Trubadur je odprtokodna platforma za urjenje glasbenega posluha z avtomatiziranimi vajami ritmičnega in intervalnega nareka. Platformo smo ovrednotili z dijaki Konservatorija za glasbo in balet ...Ljubljana v šolskih letih 2018/19–2020/21. Rezultati evalvacije so pokazali, da lahko uporaba platforme poveča uspešnost pri testih in predstavlja dopolnitev učenja na daljavo.
We present the development and evaluation of a gamified rhythmic dictation application for music theory learning. The application was developed as a web application in the existing Troubadour ...platform for music ear training. The focus of the developed application was on user experience and engagement. With regards to the former, we developed a responsive and intuitive user interface; for the latter, we included several gamification elements and assessed the impact on the students’ engagement. We report on students’ experience analysis done through questionnaires and background data collected through the platform. We evaluated the rhythmic dictation application with the conservatory-level music theory students through A/B testing in order to independently evaluate the application’s impact. The results show a significant impact of the application on the students’ exam scores.
This paper presents a new version and a three-month evaluation of the Troubadour platform—an open-source music theory ear training platform. Through interviews with teachers, we gathered the ...most-needed features which would aid their use of the platform. In the new version of the Troubadour platform, we implemented different types of interaction, including class management, re-occurring homework and challenges. Previous research has shown a significant improvement in the students’ performance while using the platform. However, the short time span of the previous experiments has not shown whether these results can be attributed to the novelty bias. To evaluate the efficacy of the platform beyond its novelty bias, we performed a three-month-long evaluation experiment on the students’ interaction through questionnaires and platform-collected data. We collected data on their engagement with the platform. During the experiment, the students attended the school through online courses during the first part of the evaluation, and in-class in the second part. In this paper, we investigate the students’ engagement during the three-month period, explore the influence of the platform’s use in-class versus online learning process, analyze the students’ self-report on their practice habits and compare them with the collected data. The results showed high student engagement during the lockdown period, while the in-class process showed a decrease in the platform’s use, unveiling the students’ need for such platform as a complementary learning channel in remote learning.
Troubadour platform is an open-source personalized and adaptive web platform for ear training. The platform was developed to support music theory classes with automated music-theory-related ...exercises. In this paper, we present our three-stage development methodology, which incorporated the needs and feedback from both teachers and students to build an engaging music-theory e-learning platform with gamification elements. We developed and evaluated the platform with students of the Conservatory of Music and Ballet Ljubljana. The students of the 1st and 2nd year of the programme were split into two groups-the control group used the traditional way of learning, while the test group augmented their learning with the Troubadour platform. The evaluation results show an increase in exam performance and corroborate the platform's user experience as one of the key reasons for the students' engagement.
We present the development and evaluation of a gamified rhythmic dictation application for music theory learning. The application was developed as a web application in the existing Troubadour ...platform for music ear training. The focus of the developed application was on user experience and engagement. With regards to the former, we developed a responsive and intuitive user interface; for the latter, we included several gamification elements and assessed the impact on the students' engagement. We report on students' experience analysis done through questionnaires and background data collected through the platform. We evaluated the rhythmic dictation application with the conservatory-level music theory students through A/B testing in order to independently evaluate the application's impact. The results show a significant impact of the application on the students' exam scores. Keywords: music theory education; ear training; rhythmic dictation; music information retrieval; gamification; e-learning; user evaluation
The author asserts the hypothesis that the chromatic aggregate is a structurally potent factor in Messiaen's music. He shows how the chromatic aggregate manifests itself by superimpositions and ...juxtapositions of Messiaen's Modes of Limited Transpositions, by the Chord on the Dominant (his most frequent sonority) in combination with other frequent chords, and by the chromatic harmonization of bird songs in keyboard percussion. Chapter 1 is a brief survey of Messiaen's own writings about his esthetics and compositional techniques from his Technique de mon langage musical and from his Traité du rythme, de couleur et d'ornithologie (at the time of writing this thesis, the first four of seven volumes were available). Chapter 2 takes a set-theory approach to Messiaen's Modes and surveys their inclusion relations, accompanied by Appendix 1 that surveys all possible bimodal combinations. It shows how several bimodal combinations result in Mode 7 or in the chromatic aggregate, and how Mode 3 cannot create the chromatic aggregate in combination with Modes 2, 4 or 5. Mode 3 does so only in half of the combinations with Mode 6 and 7. Chapter 3 investigates various melodic and harmonic ways of saturating the chromatic aggregate. Chapter 4 reveals the prominence of the Chord on the Dominant in Messiaen's music. It shows that the busy wind scorings of bird songs are in fact carefully planned verticals made of Messiaen's favorite chords, such as 7-20, 7-Z36, 7-Z12, 7-12, 8-16 and 6-15. The same sonorities govern the chant-like portions of the music. Chapter 5 shows how Messiaen's coloristic harmony underlines the formal patterns and affects the harmonic fluctuation in his music. Appendix 1 surveys all bimodal combinations that are possible within the Modes of Limited Transpositions. Appendix 2 presents a Proposed Model of Inversional Symmetry with some music examples by the author. Its purpose is to investigate the nuances in harmonic color of Messiaen's Modes and pitch-class sets in general. Appendix 3 surveys possibilities for double appoggiaturas to the notes of a major scale and puts Messiaen's Chord on the Dominant into a new perspective.
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