Harmosphere VR: Enhancing Harmonic Learning in Music Schools

Through Virtual Reality

Weronika Stachurska

, Aleksandra Witoszek-Kubicka

2 a

and Magdalena Igras-Cybulska

1 b

AGH University of Krakow, Poland

Cracow University of Economics, Poland

Keywords:

Virtual Reality, Music Education, Harmony, User-Centered Design.

Abstract:

In this pilot study, we investigate the potential of Virtual Reality in supporting music education through a

prototype application designed to facilitate self-learning of harmony. The selection of this topic stemmed from

exploratory research, particularly in-depth interviews with secondary music students (N=6), which delved into

the challenges and obstacles faced during their education. Additionally, we conducted a thorough examination

of available applications and websites for music theory learning. Building upon the research ﬁndings, we

proceeded with user modeling using personas and empathy mapping. The design of the solution began with

the formulation of user stories, value proposition canvas, and the creation of a storyboard. Subsequently, we

developed the preliminary outline of the solution - the HarmosphereVR application. Following this phase, a

prototype of a practical exercise in Unity was prepared, focusing on constructing a harmonic progression in

the key of C major, comprising four chords. The application was developed in Unity engine for Meta Quest 2

headsets.

1 INTRODUCTION

The rapid development of digital technologies affects

many, if not all, aspects of human life. It is not indif-

ferent, equally, to education – daily interaction with

technology transforms the way we learn. Simultane-

ously, increasingly newer and more advanced devices

are becoming accessible to many members of society.

They are starting to appear in universities, schools,

and homes. The prevalence of technology introduces

numerous novel possibilities and prospects for sup-

porting the education sector. Mobile applications and

solutions in the ﬁeld of virtual and augmented re-

ality provide learners with an immersive and inter-

active learning experience, enabling them to under-

stand challenging concepts and ideas more efﬁciently

and effectively (Marougkas et al., 2023). However,

it seems that in artistic education, traditional teaching

methods based on chalkboards and books still prevail.

Due to the speciﬁc nature of artistic subjects such as

singing or playing a musical instrument, maintaining

direct contact with the teacher and applying more tra-

ditional teaching methods is necessary. Nevertheless,

https://orcid.org/0000-0001-5304-3379

https://orcid.org/0000-0001-5621-7901

the curriculum also includes theoretical subjects, such

as music theory and harmony. These classes require

knowledge of numerous rules and analytical think-

ing. Many individuals face challenges in navigating

through the abundance of principles that need to be

learned and adeptly applied to tasks. Consequently,

the integration of virtual reality with the teaching of

theoretical artistic subjects, such as harmony, poses

an intriguing question worthy of further exploration.

Certainly, there are numerous challenges associ-

ated with the utilization of virtual reality in artistic

education. One of them is the issue of physical dis-

comfort accompanying the use of these devices. VR

goggles are often quite bulky and enclosed, leading

to potential discomfort or overheating when worn for

extended periods. Additionally, some individuals suf-

fer from simulator sickness, experiencing symptoms

such as nausea, headaches, and dizziness while using

VR technology. This is often due to a lack of synchro-

nization between the images in the goggles and the

user’s movements, for instance, when the user moves

in the game but their physical body remains station-

ary. While there are increasing methods to mitigate

this phenomenon, it still remains a problem. Another

challenge is the relatively high cost of the devices.

Many of them, to enjoy high-quality and advanced

Stachurska, W., Witoszek-Kubicka, A. and Igras-Cybulska, M.

Harmosphere VR: Enhancing Harmonic Learning in Music Schools Through Virtual Reality.

