A Collaborative Digital Audio Workstation for Young Learners

Adriano Barat

, Luca A. Ludovico

and Giorgio Presti

Laboratory of Music Informatics (LIM), Department of Computer Science “Giovanni Degli Antoni”, University of Milan,

via G. Celoria 18, 20133 Milan, Italy

Keywords:

Remote Education, Digital Audio Workstations (DAWs), Web, Online Technologies, Sound and Music

Computing.

Abstract:

This paper presents the early results of the project titled “A Band in the Cloud”, conducted in cooperation

between INDIRE, the agency of the Italian Ministry of Education for educational research and innovation, and

LIM, the laboratory of sound and music computing of the University of Milan. The goal of the project is to

foster the development of musical and extra-musical skills in young learners through a free web-based digital

audio workstation. After presenting the state of the art and discussing the pedagogical aims of the initiative,

we will describe the technical details of the platform and give details about the release plan.

1 INTRODUCTION

A digital audio workstation (DAW) is an electronic

device or application software aiming at recording,

editing, and producing audio ﬁles. In the digital do-

main, DAWs are usually software applications based

on the metaphor of a multitrack tape recorder. In

general, they present a standard layout that includes

transport controls (play, rewind, record, etc.), track

controls, a mixer, and a waveform display. DAWs

mainly represent music-production tools in use in pro-

fessional environments, but they can also have educa-

tional purposes, being adopted at various school lev-

els and with different goals.

The purpose of this paper is to demonstrate that

DAWs and web technologies can be proﬁtably com-

bined to create opportunities for the development of

musical, technical, and soft skills. These educational

results can be encouraged by remote collaboration

between users, where the concept of collaboration

embraces both supervised work, namely a teacher-

learner relationship, and peer-to-peer cooperation oc-

curring between learners. This article aims to intro-

duce a model for a digitally mediated online collab-

oration that focuses on music composition through

the use of an online DAW. To this end, a free soft-

ware platform has been developed in the context of

a publicly funded Italian project involving an educa-

https://orcid.org/0000-0001-8435-8373

https://orcid.org/0000-0002-8251-2231

https://orcid.org/0000-0001-7643-9915

tional research institution, a university lab with exper-

tise in the ﬁeld of sound and music computing, and

external experts for software development and user-

acceptance tests.

As better explained in the following, the project

is still at an early stage, so this paper will outline the

pedagogical context, discuss the state of the art, and

provide details about the ﬁrst implementation steps,

whereas the results of the test phase from both a tech-

nological and an educational point of view will be ad-

dressed in future publications.

The rest of the paper is organized as follows: Sec-

tion 2 will describe the state of the art concerning on-

line applications for music education, focusing in par-

ticular on Digital Audio Workstations, Section 3 will

frame this initiative in the context of a publicly funded

Italian project, Section 4 will provide technical details

about the developed solution, Section 5 will discuss

the expected outcomes from an educational point of

view, Section 6 will propose a roadmap for future de-

velopment, and, ﬁnally, Section 7 will draw the con-

clusions.

2 STATE OF THE ART

In the digital domain, a huge number of tools for mu-

sic training and education is available, including “tra-

ditional” computer software, mobile apps, and web

applications. For the goals of this paper, we will nar-

row the ﬁeld to the latter category and, certainly far

458

Baratè, A., Ludovico, L. and Presti, G.

A Collaborative Digital Audio Workstation for Young Learners.

DOI: 10.5220/0011135100003182

In Proceedings of the 14th International Conference on Computer Supported Education (CSEDU 2022) - Volume 1, pages 458-464

ISBN: 978-989-758-562-3; ISSN: 2184-5026

from being exhaustive, we will mention some exam-

ples.

Based on their functions and educational objec-

tives, web platforms can be subdivided into various

categories:

• Online Music Studios usually have the char-

acteristics of a sequencer, offering music loops

and sounds for song creation. Examples in-

clude BandLab,

Groovy Music,

Soundation,

and Soundtrap;

• Music-performance Platforms offer practical

tools to help students learn how to play an instru-

ment or sight-read music at distance. Examples

include Doozzoo,

PracticeFirst,

Sight Reading

Factory,

Smartmusic,

and Yousician;

• General Music-education Platforms, with re-

spect to the previous category, aim at fostering

more general music abilities, focusing on lis-

tening skills, theory, composition, computational

thinking in music, also through gamiﬁcation.

