Gamify the Audiation: The CrazySquare Project
Federica Caruso
1
, Tania Di Mascio
1
and Marco Pennese
2
1
DISIM, University of L’Aquila, Via Vetoio, L’Aquila, Italy
2
Istituto Giovanni Pascoli, Rieti, Rieti, italy
Keywords:
Gamification, Audiation, Music, Playing Musical Instruments, Young Teenagers.
Abstract:
In a world in which a large amount of ICT game-based systems deal with the musical abilities without really
supporting a high level of musical education, CrazySquare, initially implemented as educational instrument
supporting the study of rhythm and its representation, currently represents a valid high level of musical edu-
cation system for teachers who want to involve their students in learning guitar in a professional way, i.e., to
be able to play what they hear in their brains (the audiation). CrazySquare has been inspired by the Gordon’s
theory, which consists of using a more direct approach to sound instead of the musical notation alone (e.g.,
solfeggio). It is specifically indicated for young teenagers (10 - 13 years old) that approach music and a musi-
cal instrument at the same time and for the first time. It has been formalized after ten years of positive results,
obtained using the paper-based CrazySquare procedure adopted in Italian middle schools that introduced gam-
ified elements for the audiation. The reported expert-based evaluation, indeed, encourage us to go ahead in the
taken direction.
1 INTRODUCTION
Millions of people listen to music every single day.
As a consequence, learning to play musical instru-
ments is something that many people have interest in.
However, learning to play musical instruments is for
many people a rather demanding task, that requires a
lot of time and a proper guidance; more often peo-
ple consider the musical education more than a de-
manding task. Nowadays, to support people in these
challenging tasks, three main solutions exist: musical
schools, private lessons, and ICT-tools, since musical
activities at main schools are often not sufficient. In
Italy, musical teaching activities, at main schools, are
organized as follows (D.M. n.201, 1999):
Primary School: 1 hour of musical education
taught by the primary teacher. The quality of the
teaching is based on its (not required) expertise.
Middle School: 2 hours of musical education by
a professional music teacher + 2 hours of musi-
cal instrument training by a professional musical
instrument teacher.
In the Ministerial Decree 201/99 (D.M. n.201, 1999),
there are explicitly described what are the musical
education skills (e.g., agogic) that must be acquired
by children at the end of middle school (see for de-
tails Section 2) but there are no guidelines regarding
the pedagogical approaches to achieve them; the only
recommendations deal with the acquisition of a high
level of these musical education skills.
Musical education skills touch on all learning do-
mains, including the psycho-motor domain (the de-
velopment of motor skills), the cognitive domain (the
acquisition of music knowledge), and, in particu-
lar and significant ways, the affective domain (the
learner’s willingness to receive, internalize, and share
what is learned), including music appreciation and
sensitivity. During the 20th century, many distinctive
approaches were developed (see e.g., (Willems, 1946)
and (Jaques-Dalcroze, 1921). More recently, Gordon
introduced the audiation to summarize the different
musical education skills. Audiation takes place when
we hear and comprehend music for which the sound is
no longer or may never have been present. One may
audiate when listening to music, performing from no-
tation, playing “by ear”, improvising, composing, or
notating music (Gordon, 2003).
The high level of music education skills, and then
the audiation, is guaranteed, at school, by the ex-
pertise of middle school teachers; at the same time,
teachers pointed out the lack of ICT-solutions sup-
porting the musical education as well as highlighted
by (Beck, 2017). In the same literature review, the au-
92
Caruso, F., Di Mascio, T. and Pennese, M.
Gamify the Audiation: The CrazySquare Project.