DOI: 10.5220/0012757400003693

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 16th International Conference on Computer Supported Education (CSEDU 2024) - Volume 1, pages 765-771

ISBN: 978-989-758-697-2; ISSN: 2184-5026

765

graphics, require a powerful computer with a high-

end graphics card, which can be costly. Consequently,

only a limited number of people can afford to pur-

chase such setups. Spatial constraints also present a

limitation. Small spaces do not allow for full utiliza-

tion of the possibilities of virtual reality, and colli-

sions between the user and objects in their surround-

ings can pose safety risks. Furthermore, a signiﬁcant

challenge lies in the technology required to provide

immersion to users by engaging their various senses,

tracking movements, and displaying high-quality im-

ages, particularly realistic graphics. Limitations re-

garding resolution, data compression, and bandwidth

can also impact the smooth operation of VR systems

(Keshavarz and Golding, 2022).

However, the rapid development of virtual and

augmented reality has the potential to address most of

these challenges. Given the increasingly prominent

presence of this technology in education overall, its

utilization in artistic education is worth considering.

The contributions of this paper are as follows:

1. We conducted an exploratory study aimed at gain-

ing deeper insights into the needs and challenges

encountered in secondary music education.;

2. We introduced an immersive interactive virtual

environment designed to facilitate the learning of

harmony at the secondary music education level.

2 RELATED WORKS

To ascertain the current state of knowledge regard-

ing the utilization of virtual reality tools to support

the learning of music theory, a literature review was

conducted using databases such as Scopus, Web of

Science, Google Scholar, as well as ResearchGate.

The search syntax involved the use of key term com-

binations: ”music,” ”theory,” ”harmony,” ”teaching,”

”learning,”, ”AR” and ”VR” in various conﬁgura-

tions, with the limitation of the search to Polish and

English languages.

The study of music theory has been a fundamental

component of traditional music education for years.

Despite the raised doubts in recent years about the

value and place of these contents in music education,

research indicates that music theory remains a highly

valuable subject of study. At the same time, there is

an emphasis on the necessity to tailor teaching meth-

ods and tools to the needs of the students(Gutierrez,

2018). From the student’s perspective main concerns

revolve round the inadequate integration of course

content with related subject areas, leading to unan-

swered questions about its broader context. The ne-

glect of diverse aspects, including cultural, physical,

psychological, and metaphorical considerations, hin-

der students from connecting musical theories with

their broader musical experiences. Over-reliance on

the keyboard, varied perceptions of the purpose of

theory study among instrument groups, and the lack

of diversity in non-common practice genres and tradi-

tions are signiﬁcant issues (Gutierrez, 2019).

Also educators recognize the importance of seek-

ing solutions to support their music theory teach-

ing. The experience of remote teaching during the

COVID-19 pandemic has driven teachers to em-

brace new technologies and tools for music education.

Their desire is to continue utilizing existing tools and

to explore new ones, as they ﬁrmly believe in the en-

hancement of the overall quality of learning (Cam-

lin and Lisboa, 2021). Utilizing technological solu-

tions to support classroom teaching and incorporating

them into students’ independent work allows for ad-

ministering crucial discussions about music outside of

class and helps create an engaging environment (De-

loy, 2022).

Research conﬁrms the propositions put forth by

students and teachers. Online training courses support

music education as they allow individuals to work

at their own pace, collaborate with others, and con-

tribute to a deeper understanding of music (Li et al.,

2022). The application of digital technologies, specif-

ically wikis, simulators, and social networks, enables

students to engage in seamless communication with

teachers and peers, thereby increasing their interest in

learning (Zainuddin et al., 2019).

Several virtual reality tools for learning music the-

ory have been identiﬁed, targeting various groups of

end users. ”Singing-Blocks” is a serious game project

aimed at young adults without musical education, cre-

ated in 2018. It enables the learning of basic harmony

principles, including chord construction and progres-

sion, by arranging colorful blocks shaped like walls in

the right positions. The game consists of multiple lev-

els with a progression of difﬁculty. The effectiveness

of the solution has not been veriﬁed to date (Timoney

et al., 2018).