Examples include BrainPOP Arts and Music,

Chrome Music Lab,

Classics for Kids,

Focus

on Sound,

and PBS KIDS Music Games;

• Music Notation and Creation Platforms offer

online tools often augmented with score sharing

and collaborative functions. Examples include

Flat,

Noteﬂight,

and O-Generator;

• Music-theory and Ear-training Platforms

mainly address the study of formalized music

knowledge through music-theory lessons with

interactive exercises and tools. Examples include

Auralia,

MusicTheory.net,

and Musition.

https://edu.bandlab.com/

https://www.musicﬁrst.com/applications/

groovy-music/

https://soundation.com/

https://www.soundtrap.com/edu/

https://doozzoo.com/

https://www.musicﬁrst.com/applications/practiceﬁrst/

https://www.sightreadingfactory.com/

https://www.smartmusic.com/

https://yousician.com/

https://www.brainpop.com/artsandmusic/

https://musiclab.chromeexperiments.com/

https://www.classicsforkids.com/

https://www.focusonsound.com/

https://pbskids.org/games/music/

https://ﬂat.io/

https://www.noteﬂight.com/

http://www.o-generator.com/

https://auralia.cloud/

https://www.musictheory.net/

https://www.musition.cloud/

Even if the present review is far from being ex-

haustive, it can return a broad idea of the educational

offer for music education currently available on the

web.

The category that best ﬁts the goals of the present

proposal is that of online music studios. The use of

DAWs in education has been addressed in several re-

search works. A trivial ﬁeld of application is the use

of DAWs to develop speciﬁc musical and/or technical

skills, e.g., in recording and layering parts (Brown,

2014), in collaborative songwriting (Clauhs, 2020),

and in audio signal processing (Tarr, 2021). It is also

important to remark that some experts warn against

the indiscriminate use of DAWs in music education.

For example, Dorfman deconstructs the myths that in-

corporating music production and related software is

simple and requires little thought (Dorfman, 2022).

Similarly, Bell argues that music educators should be

able to critically assess how DAWs inﬂuence the deci-

sions of music-makers and highlights the fallacy that

these applications are wrongly perceived as “easy to

use” in music education (Bell, 2015).

Another interesting ﬁeld of investigation concerns

the adoption of DAWs to develop extra-musical skills.

For example, Walzer studies the use of relevant tech-

nology, including DAWs, for digital storytelling in

music and audio education, thus inspiring modern re-

ﬂective practices (Walzer, 2016). Duncan investigates

the cognitive processes that emerge when students in-

teract with GarageBand and Soundtrap, two of the

most popular entry-level DAWs, both in classrooms

and in online learning (Duncan, 2021). Cipta dis-

cusses a case study where DAWs are employed in

a self-learning scenario in order to foster creativity

(Cipta, 2021).

What are the reasons to implement a new web

solution when well-established platforms are already

available? In the authors’ opinion, there are mainly

three reasons. The ﬁrst reason is connected to com-

mercial and legal aspects: in general, these platforms

are not free and/or require premium access to fully

beneﬁt from all the services, which is not compati-

ble with extensive use in public schools; moreover,

user data are stored and managed by private com-

panies, and, even though protected, they would not

be accessible for educational research purposes. The

second reason is connected to one of the fundamental

aims of the initiative, i.e. fostering peer-to-peer co-

operation between students. In fact, even if the web

seems the natural means for team working, many on-

line platforms turned out to be the web version of of-

ﬂine applications, mainly intended for personal use

and equipped with a-posteriori sharing functions. Fi-

nally, one more reason to design a brand new product,

A Collaborative Digital Audio Workstation for Young Learners

459

even if inspired by previous solutions, is the possibil-

ity to study ad hoc interfaces and functions tailored to

the target audience represented, in this case, by young

learners.

