Using Video Games to Enhance Music Learning Andrew Lesser, Ed.D. Chairman, NJ Young Composers Competition andrew.lesser[at]yahoo.com www.andrewlessermusic.com Out of the numerous lasting effects that the COVID-19 pandemic has produced for educators across the country, the increased reliance on digital technology is one of, if not the most, significant. Instruction with digital tools has become an essential part of music education, and the urgency in which to provide quality education using these methods has forced many teachers to quickly adapt to new and innovative practices1. With great change, however, comes great opportunity, and already the educational community has seen a rapid influx of strategies and materials designed to meet the high demands of teaching music in this new age. Historically, music is no stranger to digital game-based learning technologies, as computer-assisted instruction (CAI) for skills including rhythmic identification and aural perception has existed since the 1960’s2. Entire digitally-based curriculum such as Quaver, MusicFirst, and Music in Motion, among others, had emerged long prior to the pandemic and since then have become a major resource for distance learning. Music learning websites, digital audio workstations (DAW’s), YouTube, and many more digital educational-based tools have served and will continue to serve music teachers into the foreseeable future. One particular technology that has been available for decades but has not yet been thoroughly explored as an effective learning device is the use of video games to assist in the teaching of musical concepts and skills. There has been relatively little research conducted on the use of video games as instructional tools in the music classroom compared to more general education subjects3. The initiative of learning through digital game-based instruction appeared shortly after the video game industry was formed in the 1970’s4. While companies such as Atari and Nintendo were designing games specifically meant for entertainment (known as commercial-off-the-shelf, or COTS games), games including The Oregon Trail, Math Blaster!, and Reader Rabbit were impressing parents and teachers with their ability to engage and hold the attention of children while reinforcing concepts based directly on an established curriculum. These games attempted to blend pre-designed learning objectives with the sense of enjoyment generated by popular COTS games. Unfortunately, many subsequent games designed for education have failed to interest students because of their basic design, which involves what is referred to as “skill-and-drill” practice5. This structure essentially emphasizes the learning of a single concept or skill and then proceeds to repeatedly follow the same gameplay over and over to “drill” the information into the player. Most often, this approach results in player boredom and eventual disengagement, leading game researchers to refer to such games as “drill-and-kill”6.
Many games designed for music education still rely on this practice, but this does not mean that these games cannot be used in a manner that promotes and encourages student enjoyment. Elements such as an appropriate level of challenge, multiple pathways toward an objective, instant feedback, and relevance to the topic can serve to engage students by a teacher who is interested in experimenting with these tools. In fact, the act of playing games can even potentially result in “stealth learning”, or the act of deep enjoyment while playing so that learning becomes a natural and embedded part of the activity7. According to the 2020 Entertainment Software Association (ESA) annual report, approximately 214.4 million Americans play video games8. This includes multiple demographics representing different ages, races, gender, and geographical locations. Compared to the 155.5 million players reported in 2015, this demonstrates a significant escalation within the last five years9. It is not unrealistic to assume based on these comparatively increasing trends that the video game industry will continue to grow in influence as an important part of our society for the foreseeable future. It is only rational that we as music educators consider applying video game technology to our teaching practices as a means to promote relevance to the lives of our students. Getting Started Video games in and of themselves are merely another form of game-based learning, the only difference being that they are digitally-based and require a video interface. The article is not meant to be interpreted as a comparison to non-digital game-based learning or other teaching methodologies, but only to illustrate an additional tool for teachers to use at their discretion. A video game is a digitallybased virtual environment that employs a competitive environment using a visual interface, such as a television or computer screen. Video games can be played using a dedicated console, such as an X-box, PlayStation, or Nintendo, or on a portable device such as an iPad, tablet, Smart Phone, or a laptop computer. There are three primary ways that video game technology can be used in the music classroom. First, students can accomplish musical learning objectives through playing and mastering specific games as chosen and provided by the teacher. Second, students can create and manipulate musical environments within a larger game-based structure. Finally, teachers can illustrate musical concepts through the original and licensed music of video game soundtracks. Each of these methods provide a unique exploration into musical content that can engage students in an active participatory environment
TEMPO 56
JANUARY 2022