Another proposal is ”ChordAR”. It is a seri-

ous game designed for children to aid in learning the

basics of music theory, including concepts such as

chords. Initially, survey research was conducted to

identify the problems and needs of preschool-aged

children. The results of these surveys were taken into

account in the development of the solution. The game

features a storyline and levels of varying difﬁculty. It

involves arranging LEGO blocks to symbolize indi-

vidual chords in accordance with what is displayed

on the screen. The correct arrangement of blocks is

shown against a background image from the camera

ERSeGEL 2024 - Workshop on Extended Reality and Serious Games for Education and Learning

766

(Augmented Reality), allowing users to easily repli-

cate what they see. The prototype was tested with

twelve individuals aged 4 to 7. The research indicated

that the game was well-received by children, taught

them chord construction, and sparked their curiosity

for further music theory learning (Lu et al., 2022).

Another identiﬁed solution is a multisensory AR

handbook for children aged 4 to 12. It teaches the

composition of an orchestra and the characteristics of

the instruments within it. In addition to the physical

handbook, a mobile application was designed that uti-

lizes augmented reality technology. Through this ap-

plication, children can explore the sounds of various

instruments, complete quizzes, and even attend a vir-

tual concert. Usability tests were conducted with 497

preschool-aged users from different regions of Tai-

wan. The satisfaction with learning using the hand-

book was rated at 4.998 out of 5, which is an im-

pressive result. This conﬁrms the effectiveness of AR

technology in creating music educational materials

for children (Ho et al., 2023). Despite identifying vir-

tual and augmented reality tools for learning music,

no solutions directly supporting the study of harmony

were found. However, many websites, applications,

and courses for learning music theory, mainly in the

English language, both paid and free, have been iden-

tiﬁed.

”MyMusicTheory” is a website for learning mu-

sic theory. On this platform, you can ﬁnd publicly

accessible educational materials at various levels as

well as video courses. The ”Grade 6 Music Theory

Course” covers the basics of harmony, preparing stu-

dents for the Music Theory Grade 6 exam organized

by the Associated Board of the Royal Schools of Mu-

sic (ABRSM), a renowned educational organization

issuing international certiﬁcates that ofﬁcially docu-

ment one’s musical education. The course lasts for 15

weeks, is available in English, and includes 5 hours

of video content, a document with notes, and exer-

cises to complete. It also comes in an enhanced ver-

sion, offering additional teacher-assessed evaluations

for all tasks. The course’s price ranges from £60 to

£225. Alternatively, there are free resources available

on the website. The knowledge base accessible in the

free version is truly impressive, resembling a textbook

in its form (Williams, 2024).

Among other websites, it is worth highlighting the

course titled ”Four-part Harmony”. It is available

on Udemy, covering the fundamentals of four-part

harmony through video lessons, articles, quizzes, and

exercises for solving (Peters, 2024).

Despite the identiﬁcation of tools for learning mu-

sic theory, especially harmony, it should be empha-

sized that they do not cater to the needs of the tar-

get group, which comprises students in secondary-

level music schools. The majority of the available

tools focus only on very basic topics, which students

are already well acquainted with. Conversely, more

advanced materials are minimally interactive, resem-

bling traditional textbooks in their format. Literary

studies validate the rationale behind developing an in-

teractive tool that supports the learning of music the-

ory, tailored to meet the requirements of students in

secondary-level music schools.

3 EXPLORATORY STUDY

To design a VR solution to support the learning of har-

mony, independent research was conducted to deepen

the understanding of the challenges in teaching har-

mony in music schools.

Three main research objectives were established.

The ﬁrst one aimed at identifying the difﬁculties en-

countered by second-degree music school students

during the study of music theory, with a particular fo-

cus on the areas of harmony and musical principles.

Acquiring an understanding of the issues young musi-

cians grapple with narrowed down the areas of focus

in the subsequent research process. The second ob-

jective was to recognize the methods students employ

in assimilating knowledge in the realm of harmony.

This facilitated a deeper comprehension of how they

currently navigate the presented challenges. The third

objective was to identify the needs associated with the

learning of music theory, subsequently taken into ac-

count during the project development. To achieve the

research objectives, six research questions were for-

mulated:

• Q1: What is the current state of music theory ed-

ucation in music schools?

