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Learning to Use Melodic Similarity and Contrast for Narrative Using a Digital Tabletop Musical Interface

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Learning to Use Melodic Similarity and Contrast for Narrative Using a Digital Tabletop Musical Interface Music Computing Group Department of Computing and Communications Faculty of Mathematics, Computing and Technology The Open University Learning to use melodic similarity and contrast for narrative using a Digital Tabletop Musical Interface Author: Supervisors: Andrea Franceschini Dr Robin Laney BSc, MSc (Università degli Studi di Padova) Mr Chris Dobbyn Examiners: Prof. Eduardo Reck Miranda Prof. Marian Petre Plymouth University, UK The Open University, UK A thesis submitted in partial fullfilment of the requirements for the degree of Doctor of Philosophy Submitted: 18 September 2015 Examined: 10 December 2015 Contents 1. Introduction 1 1.1. Terminology . 4 1.2. Education support tools . 4 1.3. Aim of this thesis . 5 1.4. Thesis roadmap . 7 2. Literature Review 9 2.1. Tangible User Interfaces . 9 2.1.1. Problem solving, planning, simulation . 10 2.1.2. Tangible programming . 11 2.1.3. Presenting information . 12 2.1.4. Music . 15 2.1.5. TUIs in music education . 17 2.2. Digital tabletop musical instruments for music education . 20 2.2.1. Collaboration . 20 2.2.2. Concreteness . 21 2.3. Summary . 22 3. Methodology 25 3.1. A mixed-methods exploratory approach . 25 3.1.1. Validity . 26 3.1.2. Volume and scalability . 27 3.2. Data collection and analysis . 28 3.2.1. Data Collection . 28 3.2.2. Data analysis . 30 3.2.3. Ethical issues . 40 3.3. Pilot study . 42 3.3.1. Prototype design . 43 iii Contents 3.3.2. Tabletop activities . 44 3.3.3. Handling of participants . 46 3.3.4. Protocol . 47 3.3.5. Findings . 49 3.3.6. Lessons learned . 61 3.4. A tabletop musical application . 62 3.4.1. Software as a research tool . 62 3.4.2. Hardware platform . 63 3.4.3. Software platform . 63 4. Study 1: A study of melodic contour 69 4.1. Melodic contour . 69 4.2. Research question . 70 4.2.1. Forms of evidence . 71 4.3. Study design . 74 4.3.1. Protocol . 75 4.3.2. Handling of participants . 80 4.4. Methodology . 81 4.4.1. Video recordings . 81 4.4.2. Feedback questionnaire . 81 4.4.3. Thematic analysis for usability . 82 4.4.4. Thematic analysis for familiarity with contour . 83 4.5. Findings . 84 4.5.1. Demographics . 84 4.5.2. Feedback questionnaires . 88 4.5.3. Usability analysis . 89 4.5.4. Thematic analysis . 93 4.6. Discussion . 102 4.7. Conclusion . 103 5. Study 2: A study of similarity and contrast 105 5.1. Narrative as a way to compose music . 105 5.1.1. Narrative in music . 107 5.1.2. Similarity and contrast . 109 iv Contents 5.1.3. Summary . 112 5.2. Research Question . 112 5.2.1. Forms of evidence . 113 5.3. Study Design . 115 5.3.1. Protocol . 115 5.3.2. Configuration of the DTMI . .120 5.3.3. Handling of participants . 120 5.4. Methodology . 121 5.4.1. Listening and classification exercise . 121 5.4.2. Video recordings . 122 5.4.3. Feedback questionnaire . 123 5.4.4. Thematic analysis for the use of the DTMI as discussion mediator and exploration support tool . 123 5.4.5. Thematic analysis for the use of similarity and contrast in describing and suggesting narrative in melody . 124 5.4.6. Storytelling melodies . 125 5.5. Findings . 125 5.5.1. Demographics . 126 5.5.2. Feedback questionnaire . 126 5.5.3. Usability . 129 5.5.4. Thematic analysis . 132 5.5.5. Storytelling exercise . 153 5.6. Discussion . 168 5.6.1. Designing DTMI-supported learning sessions . 168 5.6.2. Criteria for similarity and contrast in melody . 170 5.6.3. Composing music with narrative . 171 5.6.4. Limitations . 172 5.7. Conclusion . 172 6. Study 3: A group study of similarity and contrast 175 6.1. A Computer-Supported Collaborative Music approach . 175 6.2. Research Question . 176 6.2.1. Forms of evidence . 177 v Contents 6.3. Study design . 178 6.3.1. Protocol . 179 6.3.2. Configuration of the DTMI . .180 6.3.3. Handling of participants . 181 6.4. Methodology . 181 6.4.1. Video recordings . 181 6.4.2. Revised feedback questionnaire . 182 6.4.3. Thematic analysis of the feedback questionnaire . .182 6.4.4. Thematic analysis for collaboration . .183 6.4.5. Storytelling melodies . 184 6.5. Findings . 186 6.5.1. Demographics . 187 6.5.2. Feedback questionnaire . 189 6.5.3. Analysis of the discussions . 200 6.5.4. Storytelling exercise . 210 6.6. Discussion . 218 6.6.1. Performance in music composition . 218 6.7. Conclusion . 221 7. Conclusions 231 7.1. Research question revisited . 231 7.2. Theoretical, methodological, and practical implications . .234 7.2.1. Theoretical implications . 234 7.2.2. Methodological implications . 236 7.2.3. Practical outcome . 236 7.3. Lessons learned . 236 7.3.1. Actionable insights . 237 7.4. Future work . 238 7.4.1. Shared vs private use . 239 7.4.2. Public settings . 239 7.4.3. Longitudinal study of students’ performances . 240 References 241 vi Contents A. Methodology materials 255 A.1. Tabletop hardware . 255 A.2. Pilot study . 257 A.3. Application logs for the DTMI used in studies 1-3 . 261 B. Study 1 materials 263 B.1. Software . 263 B.2. Forms . ..
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