DOI: 10.5220/0007764900920099
In Proceedings of the 11th International Conference on Computer Supported Education (CSEDU 2019), pages 92-99
ISBN: 978-989-758-367-4
Copyright
c
2019 by SCITEPRESS Science and Technology Publications, Lda. All rights reserved
thor highlights the diverse ICT-solutions related to the
music technology of education, concluding that they
are mainly commercially-driven and often not ade-
quately evaluated (Beck, 2017). This is in line with
the commercial trend of the new millennium, in which
the Internet plays an ever-increasing role in expand-
ing access to music-learning resources. On YouTube,
for instance, a plethora of instructional videos ex-
ist for learning to play virtually any musical instru-
ment; these are used not only by individuals, but they
are also being incorporated into educational frame-
works (Waldron, 2012). In both cases, these videos
do not consider the overall aspects of the musical ed-
ucation but rather psycho-motor domain and in part
the musical knowledge. For example, the most pop-
ular commercially-driven tool dedicated to learning
musical instruments is Yousician (Yousician, 2019);
it currently supports the guitar, piano, ukulele, bass,
and voice learning. Users are displayed either a gam-
ified, colorful version of sheet music or tablature no-
tation for an exercise and hear a backing track as they
play along. A major criticism depends on its nature:
being this tool commercially-driven and designed for
several instruments, the learning approach of Yousi-
cian is only based on the imitative process (i.e., the
tablature flows and the rhythm are punctuated as in a
Karaoke style). These characteristics support a skill
acquisition but do not guarantee the acquisition of the
audiation (to the best of our knowledge, no studies
about Yousician have been reported on that).
What it is clear is that when the musical learning
tools are not commercially-driven, there are “...lim-
ited effects, although research shows positive impact
of this kind of technology” (Konecki, 2014). This au-
thor proposes to include adaptive learning paradigms
and real-time tracking of one’s playing patterns and
he focuses on the use of the artificial intelligence so-
lutions to improve the quality of the learning musi-
cal instruments. The most recent literature also fo-
cuses on the collaborative aspects in learning music,
in general, and a musical instrument, in particular (see
e.g., (Schoonderwaldt et al., 2004) and (Burns et al.,
2017)), since cultural and social aspects are chang-
ing (Finney and Burnard, 2010) (Ferrari et al., 2006)
(Pitts and Kwami, 2002). Moreover, in order to keep
the interest of students for playing music, new tech-
nologies must incorporate certain concepts that ap-
pear in computer games (Denis and Jouvelot, 2005)
(C. Klimmt, 2003) (Koster, 2013); since these com-
puter programs can improve skill acquisition and can
boost students’ motivation, these computer systems
are becoming more relevant and interesting for use in
musical instruments playing education. It is out of
the scope of this paper arguing about how the game
concept is involved in ICT-learning projects, it is in-
stead crucial to define the concept of gamification as
the use of game elements in non-game contexts, since
it is largely used in the CrazySquare project. The use
of gamification in education is stated as the successful
integration of the course contents to increase the stu-
dents’ motivation, performance, and attitudes toward
the course. (Nah et al., 2014) reviewed the literature
on gamification and found the following design ele-
ments for gamification, such as (1) prizes, rewards,
points, badges, levels, leaderboards; (2) immediate
feedback, progress bars; (3) peer interaction and col-
laboration; (4) storytelling; (5) avatar, character up-
grades, customization, unlockable content.
CrazySquare goes in this direction, applying the
gamification elements for the acquisition of audiation,
necessary to playing a guitar consciously, guarantee-
ing a longer learning follow-up. Moreover, similar to
Yousician, also CrazySquare analyses the users’ play-
ing on their guitar, and provides them with instant
feedback and guidance (exploiting the pitch recogni-
tion techniques) since from its first prototype (Pen-
nese et al., 2013). Differently from Yousician the
current prototype follows the iterative TEL-oriented
UCD approach (Di Mascio et al., 2016), supports the
audiation and it is designed to guarantee music and
musical instruments learning at the same time, also if
the user (young teen from 10 to 13 years old) is ap-
proaching at the musical education for the first time.
The paper is structured as follows: the ped-
agogical underpinnings were presented in Section
2, while in Section 3, the theory underpinning the
CrazySquare project is outlined and specified; in Sec-
tion 4 the gamification aspects are reported and some
implementation aspects highlighted, while in Sec-
tion 5, a preliminary evaluation from domain experts,
conclusions and future works are described.