For the sake of clarity, it is worth mentioning the

availability of free DAWs (e.g., Ardour

) and share-

ware DAWs (e.g., REAPER

) that currently present

a good level of maturity and usability; nevertheless,

these solutions cannot be considered our competitors,

since they are not online platforms and they have not

been explicitly conceived for interaction within edu-

cational activities.

3 THE PROJECT

The design and implementation of the online DAW

described below has to be framed in the context of a

wider project ﬁnanced by the Italian Ministry of Ed-

ucation (Ministero dell’Istruzione, dell’Universit

a e

della Ricerca) and focusing on multidisciplinary lab-

oratory teaching. Such an articulated project, code-

named 10.8.4.A2-FSEPON-INDIRE2017-1 (CUP:

B59B17000020006), was entrusted to INDIRE.

Within this framework, the music area of the

project was developed in cooperation between IN-

DIRE, the National Institute For Documentation, In-

novation And Educational Research of the Italian

Ministry of Education, and LIM, the Laboratory of

Music Informatics of the University of Milan. The re-

sulting proposal, explicitly addressing musical goals,

was called “A Band in the Cloud”. The public call

was published by INDIRE on July 14, 2020, and the

beginning of the operative phase, determined by an

ofﬁcial communication sent from INDIRE to the Uni-

versity of Milan, dates back to May 7, 2021.

3.1 Project Partners

Founded in Florence in 1925, INDIRE

is the earli-

est institution of the Ministry of Education and rep-

resents the reference point for educational research in

Italy. Among its activities, it is worth mentioning the

development of new teaching models, the use of new

technologies in training programs, and the involve-

ment in some of the most important experiences of

e-learning at the European level. Within the project

“A Band in the Cloud”, INDIRE represented the ed-

ucational and pedagogical point of reference. More-

over, INDIRE provided the speciﬁcations for software

development.

https://ardour.org/

https://www.reaper.fm/

https://www.indire.it/

LIM is one of the ﬁrst research labs of the Depart-

ment of Computer Science of the University of Mi-

lan. Founded in 1985, LIM

has hosted renowned

composers and experts such as Franco Donatoni, An-

gelo Paccagnini, Antonio Jos

e Rodriguez Selles, and

Dante Tanzi. In almost 40 years of activity, LIM car-

ried out international projects and established impor-

tant collaborations. Among others, it is worth men-

tioning: Teatro alla Scala of Milan, Bolshoi Theatre

of Moscow, RAI Radiotelevisione Italiana, RSI Ra-

diotelevisione Svizzera, Orchestra Verdi di Milano,

IEEE Computer Society, Ricordi Historical Archive,

and the Italian Ministry for Cultural Heritage and Ac-

tivities. LIM contributed to the project with its know-

how and expertise in the ﬁeld of sound and music

computing, being mainly in charge of software design

and implementation.

The evaluation of the user experience and the test-

ing phase, which is currently in progress, have been

performed in cooperation between the two institu-

tions.

3.2 Project Goals and Research

Questions

One of the key goals of the general project was the

design and implementation of prototype educational

software to be experimented with in learning environ-

ments and characterized by the acquisition of skills in

an informal way. Within the project “A Band in the

Cloud”, such an objective has been interpreted as the

creation of a digital learning environment for primary

and lower secondary school students based on cloud

computing and web technologies.

The purpose of the learning environment is to let

students develop speciﬁc skills – including the com-

position of musical pieces, instrumental practice, mu-

sical analysis of formal and structural aspects – in a

collaborative way. In order to support peer-to-peer

cooperation and out-of-the-school learning activities,

the user interface has been released as a browser app.

This product will be ﬁrst experimented in a pilot

study, and, after an evaluation and reﬁnement phase,

released for free use in Italian primary and low-level

secondary schools. From this point of view, the plat-

form is expected to have a deep impact also in dif-

ﬁcult educational scenarios, such as small and rural

schools, where technology can make up for the short-

age of “traditional” teaching aids and specialized ed-

ucators (Barter, 2013; Wang et al., 2019; Kormos and

Julio, 2020).