• Q2: Which part of the curriculum poses the great-

est challenges?

• Q3: What sources do students utilize for learning?

• Q4: What would facilitate their knowledge acqui-

sition?

• Q5: Which learning approach proves most effec-

tive for them?

• Q6: What is lacking in current teaching methods?

To accomplish deﬁned research objectives, the de-

cision was made to utilize qualitative research in the

form of individual in-depth interviews. This method

is deemed appropriate for research that serves as the

foundation for designing solutions, such as VR ap-

plications as in such studies a more profound un-

derstanding of the needs and problems of the exam-

Harmosphere VR: Enhancing Harmonic Learning in Music Schools Through Virtual Reality

767

ined group is deemed more crucial than the potential

for generalizing conclusions to the population (DUR-

SUN, 2023). The study included participants who

were both students and graduates of a second-degree

music school. Six interviews were conducted with in-

dividuals recruited for the study through the snowball

sampling method. The research was conducted on-

site during the period from January to February 2023.

Each interview lasted approximately 30 minutes.

The analysis of the research results was based

on notes prepared from recorded conversations. In

the case of one individual who did not consent to

audio recording, notes were taken during the inter-

view. Additionally, immediately following each in-

terview, the interviewer documented observations re-

garding the facial expressions and behavior of the re-

spondents. Subsequently, data for cluster analysis was

prepared. Based on the notes, a table was created in

the FigJam software, which allows the recording of

brief notes on colored cards, known as ”sticky notes,”

and their ﬂexible arrangement on the board. This fa-

cilitates the identiﬁcation of patterns and similarities.

Subsequently, the information was categorized using

afﬁnity diagram. Ultimately, 20 clusters were iden-

tiﬁed, forming 5 categories of analysis: motivation

for music education, learning harmony in the music

school, study methods, challenges, and additional re-

sources(Figma, 2024).

The motivation for music education category per-

tains to the factors that inﬂuenced the respondents to

enroll in a music school. This includes responses as-

sociated, among other factors, with family inﬂuence

and exposure to music since childhood. The subse-

quent category, learning harmony in the music school,

encompasses information about opinions on the sub-

ject, the conduct of classes, teachers, and the proﬁ-

ciency level of other individuals in the class. This

category facilitates a multidimensional and detailed

understanding of the current situation of the students.

The next category, learning methods, includes re-

sponses regarding ﬁnding suitable methods tailored

to individual needs, changing attitudes, instrumental

learning, problem-solving, systematic study, and at-

tentiveness during classes. It illustrates how the re-

spondents approach the learning of this subject and

how they cope with challenges. Another category -

challenges, encompasses information about catching

up on backlog, the time-consuming nature of learning,

piano skills, understanding principles, and the lack of

materials. This category highlights the difﬁculties stu-

dents in second-degree music schools face in learning

harmony. The ﬁnal category is additional resources,

referring to how respondents obtained supplementary

information for their studies.

In each of the six designated categories, chal-

lenges and needs related to the current state of mu-

sic theory education by students were identiﬁed. The

gathered information allows for formulating recom-

mendations regarding the characteristics of a tool that

would support students in learning music theory: The

solution should: enable a systematic learning of mu-

sic theory (R1), focusing on a thorough mastery of

fundamentals (R2). An advantageous approach would

involve a more interactive solution (R3) than tradi-

tional materials like books, aiming to engage users

more actively in learning and distinguish itself from

conventional materials. It is essential to consider the

students’ schedule and avoid time-consuming tasks

(R4). Simplicity (R5) in language and accurate trans-

lation of theoretical concepts (R6) are crucial. It

would be valuable to demonstrate the application of

theory into practice (R7) and utilize sound for learn-

ing (R8) to familiarize individuals with the sound of

different harmonic combinations, facilitating a better

understanding of principles.

