A Mobile Serious Game to Foster Music Sight Reading with Different

Clefs

Adriano Barat

, Andrea Brugaletta and Luca A. Ludovico

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

University of Milan, via G. Celoria 18, 20133 Milan, Italy

Keywords:

Music, Education, Mobile Applications, Serious Games, Clefs.

Abstract:

This work introduces a mobile app that aims to promote the sight-reading of music with different positions of

the clef on the stave. Relying on the principles of game-based learning, the app offers applications primarily

in the didactic ﬁeld: by facilitating and encouraging the learning of this challenging aspect of music, the app

on one side contributes to the preservation of intangible musical heritage and, on the other, serves practical

educational purposes such as the preparation for Conservatory exams. The results of early experimentation

show a general appreciation by test users as it concerns engagement, but also highlight a number of interaction

aspects to be improved.

1 INTRODUCTION

A game refers to a structured play with rules, goals,

and challenges for the purpose of entertainment

(Cheng et al., 2015). The term “gamiﬁcation” ﬁrst

emerged in the ﬁrst decade of the 2000s and gained

increasing relevance since the 2010s. In contrast

to games, gamiﬁcation is characterized by its seri-

ous purpose. Gamiﬁcation is closely related to the

concepts of serious games and game-based learning

(Krath et al., 2021). The latter locution refers to the

achievement of deﬁned learning outcomes through

game content and play and enhancing learning by in-

volving problem-solving spaces and challenges that

provide learners, who are also players, with a sense of

achievement. Serious games, being designed to have

a primary purpose other than pure entertainment, are

the means to achieve game-based learning.

Serious games have gained increasing attention in

recent years as a promising tool for education and

training. By leveraging the motivational power of

games, serious games offer a unique opportunity to

engage learners in a fun and interactive way while still

delivering meaningful content. The serious and the

game parts have to be carefully balanced in order to

meet quality criteria, as explained in (Caserman et al.,

2020).

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

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

Serious games demonstrated to be effective in

various domains, such as health (Sharifzadeh et al.,

2020), military (Gace et al., 2019), and corporate

training (Larson, 2020). Moreover, it is worth men-

tioning the research on the effects of serious games

on people with intellectual disabilities, autism spec-

trum disorder, developmental disabilities, and cogni-

tive and physical impairments (Tsikinas and Xinoga-

los, 2019; de Vasconcelos et al., 2020; Kokol et al.,

2020; Vieira et al., 2021).

However, despite the growing interest in serious

games, there is still a need for more rigorous research

to investigate their effectiveness in different learning

contexts, as well as to identify best practices for their

design and implementation (Backlund and Hendrix,

2013; Bellotti et al., 2013; Giessen, 2015; Zhonggen,

2019).

This paper is the evolution of a previous work

that provided only the guidelines for the implemen-

tation of a serious game in the form of an app (Barat

and Ludovico, 2013). With respect to the mentioned

work, the main aspects of novelty concern the avail-

ability of a working prototype and, consequently, the

possibility to report on an early test phase. After com-

pleting the beta testing and passing the required pri-

vacy, security, and content veriﬁcation by Apple, the

prototype will be made freely available in the App

Store.

In this work, we ﬁrst present a systematic review

of the existing literature on serious games in music-

Baratè, A., Brugaletta, A. and Ludovico, L.

A Mobile Serious Game to Foster Music Sight Reading with Different Clefs.

DOI: 10.5220/0012059500003470

In Proceedings of the 15th International Conference on Computer Supported Education (CSEDU 2023) - Volume 1, pages 397-403

ISBN: 978-989-758-641-5; ISSN: 2184-5026

 2023 by SCITEPRESS – Science and Technology Publications, Lda. Under CC license (CC BY-NC-ND 4.0)

397

oriented learning environments, examining the evi-

dence base for serious games as a tool for learning

and considering the factors that contribute to their ef-

fectiveness. We also explore the design principles

that have been proposed for music-oriented serious

games. Then, we propose a mobile app that imple-

ments a serious game to encourage the practice of mu-

sic sight reading in a number of clefs, an activity often

considered boring and uninteresting by young music

learners. After an early test phase, we discuss the lim-

itations of current research and identify directions for

future research.