2 PEDAGOGICAL ASPECTS
As mentioned in Section 1, in the Italian schools, mu-
sical education is organized according to the musical
education skills of (D.M. n.201, 1999): melody, har-
mony, rhythm, timbre, dynamic, and agogic and there
is the list of associated musical instrumental skills
(e.g., ability of correlate sign-gesture-sound or im-
provising music ability). These skills are chosen ac-
cording to the more recent literature in musical educa-
tional, see (Willems, 1946), (Jaques-Dalcroze, 1921),
(Shamrock, 1986), and (Kod
´
aly, 1952). In fact, Edgar
Willems,
´
Emile Jaques-Dalcroze, Carl Orff, Zolt
´
an
Kod
´
aly agree on the fact that the musical education
imply the internalization of sounds and the learning of
Gamify the Audiation: The CrazySquare Project
93
Figure 1: Types of Audiation versus (D.M. n.201, 1999) skills.
a musical instruments is not really achieved if sounds
are not internalized. This concept has been clari-
fied and formalized by Edwin Gordon. Edwin Gor-
don’s Music Learning Theory (Gordon, 2007) pro-
vides music teachers with a comprehensive frame-
work for teaching musicianship through audiation,
Gordon’s term for hearing music in the mind with
understanding and comprehension when the sound is
not physically present. The sequence of instructions
is discrimination learning and inference learning: the
former is the ability to determine whether two ele-
ments are the same or not the same using aural/oral,
verbal association, partial synthesis, symbolic asso-
ciation, and composite synthesis; the latter students
take an active role in their own education and learn
to identify, create, and improvise unfamiliar patterns.
The skills and content sequences within the Audia-
tion Theory (Gordon, 2019), composed of eight Types
(e.g.,“reading”, “writing”) suggested us to establish a
learner model necessary to design an adaptive learn-
ing system dedicated to the guitar learning. The
learner model is based on the mapping between the
Gordon’s Types and the (D.M. n.201, 1999) skills, as
shown in Table of Figure 1. Section 3 is the result of
this research activity.
3 THE CrazySquare PROJECT
CrazySquare was born for Italian young teenagers
(10 - 13 years old) attending primary and middle
schools, who approaching music and a musical in-
strument (i.e., the guitar) for the first time; the con-
texts in which learners could interact with are: the
classroom, as a support during the teaching activities,
and the home, as a support of homework activities.
The CrazySquare is designed as an Advanced Learn-
ing System (ALS) following a TEL-oriented UCD ap-
proach (Di Mascio et al., 2016). This methodology
expands the traditional iterative user-centered design
approach in order to emphasize the necessity of de-
signing in parallel both a psycho-pedagogical stimu-
lation plan and the system modules realizing it in a
context of mutual dependency, along with the choice
of a psycho-pedagogical assessment strategy.
Figure 2: The TEL-oriented UCD schema.
The current stage of the project is the prototyping so-
lution deployment at the second iteration. The first
iteration produced the first prototype detailed in (Pen-
CSEDU 2019 - 11th International Conference on Computer Supported Education
94
nese et al., 2013) and mainly focused on the merging
aspects between the study of rhythm and its represen-
tation with the technique on the musical instrument.
The second prototype mainly focus on the audiation
aspects according to the designed stimulation plan,
explained in Section 3.1. Gamification aspects are
present in both prototypes as explained in Section 4.
3.1 The Stimulation Plan
As to the teaching/learning, based on the Gordon’s
approach (Gordon, 2003), CrazySquare is grounded
on gamification ideas of learning through gaming,
training via iterations, and of rewarding structures
for pushing students’ learning forward. Each learn-
ing experience can be divided in three phases, refer-
ring to a customary warm-up, peak and relax work-
load (Di Mascio et al., 2013):
Teaching Phase - warm-up, which currently takes
place in the classroom with the musical instru-
ment teacher; during this lesson the teacher will
introduce the concepts that will be trained during
the execution of the exercises foreseen by the as-
sessment phase.
Assessment Phase - peak, which currently takes
place via CrazySquare and consists of a series of
“play and enjoy” learning experiences performed
with an instrument (voice/hand or guitar), with the
help of two of the following types of metronome:
Acoustic metronome;
Visual metronome;
Harmonic metronome;
Musical accompaniment;
Metronome off.
Relaxing Phase - relax, which currently takes
place via CrazySquare and consists of playing
with relaxing games, which aims to lower the cog-
nitive load and to engage the player.
These learning experiences (two or three per week)
have to be run in private having own individual in-
teraction with the system, for a max of 30 minutes.