The research questions of “A Band in the Cloud”

https://lim.di.unimi.it/

CSME 2022 - 3rd International Special Session on Computer Supported Music Education

460

focus on the capacity by the proposed platform to

make young learners develop three categories of

skills: i) basic musical skills (e.g., rhythm, melody,

harmony, timbre, piece structure, etc.), ii) computer-

oriented skills (i.e. the ability to use web tools and

technologies and the development of computational

thinking), and iii) soft skills (e.g., communication,

problem-solving, teamwork, leadership, creativity,

etc.).

4 TECHNICAL DETAILS

In this section, we will provide some technical de-

tails about the platform we are proposing. In Section

4.1 we will illustrate the strategy used to implement

client-server interaction and the synchronization be-

tween the local and master copies of the project, in

Section 4.2 we will list the main functions offered to

users, and in Section 4.3 we will show the graphical

user interface.

4.1 Client-server Interaction and

Synchronization

The web DAW is based on client-server interaction

and presents a speciﬁc synchronization model be-

tween the local copies of a music project and the cen-

tral one, called the master copy.

The key role of the server is to host the master

copy granting access after an authentication process.

Music projects are shared between groups of users

and can be accessed concurrently according to the

scheme described below. Each project is described

in the server as a JSON (JavaScript Object Nota-

tion) document which describes some general fea-

tures (e.g., tempo, meter, title, author) and the mu-

sic content (e.g., tracks, events, list of multimedia

materials). The master copy can be read and writ-

ten by clients by invoking ad-hoc web services. The

server also hosts a collection of samples, i.e. short

audio ﬁles organized in four families (tuned loops,

percussion loops, hits, effects) and characterized by

a description, a base tempo, and a reference music

genre. Users can employ these samples in their music

projects as well as upload their own audio ﬁles. Each

project is hosted in a speciﬁc server folder that con-

tains both the JSON document and, potentially, the

custom audio ﬁles uploaded by users. Users work on

their local copy of the project through the graphical

interface of the client, as described in Section 4.3.

As it regards the synchronization of the local

copies of the musical project with the master copy,

a critical decision was required. An option was a

hard synchronization, where any action on each client

would have immediately impacted on the master copy

and such an update would have propagated to all the

clients connected to the project. Rather, we opted for

a soft synchronization model, where the information

transfer from the local to the master copy (upload) re-

quires an explicit conﬁrmation action by the user and

the alignment of all the clients with the server (down-

load) occurs either periodically, at regular time inter-

vals, or on demand, upon explicit request by the user.

This architectural solution implies misalignment be-

tween local and master copies, but it presents several

advantages:

• The mechanism is simple to implement and

does not require push notiﬁcations or similar ap-

proaches;

• The server workload is, in general, low;

• The approach is ﬂexible, in that – if necessary –

it lets a user request the master copy at any time,

upon explicit action. Moreover, by setting a very

high refresh rate, users can have the illusion of

real-time interaction;

• Also in case of low refresh rate, misalignment is

only temporary, and the synchronization process

is transparent to users;

• Even if collaborative, such a strategy is a non-

blocking one, since users can have concurrent ac-

cess to the master copy.

In order to avoid conﬂicts during the misalignment

phase, each user is enabled to work on a subset of

tracks only. The implementation of a locking system

further improves the efﬁciency of the client/server in-

teraction. In fact, called U the current local user, the

U’s client uploads only the tracks under the control of

U, and it downloads (and consequently overrides) all

the tracks but U’s ones.

4.2 Main Functions

As mentioned before, the developed platform can be

seen as the simpliﬁcation of a standard DAW, adapted

to an audience of young learners and oriented to a col-

laborative workﬂow. The main functions the system

supports are:

• Track Operations – Add, remove, and change

properties such as name, color, pan, volume, etc.

Please note that tracks can be either audio tracks,

intended for samples, or instrumental tracks, in-

tended for MIDI-like music events;

• Event Operations – Add an event to a track, re-

move an event from a track, move an event along

A Collaborative Digital Audio Workstation for Young Learners

461

a track or across tracks, duplicate an event, resize

an event (i.e. cut an event before its natural end);

• Sample Library Operations – List available

samples, add self-produced samples to the project

library, search by name or family;

• Transport Operations – Play/pause, rewind,

monitor and alter the playback point;

• Project Operations – Rename the project, syn-

chronize project copies (upload and/or download),

change tempo, change the time signature.