The rest of this work is structured as follows: Sec-

tion 2 addresses the adoption of computer-supported

systems in music education, focusing in particular

on mobile apps for sight reading; Section 3 intro-

duces the music theory behind the problem we want

to solve, namely the development of abilities in sight

reading with different clefs; Section 4 describes the

technical details, the graphical interface, and the

gameplay of the proposed serious game; Section 5 re-

ports on early experimentation conducted on a small

number of test users; ﬁnally, Section 6 discusses the

applicability of such an approach to music education

and draws the conclusions.

2 RELATED WORKS

Serious games that use computer technology to teach

and learn music have been widely researched and

implemented. The scientiﬁc literature on computer-

based serious games related to music is extensive and

covers a wide range of topics, including simulated

instrumental practice, advanced ear training, music

composition, graphical representation and analysis of

scores, and motion-tracking techniques for control-

ling music and audio parameters. Barat

e et al. pro-

vide a number of signiﬁcant examples (Barat

e et al.,

2013).

To our goals, the ﬁeld can be narrowed to mobile-

oriented applications related to music edutainment

and ear training.

There are software tools aiming to simulate tradi-

tional musical instruments or implement brand-new

ones. Examples documented in the scientiﬁc liter-

ature include the Smule Ocarina (Wang, 2009) and

PhonHarp (Presti et al., 2021). A more recent in-

vestigation about the state of the art and the future

perspectives of mobile devices employed as musical

instruments is provided in (Essl and Lee, 2018).

Social interaction in music-making through mo-

bile devices is the basis of projects such as Momu, a

music toolkit for mobile devices (Bryan et al., 2010),

MoPhO, the Stanford Mobile Phone Orchestra (Oh

et al., 2010), and the Mobile Device Marching Band,

a revised version of the Princeton Laptop Orchestra

(Snyder and Sarwate, 2014). Mobile devices can also

be used to implement audience-participation tech-

niques based on social mobile computing (Oh and

Wang, 2011).

Zhou et al. describe the experience of MOG-

CLASS, a collaborative system of music to perform in

a classroom context (Zhou et al., 2011). Another rel-

evant early example is provided by Rhythmatical, an

educational application designed for iPhone and iPod

Touch that conveyed mathematical topics via musi-

cal, rhythmic, or movement interactive techniques

(Mooreﬁeld-Lang and Evans, 2011).

Particularly relevant to our goals are mobile apps

for sight reading (Loman and Wiradinata, 2014;

Larasati and Sukmayadi, 2021). Even if not docu-

mented in the scientiﬁc literature, it is worth mention-

ing applications such as Music Tutor (Sight-Reading)

by Jsplash Apps, Music Crab: Easy Music Theory

by Eric Zorgniotti, Notes Teacher by Yannis Richard,

Note Flash Music Sight Reading by Pranoy Chowd-

hury, and Note Brainer by James Buchanan. These

products are similar to our proposal as it concerns

the general goals and the graphical interface, but they

mainly address standard music notation and, as such,

are not aimed at sight reading with multiple alternat-

ing clefs.

3 THE 9-CLEF SYSTEM

In Western Music Notation, a clef is a musical symbol

that ﬁxes which notes are represented by the lines and

spaces on a musical stave. Music theory, based on

the evolution of European music across the centuries,

currently recognizes three clef symbols: the C-clef,

F-clef, and G-clef. The placement of a given clef on

a speciﬁc stave position assigns a particular pitch to

one of the ﬁve lines, consequently deﬁning the pitches

on the remaining lines and spaces. For example, the

G-clef on the second line of the stave states that the

pitches on that line are G notes of the central octave,

thus the pitches on the lower line are E notes and those

on the upper line are B notes.

The use of different clefs, concerning both the mu-

sic symbol and its placement on the stave, makes it

possible to write music for all instruments and voices,

taking into account differences in their range. Using

different clefs for different instruments and voices al-

lows each part to be written comfortably on a stave

with a minimum of ledger lines.

