursery rhymes through interactive books that include movable books, puppet books and sound books. Digital medium, including platforms such as touchscreen devices and laptops, continue to evolve from tap and click games to increased physical engagement of children. Although digital medium is a new phenomenon, it is following a similar evolution as print and oral mediums. Digital medium is increasingly engaging children with interactive play. As part of a larger project, this research collects information and provides a matrix that identifies the attributes of physical engagement employed by these three mediums.

No description available.

Nursery Rhymes are understood as popular demonstrations and express feelings of regionality, ascendancy and originality, reflecting the rooting of acquirements and everyday experiences of the individual and the social group of belonging. Characterized as cultural practices, the nursery rhymes carry elements that cross generations and move in time and space. This research aims to analyze the Social Representations (SR) of teachers and parents of students on the played and sung nursery rhymes within schools that belong to the Sistema Municipal de Educação de Chapadinha, in Maranhão. The Social Representations in this research acquire a main character, because they allow recognizing at the same time the importance of nursery rhymes as a cultural practice and a didactic teaching, which provides the appreciation of the local culture and the rescue of values that tend to disappear on the current modernity in which we live. The exploratory and descriptive research is guided by a plan that gathers as instruments of data collection semi-structured interviews with teachers, meetings with focus groups of parents of students, previously marked and organized according to their availability of time and space, as well as the analysis of official documents that establish the guidelines to be worked in the first and second years of elementary school (Escolas do Campo) of the city of Chapadinha, besides observation reports, resulting from remarks made in situ. The data comprehension was performed by content analysis underneath the theoretical perspective that guides this approach, providing as a result the understanding that nursery rhymes meet childhood needs of the students because as cultural practices where they find the possibilities that can guide their learning, socialization and intersubjective exchanges interests, which, for them, are significant because they see themselves and find themselves within the perspectives of experienced context. / As cantigas de roda, entendidas como manifestações culturais populares, expressam sentimentos de regionalidade, de ascendência e de originalidade, traduzindo o enraizamento dos saberes e das experiências cotidianas do indivíduo e do grupo social de pertencimento. Caracterizadas como práticas culturais, as cantigas de roda carregam elementos que perpassam as gerações e se movimentam no tempo e espaço. Esta pesquisa se propõe a analisar as Representações Sociais (RS) de docentes e de pais de alunos sobre as cantigas de roda brincadas e cantadas no âmbito das escolas pertencentes ao Sistema Municipal de Educação de Chapadinha, no Maranhão. As Representações Sociais, nesta pesquisa, adquirem um caráter central, pois permitem reconhecer, a um só tempo, a importância das cantigas de roda como práticas culturais e didático-pedagógicas, que propiciam a valorização da cultura local e o resgate de valores que tendem ao desaparecimento na atual modernidade em que se vive. A pesquisa exploratória e descritiva orienta-se por um plano, que reúne como instrumentos de coleta de dados as entrevistas semi-estruturadas com os professores, os encontros com os grupos focais dos pais de alunos, previamente marcados e organizados de acordo com suas disponibilidades de tempo e de espaço, bem como a análise dos documentos oficiais que estabelecem os saberes a serem trabalhados nos 1 e 2 anos do ensino fundamental das Escolas do Campo da cidade em questão, além de notas de campo, resultante de observações realizadas in loco. A interpretação dos dados foi realizada por meio da análise de conteúdo, sob a perspectiva teórica que orienta esta abordagem, oferecendo como resultado a compreensão que as cantigas de roda atendem às necessidades lúdicas dos alunos, porque, como práticas culturais, nelas encontram as possibilidades que podem guiar os seus interesses de aprendizagens, de socialização, de trocas intersubjetivas, que, para eles, são significativas, porque se vêem e se encontram dentro das perspectivas do contexto vivenciado.

This project will focus on a different method to teach pre-reading skills to kindergarten students and to ESL students. The strategy of using nursery rhymes as a tool for teaching pre-reading skills to kindergarteners and second language learners is an avenue to explore while addressing the different challenges facing a teacher. As an educator, we know that children learn through different modalities including auditory, kinesthetic and tactile.

A dança e a música dos Cocos e Sambas de Caboclo, do Samba rural e das Cirandas e cantigas de roda, por suas características próprias de ludicidade e de significação cultural, são o território das experiências estéticas e saberes dos jogos rapsódicos. Esta pesquisa propõe uma pedagogia das artes cênicas através de uma educação corporal e musical que integra tais saberes e experiências da dança popular e da música nos processos de criação e aprendizagem do atuante. Deste modo, os jogos rapsódicos são brincadeiras cantadas, dançadas, tocadas e contadas que colocam em movimento as vozes poéticas e corporeidades do narrador e do brincante das nossas celebrações e práticas culturais, para complementar as teorias e métodos da pedagogia das artes cênicas ensinados no Brasil. / Dance and music of Coco and Caboclo\'s Samba, from rural Samba and from Cirandas, Northeastern Brazilian circle dances, for their own playful features and their cultural meaning, are territory for aesthetic experiments, and knowledge for the rhapsodic games. This research proposes performimg art pedagogy by means of body and musical education, which integrates such knowledge and experience of popular dance and music into the actor\'s processes of learning and creation. Thus, rhapsodic games are sung, danced, played and told games, which prompt the poetic voices and corporeity of narrators and players from our celebrations and cultural practices, in order to complement the theories and methods of the performing art pedagogy taught in Brazil.

A dança e a música dos Cocos e Sambas de Caboclo, do Samba rural e das Cirandas e cantigas de roda, por suas características próprias de ludicidade e de significação cultural, são o território das experiências estéticas e saberes dos jogos rapsódicos. Esta pesquisa propõe uma pedagogia das artes cênicas através de uma educação corporal e musical que integra tais saberes e experiências da dança popular e da música nos processos de criação e aprendizagem do atuante. Deste modo, os jogos rapsódicos são brincadeiras cantadas, dançadas, tocadas e contadas que colocam em movimento as vozes poéticas e corporeidades do narrador e do brincante das nossas celebrações e práticas culturais, para complementar as teorias e métodos da pedagogia das artes cênicas ensinados no Brasil. / Dance and music of Coco and Caboclo\'s Samba, from rural Samba and from Cirandas, Northeastern Brazilian circle dances, for their own playful features and their cultural meaning, are territory for aesthetic experiments, and knowledge for the rhapsodic games. This research proposes performimg art pedagogy by means of body and musical education, which integrates such knowledge and experience of popular dance and music into the actor\'s processes of learning and creation. Thus, rhapsodic games are sung, danced, played and told games, which prompt the poetic voices and corporeity of narrators and players from our celebrations and cultural practices, in order to complement the theories and methods of the performing art pedagogy taught in Brazil.