4 THE SOLUTION

4.1 Setup

The prototype was implemented in Unity 2021 LTS,

using OpenXR standard and XR Interaction Toolkit,

for Meta Quest 2 headset with two controllers (Fig.

4).

4.2 The Exercise

The prototype consists of one harmonic exercise.

It has a practical nature and resembles tasks from

lessons and exams in music school harmony classes.

It involves building a harmonic progression in the key

of C major, consisting of four chords. Its aim is

to practice constructing and connecting triad chords

without inversion: tonic, subdominant, and dominant.

Figure 1: Main scene in HarmosphereVR.

The user has the ability to listen to the chord they

create, as well as the entire exercise, which ensures

ERSeGEL 2024 - Workshop on Extended Reality and Serious Games for Education and Learning

768

Figure 2: Introduction into the game with visible vignette

effect.

the use of sound in learning. Additionally, chord con-

struction is based on the piano keyboard - mimick-

ing learning with the instrument. For the purposes

of the prototype, we decided to omit the theoretical

introduction, the possibility of returning to previous

chords, checking the correctness of the exercise at the

end, and handling black piano keys.

4.3 The Scene Design

The prototype consists of one scene (Fig. 1). The user

is positioned in a room with dark walls and no ceiling.

Above, they see a clear sky and the sun, which serves

as the light source. On the ground lie four walls in dif-

ferent colors: orange, pink, green, and blue. A nearly

ﬂat piano keyboard is positioned a little further away,

with each key having a larger width than the walls.

Each key, representing the note ”C,” is labeled with an

indication of its octave. The keyboard contains notes

from C (uppercase) to B3 (B with three sharps). Be-

hind the keyboard is a white board with two staves:

one with a treble clef and the other with a bass clef,

as well as the letters T, S, D, T, which denote chords.

A light yellow rectangle indicates the current chord to

be built. On the left side of the board, there is a legend

for the colored blocks - labels representing the voices.

The controllers resemble hands and are beige in color.

We decided to utilize smooth locomotion to ensure

that users can easily navigate my application in vari-

ous conditions - whether sitting, standing, or having

limited space around them. To mitigate the risk of vir-

tual reality sickness among participants, I employed

the vignette effect (Fernandes and Feiner, 2016). Uti-

lizing the vignette effect in VR can signiﬁcantly en-

hance user immersion, gently guiding the player’s fo-

cus towards the central action while subtly diminish-

ing peripheral distractions. This effect not only el-

evates the visual narrative but also aids in reducing

potential VR discomfort, making for a more comfort-

able and engaging experience.

Figure 3: The white ray indicates the possibility of lifting

the colored block from a distance.

4.4 The Gameplay

Upon starting the game, the user is presented with an

interface introducing the task (Fig. 2). It consists

of three steps: the ﬁrst is the most general and wel-

coming, the second describes the exercise, and the

third explains which buttons on the controller trig-

ger essential application functions. The user navi-

gates between the steps using the ”Next” and ”Back”

buttons. Upon pressing the menu button on the left

controller, a screen similar to the third step of the in-

troduction appears - providing information about the

button functions. Movement within the scene is facil-

itated by the analog sticks - the left one for walking

and the right one for rotating the camera. The colored

cubes can be lifted by holding one of the grip buttons,

both up close and from a distance (the ability to grasp

the block is indicated by a white ray (Fig. 3).

When a cube is placed on a piano key, a sound

is heard, which would occur in reality upon pressing

the key. As the block rests on the piano, a note ap-

pears on the board in the corresponding color, reﬂect-

ing its position. If the note is black, it means that the

pitch is outside the range of the voice symbolized by

the cube. Upon removing the block from the piano

key, the note on the board disappears. Pressing but-

ton A on the right controller allows the user to play

the current arrangement of blocks on the piano and

listen to whether the chord sounds as it should. But-

ton B enables saving the current chord and proceeding

to the next one. The trigger button on the right con-

troller triggers the playback of the sequence of saved

chords. (Fig. 4). The exercise concludes after saving

four chords (Fig. 5).