In fact, the mentioned clef symbols not only iden-

CSME 2023 - 4th International Special Session on Computer Supported Music Education

398

Figure 1: Clefs commonly in use in musical practice. From left to right: French violin, Trable, Soprano, Mezzo-soprano,

Alto, Tenor, Baritone (two versions), Bass, and Subbass.

tify different reference notes but can also be theoreti-

cally placed on each stave line, thus moving the spe-

ciﬁc reference note across the stave. The combination

of 5 lines and 3 clefs originates 15 possibilities for

clef placement, but 6 would be redundant since they

would result in an identical assignment of the notes to

lines and spaces. For the sake of clarity, a G-clef on

the fourth line achieves the same note placement as a

C-clef on the second line. As a consequence, histori-

cally only 9 distinct clefs have been in use (see Fig. 1):

the G-clef on the two bottom lines, the C-clef on any

line, and the F-clef on the three top lines. Even if the

C-clef on the top line is equivalent to the F-clef on the

third one, both options have been employed in music

notation.

Concerning music notation, such a system has

been in disuse for more than a century. Nowadays,

leaving out the editions that use the ancient nota-

tion for philological reasons, the soprano, mezzo-

soprano, and contralto parts are written in the treble

clef, whereas the baritone and bass parts are written

in the bass clef; for the tenor part, the suboctave tre-

ble clef is used, i.e. a standard treble clef accompanied

by a sign to indicate the execution in the lower octave.

Concerning musical instruments, the alto clef is still

adopted by the viola and the alto trombone and the

tenor clef is an auxiliary notation for the cello, trom-

bone, bassoon, double bass, and contrabassoon. Mod-

ern instrumentation and orchestration texts still sug-

gest their use for speciﬁc instrumental scoring (Blat-

ter, 1997).

In the Italian formal music-education system, the

study of this subject is known as setticlavio, an Ital-

ian word literally standing for “seven clefs”. In fact,

seven is the number of male and female tessituras

used in vocal music (soprano, mezzo-soprano, alto,

tenor, baritone, and bass) plus the Treble clef. Any-

way, for extension, the study of setticlavio involves

all the possibilities shown in Fig. 1.

Setticlavio, intended as a solfeggio alternating all

the clefs, represents one of the sight-reading tests of

the Musical Theory and Solfeggio license in Italian

conservatories, both in a spoken and in a sung form.

Fig. 2 shows an example of setticlavio taken from

the ﬁnal exam at the Conservatory of Brescia. More-

over, its use is required in Composition courses deal-

ing with ancient music. Due to its infrequent use in

Figure 2: An example of handwritten setticlavio for the ﬁnal

test of Music theory and solfeggio at the Conservatory of

Brescia.

contemporary music notation, the study of the setti-

clavio is often considered difﬁcult and perceived as

useless. This is particularly true for young music stu-

dents who are the typical participants of Musical The-

ory and Solfeggio courses.

4 THE APPLICATION

In this section, we describe in detail iClef, the serious

game we developed in the form of an app for mo-

bile devices. The application is currently available

to developers as a beta release and runs on iOS de-

vices only. A cross-platform implementation using

Kotlin Multiplatform Mobile, React Native, Xamarin,

or similar technologies is currently under study.

4.1 Design

During the design phase of iClef, we ﬁrst analyzed the

factors that make a serious game effective. It is impor-

tant to consider the speciﬁcity and distinctive charac-

teristics of each game, but it is possible to ﬁnd in the

literature some common components that involve an

increase in the effectiveness of serious games, i.e. in

their ability to achieve the intended purpose. From a

study conducted on 63 serious games (Ravyse et al.,

2017), ﬁve common factors emerged: storytelling, re-

alism, adaptability, interactivity, and feedback. In the

case of iClef, the ﬁrst two items, typical of interactive

and immersive games, can be overlooked. Rather, we

focused on the last three, namely adaptability, inter-

A Mobile Serious Game to Foster Music Sight Reading with Different Clefs

399

activity, and feedback.

The main role of adaptability is to adjust the

training pace, with the goal of avoiding frustration on

one side and keeping the engagement level high on

the other. Speciﬁcally, in this scenario, adaptability

can be seen as the ability to adjust the difﬁculty of the

game according to the skill displayed by the player

during the gameplay. To this end, a user-performance

analysis mechanism has been implemented, with par-

ticular reference to response times. Within the app,

there are four elements that make the game more or

less complex:

• the time available to guess a note, which naturally

decreases during the gameplay, unless a mistake

occurs;

• the number of keys which, is chosen before the

game starts (see Section 4.3);

• the width of the interval between two consecutive

notes, which normally increases during the game-

play, unless a mistake occurs;

• the number of accidentals applied to the notes. At

the beginning of the gameplay, only natural notes

are proposed, but soon single and even double ac-

cidentals can appear.