As to the stimulation plan, it is grounded on one ba-
sic principle: progresses are to be assessed during the
assessment phase, by associating hearing and playing
within playing sessions. Coherently with the learn-
ing theory, also these sessions referring to warm-up -
peak - relax workload: during the warm-up and peak
phases, young teens play with learning games (before
more easy then more complex) gaining points, while,
during the relax phase, young teens play with relax-
ing games; points and games are designed as tangible
rewards.
Learning is obtained achieving 4 main skills (from
now denoted as A, B, C and D) reported in the second
row of the Figure 5. These skills, each of them posi-
tioned under its own Audition Type, are described as
follows:
A: Perceive and maintain the pulsation for prede-
fined beats per minute (bpm) value;
B: Recognize and execute by reading a sequence
of rhythmic symbols;
C: Play with the instrument musical notes, articu-
lating them through reading of rhythmic symbols;
D: Execute change chords at different speeds.
A, B, C and D are achieved by acquiring increas-
ing competences (the complete list is reported in the
fifth row of Figure 5), obtained considering two lev-
els of difficulties (base and advanced) of the corre-
sponding skill object (in the third row). For example
the skill C is obtained acquiring the competences A
ba
,
A
ad
, B
ba
, B
ad
, C
ba
and C
ad
.
3.2 Realizing the Stimulation Plan
From an interaction point of view a competence has
to be viewed as a Matrix organized in blocks: the
competence A
ad
is achieved playing with a minimum
of 2 blocks to the maximum of 4 blocks (see Fig-
ure 3), following the state diagram in Figure 4, in
which movements are unlocked by gaining one, two
or three points (or stars). Each competence has its
own associated block matrix (see the seventh row of
Figure 5). In CrazySquare we designed 4 types of
blocks as clear observing, for example, the compe-
tence A
ad
, that is composed of the all 4 block types.
Each block is composed of learning exercises
from now denoted as Ex (min 4 Ex, max 6 Ex) plus
only 1 relaxing games accessible after gaining a suf-
ficient number of stars. The interaction with a block
always starts with a learning exercises and ends with a
relaxing games according to the mentioned cognitive
workload. the 4 blocks differ from each other accord-
ing to different visit flows of exercises.
Generally, each competence K
(representing the Matrix), with K
{A
ba
,A
ad
,B
ba
,B
ad
,C
ba
,C
ad
,D
ba
,D
ad
}, can be
identified by a set of mX n different Ex, where m
is the number of Matrix rows and n is the number
of columns. Then an Ex
i j
, is characterized by an
User Input Type y {Hands/Voice,Guitar} and
by a System Sound Type z {acoustic metronome,
visual metronome, harmonic metronome, musical
accompaniment, metronome off }. In general, we can
define a learning exercise Ex of the competence K as:
Ex
K
ij
|(y, z)
Gamify the Audiation: The CrazySquare Project
95
Figure 3: The structure of A
ad
competence shown as block
matrix.
Figure 4: The state diagram of the competence A
ad
.
For example, the competence A
ad
is composed by
20 exercises, performed as a linear sequence accord-
ing to the flow of the corresponding block type.
At the end of each Ex, the young teen gain stars as
reward, that we indicate with s {1,2,3}, according
to its performance. At the end of every block, after a
relaxing game, according to the total number of stars
won in every exercises, indicated with S
total
, the sys-
tem gives the user the possibility to continue along the
learning flow appropriately, according to a predefined
state diagram, see for example Figure 4 representing
the state diagram of the competence A
ad
.
4 GAMIFY THE AUDIATION
In this section we aim at highlighting the gamification
elements used and introduced in the two prototypes of
the CrazySquare system. In order to to that, we report
here some system specification.
4.1 The System Specification
The first version of the game aimed to be playable
on different devices, i.e. PC running different OSs
and Android devices. The prototype was mainly im-
plemented using Processing software, a Java pro-
gramming environment which already provides au-
dio libraries for signal processing, such as Ess, Sonia,
Beads, Minim, with a fair number of features (i.e. Au-
dioSources, ForwardFFT, etc.), as well as libraries for
signal synthesis and composition such as SoundCi-
pher, and Tactus5 (Pennese et al., 2013). In particular
the library Minim has been chosen for signal process-
ing purposes. Moreover, for sound synthesis, the use
of SoundCipher was exploited. For the very first dig-
ital prototype these choices seemed to be the best so-
lution since they guaranteed real time response and
easiness of understanding for future improvements.