An example gameplay is presented under the link

(Stachurska, 2024).

Harmosphere VR: Enhancing Harmonic Learning in Music Schools Through Virtual Reality

769

Figure 4: Commands associated with the controller buttons.

Figure 5: The view after saving several chords.

5 DISCUSSION AND

CONCLUSION

The aim of this work was to create a prototype ap-

plication utilizing virtual reality technology for facil-

itating self-learning of harmony. The development of

the solutions was preceded by an analysis of scientiﬁc

publications and available applications and websites

for music theory learning. Subsequently, in-depth in-

dividual interviews were conducted with six partici-

pants, each having completed secondary music school

education. The next step involved the development of

the preliminary outline of the solution - the Harmo-

sphereVR application. The implemented exercise in-

volve constructing harmonic progressions in the key

of C major, comprising four chords each. The proto-

types were tested with users using Meta Quest 2 gog-

gles.

During the work, certain limitations were met.

They included, among others, the sample size dur-

ing in-depth individual interviews. This resulted from

limited access to individuals from a tightly deﬁned

population. Conducting research on a larger number

of people than six could be beneﬁcial. Another lim-

itation was that only one exercise was implemented,

leaving space for further works.

Our solution, next to SingingBlocks, ChordAR,

and Interactive AR Handbook, conﬁrms that vir-

tual/augmented reality and music theory learning may

provide a good combination. Interactive exercises

using immersive technology motivate learners to ex-

plore new concepts and facilitate music theory learn-

ing. The HarmosphereVR applications differ from the

aforementioned projects in that they target a different

target audience - students and graduates of secondary

music schools. This is due, among other things, to

the prerequisite of prior knowledge of music theory

fundamentals, necessary to begin learning harmony.

Other solutions focus on uncomplicated topics that

children or adults without musical education learn at

the beginning of their musical journey. Our projects

focus on material from the curriculum of the harmony

subject in secondary music schools. This is their in-

novative and pioneering character. Additionally, in

ChordAR and SingingBlocks, sounds are represented

by individual blocks, one block per sound. In Harmo-

sphereVR, colored blocks symbolize voices, and the

sounds they produce depend on their arrangement on

the keyboard. This allows for the construction of a

greater quantity and more complicated chords. Addi-

tionally, the boards show the users in real-time how

the constructed chords look in notes, which is not

present in other solutions.

In the context of evaluating the effectiveness

and user experience of the current stage of Har-

mosphereVR prototype, a mixed-methods study ap-

proach will be applied. This methodology combines

both quantitative and qualitative research methods to

gain comprehensive insights. Quantitatively, user en-

gagement and learning outcomes will be measured

through pre and post-tests on harmony knowledge,

along with tracking usage statistics within the VR

application, such as session length and frequency of

use. Qualitatively, semi-structured interviews and fo-

cus groups with students and educators will provide

deeper understanding of the user experience, includ-

ing perceived usability, enjoyment, and educational

value. Also hybrid methods like reaction cards will

be used. This dual approach enables a holistic evalua-

tion of the VR application’s impact on learning and its

potential to enhance musical education by capturing

both numerical data and personal user experiences.

Our work leaves a very broad ﬁeld for further de-

velopment. Implementing other practical exercises

and creating theoretical ones would bring signiﬁcant

value. Additionally, the current tasks could be ex-

panded with new keys and chord functions. There is

also potential to introduce gamiﬁcation to make the

applications even more engaging. It would also be

interesting to test the solutions in schools during har-

mony class to see how students apply their freshly ac-

quired theoretical knowledge in practice.

ERSeGEL 2024 - Workshop on Extended Reality and Serious Games for Education and Learning

770

ACKNOWLEDGEMENTS

The work presented in this paper was partially sup-

ported by the National Centre for Research and

Development (NCBiR) under Grant No. 0230/L-

11/2019.

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