‘ICreate’: Preliminary usability testing of apps for the music technology classroom
Journal of University Teaching & Learning Practice
'ICreate': Preliminar y usability testing of apps for the music technolog y classroom
Simon Order 0 1
0 Order, Simon, 'ICreate': Preliminary usability testing of apps for the music technology classroom, Journal of University Teaching & Learning Practice , 12(4), 2015. Available at:
1 Murdoch University
-
‘ICreate’: Preliminary usability testing of apps for the music technology
classroom
Abstract
In the world of music technology where, “music practice is challenged, mediated and redefined through
performers’ and composers’ uses of ICT”
(Savage, 2005, p. 168)
, curriculum change is necessary if the world
of the classroom is to keep pace with the world outside
(Cain, 2004, p. 219)
. For newcomers to music
technology, the glittering array of increasingly sophisticated flashing, emulated, and modulated interfaces can
invoke virtual interface dyslexia before giving way to options anxiety. Change is the only constant in the
everevolving techno-scape of sound and music applications. This paper proposes that the development of an
introductory tertiary music technology unit curriculum using loop-based music iPad apps may effectively
engage non-traditional music (NTM) students in both music and technology. The course design was
underpinned by two intentions. Firstly, the aim was to stimulate student creativity and secondly, to encourage
immersion (focused attention) in sonic composition
(Witmer & Singer, 1998)
. This paper reports on the
preliminary usability testing of five loop-based music iPad applications. It is administered to a sample of one,
namely the author, using the System Usability Scale (SUS)
(Brooke, 1996)
and is guided by the following
questions: Would this testing methodology be appropriate? What factors specific to loop-based music app
design might be pertinent for educators? Would this testing method indicate the potential for student
immersion and creativity? While the pilot study, described here, is conducted solely by the researcher to
determine the effectiveness of the method, future research intends the study to be administered to a small
classroom group if determined appropriate.
This journal article is available in Journal of University Teaching & Learning Practice: http://ro.uow.edu.au/jutlp/vol12/iss4/8
Introduction
Jay Dorfman, believes that smart phones and tablet devices “will revolutionize our work
in technology-based music instruction” (2013, p. 188). Arguably, such devices are the
next step in music pedagogy. Some have suggested that the emergence of the iPad in the
music technology landscape will democratize music making further in the same way that
the emergence of digital cameras made photography and filmmaking available to anyone
(Tough, 2009, p. 4)
. There are some distinct advantages to tablet devices, being relatively
cheap compared to laptops, they are smaller, more portable, software updates are usually
free and touch screen interfaces are simple to use. The culture of app development is also
moving the technology forward quickly and there is still a lot of novelty attached to
tablets as music production devices. These are strong reasons why students may find
engaging with tablets a fun and creative experience (Dorfman, 2013, pp. 190-191).
However, in comparison, to existing Windows, Apple or other PC/desktop audio
applications, the iPad is a new technological environment for music production. The
iPad’s lack of maturity will present challenges for educators but these may be mediated
by the benefits arising from the novelty, portability and a sense of ownership/intimacy of
the device itself
(Goodwin, 2012, p. 22)
. Preliminary research points towards the notion
of “embeddedness” where the tablet device becomes a part of the student’s daily cerebral
processes as a tool to resolve problems, socialise with the world, and perform common
productivity tasks
(Puentedura, 2011)
. Early thoughts also cite the iPad as a “curiosity
amplifier”
(Brown, 2010)
. These factors may motivate creative learning via music
technology on the iPad and there is support for this belief.
Teachers believed that optimal use of iPads was attained when students used
content-creation ‘productivity’ apps as this developed higher order thinking skills
and provided creative and individualised opportunities to express their
understanding
(Goodwin, 2012, p. 8)
.
In light of Goodwin’s observation, this paper presents the preliminary usability tests of
five content-creation loop-based music technology iPad apps, prior to trialling in the
classroom. The testing has been undertaken with the guiding intentions of provoking
student creativity and secondly, encouraging immersion (focused attention)
(Witmer &
Singer, 1998)
in sonic composition in the classroom.
Creativity
‘ICreate’ in the title of this paper was chosen to emphasise the importance this author has
attached to creativity. The word should be read as “I create” (where “I” is a st (...truncated)