Adaptability is implemented by making all the

mentioned parameters change to either increase or de-

crease the difﬁculty in relation to the user’s behavior.

Interactivity is strictly connected to the game

mode proposed to the player, which implies the timed

presentation of a sequence of notes written in dif-

ferent clefs and the consequent choice of the pitch

considered correct by the user through a point-and-

click action to perform on the device. Interactivity is

multimodally reinforced through the use of sound, as

shown below.

The feedback component is mainly conveyed

through two factors: the score, whose progression is

closely related to the user’s performance, and some

simple visual and audio cues. In particular, in the case

of success, the graphical representation of the note is

colored in green, and the pitch is aurally performed; in

the other case, the note is colored in red, and an audio

icon remarks on the mistake. The feedback compo-

nent allows players to immediately perceive a cause-

and-effect link between their actions and the game re-

sult.

4.2 Graphical Interface

The graphical interface of the app during the game-

play is shown in Fig. 3. The screen is roughly divided

into two areas: the upper one is aimed to contain the

Figure 3: The graphical interface of iClef.

music notation to recognize, while the lower one is a

one-octave keyboard to input results.

Right below the stave, there is an indicator that

provides feedback about the time left to guess the

pitch.

In addition, in the upper area, there is a control to

go back to the main menu (left position) and two in-

dicators for the number of mistakes made by the user

(middle position) and the score achieved (right posi-

tion).

The graphical interface is intentionally very plain

and clean, so as not to distract the player from the

main goal, which is guessing the pitch. The nota-

tion is represented as widely as possible. Unfortu-

nately, the horizontal dimension of the screen limits

the width of keys; nevertheless, during the early test

phase, the pointing mechanism proved to be adequate

to allow precise identiﬁcation of pitches.

4.3 Gameplay

The aim of iClef is to guess the pitch of the notes pro-

posed on a stave and shown for a limited time. Such

a choice is done using the on-screen representation of

a piano keyboard, the range of which is limited to one

octave. The pitches must therefore be recognized on

the basis of their name and independently of the oc-

CSME 2023 - 4th International Special Session on Computer Supported Music Education

400

tave information. The notes can be altered and the

accidentals must be correctly recognized by the user.

iClef was conceived as a potentially inﬁnite game.

The game ends either by the player’s decision or by

reaching the maximum number of errors allowed in a

match, namely three mistakes.

The start menu of the app lets the user select one

of four levels. The main difference between them lies

in the number of clefs that will randomly appear:

• the ﬁrst level – Beginner allows the user to prac-

tice in the Treble clef only;

• the second level – Intermediate presents notation

in the Treble and Bass clefs;

• the third level – Advanced contains the four most

used clefs, i.e. Treble, Bass, Alto, and Tenor;

• ﬁnally, the last level – Expert lets the user practice

on all clefs.

After the initial choice, there is no level advance-

ment. In other words, a good performance, say, in the

Beginner level does not take the player to the Interme-

diate level after a while. Anyway, during the game-

play, the level of difﬁculty increases according to the

factors illustrated in Section 4.1. Beating the top score

should provide enough motivation to perform better

and better. The score awarded for each guessed note

changes from level to level, ranging from 2 at Begin-

ner level to 32 at Expert level.

iClef can be used both for sight-reading practice

and for teacher assessment in game-based learning.

Please note that multiple gameplay modes can be con-

ceived. Basically, iClef is a single-player endless run-

ner game, but it can be easily adapted to become a

time-challenge game, as we did in our early experi-

mentation (see Section 5). Moreover, even if a mul-

tiplayer mode is not available, user scores and per-

formances can be easily compared in a class environ-

ment, thus fostering competition, motivation, and en-

gagement (Cagiltay et al., 2015).