The mentioned functions are those available to

any user. There are also features that depend on the

speciﬁc user’s proﬁle. For example, a teacher has

complete visibility on the project, with the possibil-

ity to change its general properties and operate on all

users’ tracks, whereas a standard user is enabled to

act on his/her part of the project only. Moreover, the

prototype described in this paper is still lacking some

key functions, such as user-proﬁle customization and

cooperative tools (e.g., chat and ﬁle sharing).

4.3 Graphical User Interface

In order to ensure full compatibility with HTML5

web browsers, several standard languages and for-

mats approved by the World Wide Web Consor-

tium (W3C) have been employed for the implemen-

tation of the client. In particular, HTML (Hyper-

Text Markup Language) version 5, a language to de-

scribe static hypertext documents, provided the logi-

cal structure of the web page. CSS (Cascading Style

Sheets) version 3 was adopted to deﬁne the format-

ting and graphic appearance of the client; in detail,

we used SCSS (Sassy CSS superset), that is a syntac-

tical variant for the CSS Sass preprocessor equipped

with some relevant extensions (variables, functions,

etc.). JavaScript was adopted as the reference client-

side scripting language. Web Audio API and Web

MIDI API constituted the low-level JavaScript-based

libraries for handling audio and MIDI events, respec-

tively; moreover, Tone.js was also employed as the

high-level JavaScript-based library for handling audio

events. React, another JavaScript library, was use-

ful for creating user interfaces updated on the base

of state changes; thanks to this technology, modiﬁca-

tions in data structures are automatically reﬂected in

the graphic interface and vice versa. JSON, a struc-

tured plain-text format, was selected as the means to

exchange data between the server and the client in

response to web-service calls. Finally, PHP (PHP:

Hypertext Preprocessor) was the interpreted script-

ing language running server-side to process client re-

quests.

The resulting graphical user interface is shown in

Figure 1. The main area is taken by the visual repre-

sentation of tracks and their sound events (i.e. the se-

quencer part). The left column provides the tracklist,

the right one contains the sample library, and the up-

per part presents performance controls. Colors can be

used to improve the project’s organization and struc-

ture, e.g., to highlight the work by different users or

group instrumental families. Unlike typical DAWs, in

order to keep the interface simpler, a mixer part is not

present as an independent area, whereas mixing ac-

tions (such as changing volume and pan) are already

available in the left part. In other words, this part can

be considered as a vertical mixer.

Currently, the interface is available in Italian only,

since it is the result of a national-funded project; but

the platform is ready to be localized in other lan-

guages, too.

5 EXPECTED EDUCATIONAL

OUTCOMES

Considering the advances for educational research,

the learning environment is expected to have a high

potential thanks to the analysis of i) user data, ii) per-

formance data, and iii) experimental data.

Concerning the former aspect, even if users are

anonymized (i.e. identiﬁed only by a nickname in the

platform), available data can be analyzed to extract

relevant information. Needless to say, user statis-

tics such as participants’ age, grade, school type, and

country can help deﬁne the typical use cases of such

a learning tool. But even more, relevant information

can be obtained from the analysis of users’ behav-

ior: e.g., where, when, how frequently, and how long

learners use the platform, how many learners coop-

erate on a single project (huge class assignments vs.

small-group projects), how many intersections occur

in their cooperation (in-parallel vs. in-sequence op-

erations), and so on. Please note that the mentioned

aspects disregard the musical aspects and the disci-

plinary learning aims of the platform.