The current prototype of CrazySquare has been
developed only for mobile devices (i.e. tablets and
smartphones) with Android OS. It was mainly im-
plemented using Android Studio 3.2, the official in-
tegrated development environment for Google’s An-
droid operating system, built on JetBrains’ IntelliJ
IDEA software and designed specifically for Android
development. It’s also used the Kotlin programming
language, a modern language based on JVM (Java
Virtual Machine), introduced in Android Studio from
version 3.0. Currently, instead of using libraries pro-
vided by Processing software, we had chosen Tarsos-
DSP library, a Java music library which proved to be
the most complete and suitable for the objectives of
our project.
4.2 Gamification in the 1st Prototype
The gamification aspects have already been intro-
duced in the first prototype, since it focused on the
specification of psycho-pedagogical strategy, i.e., the
homonym paper and pencil game: a square with 16
boxes, each one graphically representing the impulse
(i.e., a snap made by the teacher). A young teen
aimed to overcome some different levels of difficul-
ties in terms of the understanding and the execution of
rhythmic symbols and melodic sequences. The gami-
fication element of immediate feedback has been re-
alized via pitch detection of a note; it is approached
with the introduction and the use of an instrument:
playing a particular and instructed note (or more than
one for a harmonic instrument) within the constraints
of rhythmic symbols in the boxes represented. The
number of different notes induced the difficulty of lev-
els, i.e., a second gamification element. Notes can be
associated with colors, so the young teen can com-
pose a little melody in a row, declaring and assigning
himself a task, for which the game will just control
the right execution. After the complexion of a certain
number of levels the first prototype of CrazySquare
CSEDU 2019 - 11th International Conference on Computer Supported Education
96
Figure 5: Gamify the audiation.
offered riddles: a rhythmic pattern is played, and the
player have to put the right box in the right position in-
side the crazy square. The evaluation of the first pro-
totype of CrazySquare highlighted issues about pitch
detection algorithms, solved in (Rinaldi et al., 2015)
and skill-based classification (the learner model) on
which the psycho-pedagogical stimulation has to be
based.
4.3 Gamification in the 2nd Prototype
Similarly to the first, the current prototype has seen a
significant improvement and the introduction of gam-
ification elements, according to (Nah et al., 2014).
Currently, as described in detail previously, the game-
system provides different learning games. The gami-
fication element of immediate feedback is provided
inside every exercise, because the game-system no-
tify immediately, with colors and with assignation of
points, if the player has done the activity correctly or
no. In every exercise, according to points obtained
by the player, the system provides to assign an appro-
priate reward, i.e. from 1 to 3 stars. Furthermore,
inside each matrix, there are some unlockable con-
tents, represented by blocks, which are unlockable
only if the player obtains a certain number of stars
at the end of each Base Level.
For example, for the competence A
ad
there are the
following exercises:
Ex
1-j
| (Hands/Voice, Acoustic metronome): By
listening to the metronome, perceiving and
keeping isochronous pulse, indicated by j
{70bpm, 75bpm,65bpm,80bpm,55bpm}, clap-
ping the hands or with the voice;
Ex
2-j
| (Hands/Voice, metronome off): With-
out listening to the metronome, perceiving and
keeping isochronous pulse, indicating by j
{70bpm, 75bpm,65bpm,80bpm,55bpm}, clap-
ping the hands or with the voice;
Ex
3-j
| (guitar, acoustic metronome): By lis-
tening to the metronome, perceiving and
keeping isochronous pulse, indicated by
j {70bpm,75bpm,65bpm,80bpm, 55bpm},
with the guitar, pitching a string.
Ex
4-j
| (guitar, metronome off): Without lis-
tening to the metronome, perceiving and
keeping isochronous pulse, indicated by
j {70bpm,75bpm,65bpm,80bpm, 55bpm},
with the guitar, pitching a string.