5 EARLY EXPERIMENTATION

A session of tests has been conducted with a small

number of users. The employed devices included an

iPhone 12 Pro and an iPhone 13 Pro. Ten test users

have been involved in the test campaign, aged 30 to

50, with formal/informal music education and some

experience in musical scores. For reasons of space,

we have selected three particularly signiﬁcant cases

in order to represent different categories of potentially

interested users:

• User A is a 46-year-old professional in the ﬁeld

of sound and music computing, with past formal

studies in piano and composition. He/she can rep-

resent users interested in this application to pre-

pare for a Conservatory exam;

• User B is a 48-year-old musician who is used to

reading sheet music (in particular, he/she plays the

trumpet in a jazz band) but has never had the need

to learn clefs other than the G-clef. He/she can

represent users willing to improve orchestral score

sight-reading;

• User C is a 40-year-old amateur musician who

plays the saxophone in small ensembles for fun

in his/her spare time. He/she can represent a pop-

ulation of users who is completely unaware of the

9-clef system.

The test campaign focused on single-player

matches organized as time challenges. The tests were

sized considering two conﬂicting needs: they had to

be short enough to keep the attention high, but long

enough to provide players with non-trivial challenges.

The maximum duration for each game session was 90

seconds, but the game could stop even earlier in the

case of 3 errors achieved. Each player was subjected

to 4 game sessions of increasing difﬁculty, spaced by

1-minute-long rests: one match at the Beginner, Inter-

mediate, Advanced, and Expert levels. There was no

previous training about the use of the app since this

campaign was not intended to assess learning effects.

Rather, the goal was to test the functions of the soft-

ware, the effectiveness of the gameplay, and the level

of engagement. Moreover, we retrieved some useful

comments and remarks from the test users.

The results achieved by selected users during the

gameplay are shown in Table 1. Not surprisingly,

User A achieved a better success rate and a higher

number of correctly recognized notes in each round.

Anyway, User A, more skilled in sight-reading due to

his/her formal studies, was overconﬁdent and used a

frantic approach, trying to guess the highest number

of notes in the smallest time, but this brought him/her

to commit a high number of mistakes (for example, at

the Beginner level he/she concluded the match in ad-

vance due to mistakes). Conversely, User B and User

C spent more time reading the notation, thus slow-

ing down the pace but also paying more attention to

some game pitfalls. A typical example, in this sense,

is the presentation of two successive notes with the

same position on the stave but corresponding to dif-

ferent pitches due to the occurrence of a clef change:

at a glance, this situation can be misinterpreted by a

frantic player.

Now, we summarize the main remarks and sug-

gestions emerging from post-activity interviews.

A Mobile Serious Game to Foster Music Sight Reading with Different Clefs

401

Table 1: Results achieved by Users A, B, and C in 90-second time challenges for each of the 4 levels.

User Level Nr. of right notes Nr. of mistakes Elapsed time (s) Success rate (notes/s)

A 1 87 3 78 1.12

B 1 70 0 90 0.78

C 1 56 3 65 0.86

A 2 61 3 66 0.92

B 2 45 3 84 0.54

C 2 26 3 50 0.52

A 3 63 2 90 0.7

B 3 36 2 90 0.4

C 3 8 3 44 0.18

A 4 13 3 21 0.62

B 4 3 3 24 0.13

C 4 12 3 55 0.22

User A was not completely satisﬁed with the

graphical interface, in his/her opinion poor in infor-

mation about game progression during the gameplay.

According to User A, a lacking option is the num-

ber of subsequent notes to be read in the same clef,

in accordance with solfeggio exercises in use in Con-

servatories; nevertheless, User A recognized that be-

ing able to sight-reading notes in everchanging clefs

would provide a good test bed for easier tasks.

User B noticed a lack of continuity when (not)

passing from one level to another: in his/her opin-

ion, a good performance at Level n should automati-

cally bring to Level n + 1. Concerning the interface,

some elements typical of gamiﬁcation, such as stars or

awards, are missing. Regarding the automatic selec-

tion of pitches, the distribution of notes is not consid-

ered optimal compared to the limited keyboard range.

Furthermore, User B pointed out that game perfor-

mances are inﬂuenced by the type of controller the in-

strumentalist is used to: a keyboard interface is more

intuitive for a pianist than for a trumpet player. Fi-

nally, he/she would have appreciated the presence of

a dashboard with historical scores, trends, and some

diagrams.