The analysis of users’ performances, intended as

the musical outcome of learning activities, is another

area to be evaluated. Even if the practical outcome

is the collaborative creation of a music piece, such

a result is necessarily based on a number of skills:

the ability to plan a music piece both “vertically”

(number, type, and family of instruments) and “hor-

izontally” (structure and sections), the ability to se-

lect and organize suitable music materials (samples,

loops, etc.), the technical skills to adjust tempo, vol-

ume, panning, and so on. Soft skills are required

CSME 2022 - 3rd International Special Session on Computer Supported Music Education

462

Figure 1: The client’s graphical user interface.

as well, including communication, peer-to-peer co-

operation, self-regulation, problem-solving, compu-

tational thinking, etc. (Bassett, 2013; Ludovico and

Mangione, 2014; Barat

e et al., 2015) Unfortunately,

the assessment of music abilities is a complex prob-

lem, due to the difﬁculties in establishing a reliable

system of parameters to measure them (Law and Zent-

ner, 2012). Planning an educational path of increasing

difﬁculty may be challenging for teachers, too. What

are the critical aspects for students? The number of

tracks to be managed by a single user, the number of

students who work in parallel, the need to include spe-

ciﬁc instrumental families, or something else? Users’

data could help in shedding new light also in this re-

search area, which is extremely important from both

an educational and a technical point of view.

The third ﬁeld of investigation concerns the ac-

quisition and analysis of experimental data from the

teacher’s perspective. All the data collected through

platform activities are updated on the ﬂy and made

available for educators. Each teacher can adopt het-

erogeneous strategies and plan different working ses-

sions to be experimented with students in order to

form experimental and control groups with the ﬁnal

goal of ﬁnding the most effective teaching strategy.

Needless to say, such a strategy can be adapted to spe-

ciﬁc learning goals and can be differentiated on the

basis of students’ musical background, school level,

possible impairments, etc.

6 FUTURE WORK

At the moment of writing, an early but fully work-

ing prototype has been implemented. The solution

already presents all the functions described in Section

4.2 and the graphical interface shown in Section 4.3.

Concerning the test and deployment phases, the

release plan includes the following milestones:

• Alpha test (March to April 2022). In this step, the

prototype will be presented to a small number of

selected users, mainly scholars and experts in the

ﬁeld of music education;

• First public presentation (May 2022). Dur-

ing Fiera Didacta, the most important school-

innovation fair in Italy, the prototype will be

publicly shown to the participants. Fiera Di-

dacta aims to encourage debate on the world

of education between institutions, associations,

and entrepreneurs. The event addresses all lev-

els of education and training: nursery school,

kindergarten, primary, lower and upper secondary

school, professional institutes, universities, scien-

tiﬁc research and professional training institutes,

and companies working with schools;

• Beta test (June to September 2022). After collect-

ing the results of the alpha test and the remarks

and suggestions made during Fiera Didacta, the

prototype will be revised and brought into a small

number of schools in order to conduct a pilot

study;

A Collaborative Digital Audio Workstation for Young Learners

463

• Final release and deployment (from October 2022

on). The platform, in its ﬁnal version, will be

made freely available to all Italian schools thanks

to the support of INDIRE.

7 CONCLUSIONS

This paper has presented the early results of the

project titled “A Band in the Cloud”, conducted in

cooperation between INDIRE and LIM – University

of Milan, whose aim is to foster the development

of musical and extra-musical skills in users. Based

on web technologies and a cooperative approach, the

main outcome of the project is the release of a DAW

equipped with basic but relevant functions and explic-

itly conceived for an audience of young learners.

Even if, at the moment of writing, the goals of

the project, the pedagogical strategies to adopt, and

the technical features of the platform are clear and

well established, the efﬁcacy of the approach in a real

learning environment has still to be veriﬁed. Answer-

ing the research questions listed in Section 3.2 will be

the focus of the experimental phase that we are go-

ing to open. The roadmap towards the ﬁnal release

of the platform is articulated and can bring substan-

tial modiﬁcations. The web DAW will be hopefully

ready for use in October 2022, allowing both class-

room and out-of-school music composition and per-

formance activities.

ACKNOWLEDGEMENTS

This project is the main outcome of the

10.8.4.A2-FSEPON-INDIRE2017-1 project (CUP:

B59B17000020006), funded by the Italian Ministry

of Education in the context of the National Oper-

ational Program (in Italian: Programma Operativo

Nazionale, PON) titled “For school – Learning Com-

petencies and Environments” (in Italian: Competenze

e ambienti per l’apprendimento). Such an action plan

aims to create a high-quality education and training

system. Financed by the European Structural Funds,

it has a seven-year duration, from 2014 to 2020.

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