Each exercise is composed by two steps and it starts
with 4 alignment beats: this first step is meant to help
the player to synchronize with the bpm provided for
that exercise. After this step, 20 beats have to be ex-
ecuted by the player at the bpm provided for that ex-
ercise. Stars, indicated by s, will be assigned in the
following way, according to the performance of the
player:
s = 1 if the player executes properly at most 10
beats;
Gamify the Audiation: The CrazySquare Project
97
Figure 6: Some screens of the current prototype of CrazySquare.
s = 2 if the player executes properly a number of
beats between 11 and 15;
s = 3 if the player executes properly at least 16
beats.
Relaxing games planned for this competence consist
of watching two different videos of people playing
music, belonging to different genres and/or epochs,
and choosing which one of the two has the fastest or
slowest rhythm. Figure 6(c) represents the relaxing
game appears after the learning exercises of the com-
petence A
ad
: it consists in showing two videos with-
out the sounds support and in asking to the young teen
to tap the video having the high bpm.
4.4 The CrazySquare GUI
At now, if a student wants to play with CrazySquare,
he/she must have a personal account, reason for which
the system provides the possibility of sign-in or sign-
up into CrazySquare in an easy way. The system, as
you can see in the Figure 6(a) and in the Figure 6(b),
provides a way to sign-in or to sign-up and a smooth
way to retrieve the forgotten nickname or password,
according to the guidelines generally suggested by
mobile design patterns. If the user does not have a
personal account, the system provides a way to cre-
ate one, characterized by a two-step procedure: the
first dedicated to the user, the second dedicated to par-
ents. Indeed, CrazySquare is an application which is
used by teens aged between 10 and 13 years, conse-
quently we must take into account that they are mi-
nors: from the article 8 of General Data Protection
Regulation (GDPR 2018 - art. 8: ”Conditions appli-
cable to child’s consent in relation to information so-
ciety services”) it is evident that there are some limi-
tations determined by existing legislation in term of
privacy and processing of personal data in applica-
tions which provide services of the information so-
ciety (such as mobile applications). Consequently, it
is necessary to have an explicit consent from the per-
son exercising the parental authority of the underage
user who uses the application.
All displays of the application are characterized
by a consistent graphic, distinguished by an align-
ment and a central symmetry of graphics elements,
and buttons, as well as being tap-friendly, assume
an almost invariant position among the various dis-
plays (Di Mascio et al., 2004). The Nielsen Nor-
man Group also discovered that young teens also have
unique usability problems-not surprisingly as they en-
countered difficulty reading large chunks of text, es-
pecially when the text was written above their read-
ing level (Budiu and Nielsen, 2014): for this rea-
son CrazySquare has adopted a language that is clear,
simple and close to teen slang. Furthermore, we
chose a standard color palette characterized by very
bright and lively colors, in accordance with the typical
preferences of young teens, and three more palettes,
which are won as rewards, in order to give to the users
the chance to personalize their game interface.
5 CONCLUSION AND FUTURE
WORKS
In this paper, we presented and discussed the sec-
ond prototyping solution of CrazySquare, which is
a valid high level of musical education support for
teachers who want to involve their students in learn-
ing guitar in a professional way. This game-system
has been inspired by the Gordon’s Theory (Gordon,
2003), which hypothesizes that musical learning is
CSEDU 2019 - 11th International Conference on Computer Supported Education
98
based on the audiation. The application of the con-
cept of gamification in our project is a key point,
as its elements (described by (Nah et al., 2014))
have a proved positive impact on learners, increas-
ing their motivation, performance and attitudes to-
ward the course. As we have already explained in
Section 3, the CrazySquare project follows a TEL-
oriented UCD schema and, moreover, in every step of
this design approach we have collaborated with do-
main experts, who expressed positive impression and
that validated, thanks to their experience, the psycho-
pedagogical solution obtained after the 2
step of the
2
cycle of iteration. Consequently, in the next fu-
ture, we have planned to evaluate the current proto-
type with end users. Moreover, further testing on the
validity of the proposed psycho-pedagogical method-
ology is going to be carried on. The results, that will
emerge from this evaluation phase, will allow us to
proceed with a more refined cycle of iteration of the
TEL-oriented UCD.
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