Finally, User C considered the game engaging and

its interface ﬁt for the goals of the app. Nevertheless,

if intended for non-expert users, the game needs a tu-

torial and some theoretical explanation. A shortcom-

ing detected in the gameplay, especially in the initial

phase of each level, is the repetitiveness of pitches,

which causes a decrease in the player’s interest. In

conclusion, User C pointed out that he/she would use

the game again if he/she had to learn sight-reading in

different clefs (which, anyway, was not his/her inten-

tion at the moment of the interview).

6 CONCLUSIONS

In this work, we presented an app for mobile de-

vices whose purpose is to encourage the study and

learning of reading at the ﬁrst sight of music written

with multiple alternating clefs. The main applicabil-

ity ﬁelds have a didactic nature and range from the

enhancement of intangible musical heritage (for ex-

ample, the development of the ability to read ancient

music) to practical educational purposes (for exam-

ple, the preparation of speciﬁc Conservatory exams).

The effectiveness of game-based learning in this

scenario must be veriﬁed in an experimental context,

while, at the moment of writing, we have investigated

mainly implementation and gameplay aspects. Con-

cerning the experimental phase, one of the critical as-

pects to consider is the difﬁculty of conducting mas-

sive test campaigns due to the niche of users the app

is aimed at. In fact, the expected audience for this

kind of serious game is made of musicians or music

students interested in sight reading with alternating

clefs, which is not a common scenario in music prac-

tice or even in basic music education. For this reason,

we hope that the described solution will be brought

into conservatories and music schools, so as to ana-

lyze learning results and retrieve comments and sug-

gestions from a more numerous and differently char-

acterized pool of users.

REFERENCES

Backlund, P. and Hendrix, M. (2013). Educational games-

are they worth the effort? a literature survey of the

effectiveness of serious games. In 2013 5th interna-

tional conference on games and virtual worlds for se-

rious applications (VS-GAMES), pages 1–8. IEEE.

Barat

e, A., Bergomi, M. G., and Ludovico, L. A. (2013).

Development of serious games for music educa-

CSME 2023 - 4th International Special Session on Computer Supported Music Education

402

tion. Journal of e-Learning and Knowledge Society,

9(2):93–108.

Barat

e, A. and Ludovico, L. A. (2013). Serious games

for music education. a mobile application to learn

clef placement on the stave. In Foley, O., Helfert,

M., Restivo, M. T., and Uhomoibhi, J., editors, Pro-

ceedings of the 5th International Conference on Com-

puter Supported Education (CSEDU 2013), pages

234–237, Set

ubal. SCITEPRESS - Science and Tech-

nology Publications, Lda.

Bellotti, F., Kapralos, B., Lee, K., Moreno-Ger, P., and

Berta, R. (2013). Assessment in and of serious games:

an overview. Advances in human-computer interac-

tion, 2013:1–1.

Blatter, A. (1997). Instrumentation and orchestration.

Schirmer Books.

Bryan, N. J., Herrera, J., Oh, J., and Wang, G. (2010).

MoMu: A mobile music toolkit. In NIME, pages 174–

177. Citeseer.

Cagiltay, N. E., Ozcelik, E., and Ozcelik, N. S. (2015). The

effect of competition on learning in games. Computers

& Education, 87:35–41.

Caserman, P., Hoffmann, K., M

uller, P., Schaub, M.,

Straßburg, K., Wiemeyer, J., Bruder, R., G

obel, S.,

et al. (2020). Quality criteria for serious games: seri-

ous part, game part, and balance. JMIR serious games,

8(3):e19037.

Cheng, M.-T., Chen, J.-H., Chu, S.-J., and Chen, S.-Y.

(2015). The use of serious games in science education:

a review of selected empirical research from 2002 to

2013. Journal of computers in education, 2:353–375.

de Vasconcelos, D. F. P., J

unior, E. A. L.,

de Oliveira Malaquias, F. F., Oliveira, L. A.,

and Cardoso, A. (2020). A virtual reality based

serious game to aid in the literacy of students with in-

tellectual disability: Design principles and evaluation.

Technology and Disability, 32(3):149–157.

Essl, G. and Lee, S. W. (2018). Mobile devices as musi-

cal instruments-state of the art and future prospects.

In Music Technology with Swing: 13th Interna-

tional Symposium, CMMR 2017, Matosinhos, Portu-

gal, September 25-28, 2017, Revised Selected Papers

13, pages 525–539. Springer.

Gace, I., Jaksic, L., Murati, I., Topolovac, I., Zilak, M., and

Car, Z. (2019). Virtual reality serious game prototype

for presenting military units. In 2019 15th Interna-

tional Conference on Telecommunications (ConTEL),

pages 1–6.

Giessen, H. W. (2015). Serious games effects: an overview.

Procedia-Social and Behavioral Sciences, 174:2240–

2244.

Kokol, P., Vo

sner, H. B., Zavr

snik, J., Vermeulen, J.,

Shohieb, S., and Peinemann, F. (2020). Serious game-

based intervention for children with developmental

disabilities. Current pediatric reviews, 16(1):26–32.

Krath, J., Sch

urmann, L., and von Korﬂesch, H. F. (2021).

Revealing the theoretical basis of gamiﬁcation: A sys-

tematic review and analysis of theory in research on

gamiﬁcation, serious games and game-based learning.

Computers in Human Behavior, 125:106963.

Larasati, M. T. L. and Sukmayadi, Y. (2021). Mobile learn-

ing design for sight reading. In 3rd International Con-

ference on Arts and Design Education (ICADE 2020),

pages 70–73. Atlantis Press.

Larson, K. (2020). Serious games and gamiﬁcation in the

corporate training environment: A literature review.

TechTrends, 64(2):319–328.

Loman, C. T. and Wiradinata, T. (2014). Design and de-

velopment of sight-reading application for kids. IC-

ITECHS, 1:51–55.

Mooreﬁeld-Lang, H. and Evans, M. A. (2011). Rhythmat-

ical: A game to combine music and mathematics for

mobile devices. Music Reference Services Quarterly,

14(1-2):46–51.

Oh, J., Herrera, J., Bryan, N. J., Dahl, L., and Wang, G.

(2010). Evolving the Mobile Phone Orchestra. In

NIME, pages 82–87. Sydney.

Oh, J. and Wang, G. (2011). Audience-participation tech-

niques based on social mobile computing. In ICMC.

Presti, G., Adriano, D., Avanzini, F., Barat

e, A., and Lu-

dovico, L. A. (2021). Phonharp: A hybrid digital-

physical musical instrument for mobile phones ex-

ploiting the vocal tract. In AM’21: Proceedings of the

16th International Audio Mostly Conference: Sonic

experiences in the era of the Internet of Sounds, ACM

International Conference Proceeding Series, pages

276–279. ACM.

Ravyse, W. S., Seugnet Blignaut, A., Leendertz, V., and

Woolner, A. (2017). Success factors for serious games

to enhance learning: a systematic review. Virtual Re-

ality, 21(1):31–58.

Sharifzadeh, N., Kharrazi, H., Nazari, E., Tabesh, H.,

Edalati Khodabandeh, M., Heidari, S., and Tara,

M. (2020). Health education serious games tar-

geting health care providers, patients, and public

health users: scoping review. JMIR serious games,

8(1):e13459.

Snyder, J. and Sarwate, A. (2014). The mobile device

marching band. In Proceedings of the International

Conference on New Interfaces for Musical Expres-

sion.

Tsikinas, S. and Xinogalos, S. (2019). Studying the effects

of computer serious games on people with intellectual

disabilities or autism spectrum disorder: A system-

atic literature review. Journal of Computer Assisted

Learning, 35(1):61–73.

Vieira, C., da Silva Pais-Vieira, C. F., Novais, J., Perrotta,

A., et al. (2021). Serious game design and clinical

improvement in physical rehabilitation: systematic re-

view. JMIR Serious Games, 9(3):e20066.

Wang, G. (2009). Designing smule’s ocarina: The iphone’s

magic ﬂute. In NIME, pages 303–307.

Zhonggen, Y. (2019). A meta-analysis of use of serious

games in education over a decade. International Jour-

nal of Computer Games Technology, 2019.

Zhou, Y., Percival, G., Wang, X., Wang, Y., and Zhao, S.

(2011). MOGCLASS: evaluation of a collaborative

system of mobile devices for classroom music educa-

tion of young children. In Proceedings of the SIGCHI

Conference on Human Factors in Computing Systems,

pages 523–532.

A Mobile Serious Game to Foster Music Sight Reading with Different Clefs

403