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A GARDEN SYMPHONY: THE CREATION OF A MULTIMEDIA
MUSICAL COMPOSITION TOOL FOR CHILDREN

presented by

Christy L. King

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A GARDEN SYMPHONY: THE CREATION OF A MULTIMEDIA MUSICAL
COMPOSITION TOOL FOR CHILDREN
By

Christy Lynn King

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS
Department of Telecommunication

2000

ABSTRACT

A GARDEN SYMPHONY: THE CREATION OF A MULTIMEDIA MUSICAL
COMPOSITION TOOL FOR CHILDREN

By

Christy Lynn King

Designing computer interfaces for children can sometimes require a very different
method of design and production than designing an interface for adults. Collecting and
considering feedback from children during the design process can significantly affect a
program’s success. The purpose of this study is to provide children with an environment
in which they are invited to think creatively about musical composition, in ways that they
probably have not before. This purpose was achieved by creating a CD-ROM based
multimedia application, targeted at children ages 6 tolO, entitled A Garden Symphony.
Design goals and ultimate choices were determined and met based on data collected from
existing research on interface design, music in multimedia and the theory of multiple
intelligences. Data was also collected from observations of user interactions with the
garden application during two separate phases of pretesting, preliminary testing of a
prototype and final testing of a full version of the application. The results of this study
show that user testing during the early and final phases of production does provide useful
information on the function and design of a program and its potential success at affecting
the audience. Thorough user research and testing helped to insure that children were
inspired to creative activity and thought while using this program and that they did

conceptualize musical composition in ways that they had not before.

TABLE OF CONTENTS

 

 

 

 

 

 

LIST OF TABLES v
LIST OF FIGURES vi
CHAPTER 1: WHY A MUSICAL GARDEN 1
An Invitation to Creative Thought ................................................................................... 1
Imagine a Garden — Design Concept ............................................................................... 2
CHAPTER 2: PLANNING THE GARDEN 5
Literature Review ............................................................................................................. 5
Goal 1: Define the User and Uses ............................................................................. 5

Goal 2: Let the Content Be Your Guide .................................................................... 6

Goal 3: Integrate Information .................................................................................... 7

Goal 4: Consider the User ......................................................................................... 8

Goal 5: Give the User Control ................................................................................. 10

Goal 6: Make it Usable ............................................................................................ 11

Goal 7: Use Meaningful Metaphors ........................................................................ 12

Goal 8: Include Interactivity .................................................................................... 13

Goal 9: DO Use Characters, But Don’t Patronize .................................................... 14

Goal 10: Use Music as a Communication Tool ...................................................... 15
Expert Interviews ........................................................................................................... 16
Review of Previous Productions .................................................................................... 19
CHAPTER 3: PLANTING THE SEEDS 23
Conforming to Design Goals ......................................................................................... 23
Goal 1: Define the User and Uses .......................................................................... 23

Goal 2: Let the Content be Your Guide .................................................................. 24

Goal 3: Integrate Information .................................................................................. 26

Goal 4: Consider the User ....................................................................................... 27

Goal 5: Give the User Control ................................................................................. 28

Goal 6: Make it Usable ............................................................................................ 29

Goal 7: Use Meaningful Metaphors ........................................................................ 30

Goal 8: Include Interactivity .................................................................................... 30

Goal 9: DO Use Characters, But Don’t Patronize .................................................... 31

Goal 10: Use Music as a Communication Tool ...................................................... 32
Technical Issues Addressed in Production ..................................................................... 32
CHAPTER 4: EVALUATING THE GROWTH 34
About Formative Evaluation .......................................................................................... 34
Testing the Soil — Preliminary Testing Method ............................................................. 35

Pulling the Weeds — Final Testing Method .................................................................... 36

 

 

 

CHAPTER 5: HOW DOES YOUR GARDEN GROW? 38
Results ............................................................................................................................ 38
Particular Difficulties .............................................................................................. 38
Particular Happy Notes ........................................................................................... 45
Overall Results ........................................................................................................ 47
Implications of Results to Intended Goals ..................................................................... 50
CHAPTER 6: PREPARING FOR NEXT SEASON 54
Indications for Future Development .............................................................................. 54
Conclusion ..................................................................................................................... 59
BIBLIOGRAPHY 61
General References ........................................................................................................ 63

iv

LIST OF TABLES

Table 2.1. Demographic information on teacher experts .............................................. 17
Table 2.2. The six teachers’ responses to interview questions ...................................... 18
Table 5.1. Overall responses to questions and interaction with the program ................ 48
Table 5.2. Kid suggestions for improvement during preliminary tests ......................... 49
Table 5.3. Teacher suggestions for improvement during final tests .............................. 50

LIST OF FIGURES

Figure 3.1. Screen shot of the garden in summer .......................................................... 25
Figure 3.2. Screen shot of the bee animation in winter ................................................. 26
Figure 3.3. Screen shot of the navigation bar ................................................................ 29
Figure 3.4. Screen Shot of the musical score filled in summer ...................................... 30

vi

Chapter 1: Why a Musical Garden

In various forms and degrees, children possess the capacity to become more

musical than they may currently demonstrate. Children quite naturally listen,

sing, dance, play, and express themselves musically, with little or no previous

training. When learning experiences are tailored to develop their musical

abilities, then the complete musicians inside them begin to emerge. (Campbell and

Scott-Kassner, 7)
Some believe that all children are musical and all are capable of being musicians of one
sort or another, that everyone has musical potential (Campbell and Scott-Kassner, 6).
Adults who know the joys of musical composition can certainly not deny others their
musical potential and certainly do have an obligation to help others recognize that
potential. In addition to nurturing the musicians in all children, experiencing and learning
music could help children to be intellectually well-rounded individuals, as suggested by
Patricia S. Campbell and Carol Scott-Kassner in their book, Music in Childhood.
Campbell and Scott-Kassner write, “Children are stimulated intellectually, physically, and
even spiritually in their recognition of music for its own sake as well as its integration
with their knowledge of the humanities, the sciences, and the social studies” (5). So, a
garden, in which children can compose and experience music as well as learn about the

garden, is likely to play a small but important part in the potential impact that music can

have on children’s lives.

An Invitation to Creative Thought
The general purpose of this thesis project is:
To provide children with an environment in which they are invited to think

creatively about musical composition, in ways that they probably have not before.

Once children are inspired to think about something in a way that they have not before, a
whole world of possibilities can open up to them. Perhaps they had thought of music or
even taken music lessons in the past. However, when they see concepts of musical
composition demonstrated in a totally unexpected environment, they may see other
dimensions of musical composition and more of the possibilities it offers them. It can
potentially plant a seed of interest and inspire them to pursue greater knowledge and

experience in this area.

Some of the specific goals I hope to achieve in the production of this program are:
0 To provide an entertaining experience
0 To encourage children to make many songs

0 To familiarize children with the variations in pieces of music and how they fit
together to create a harmonic environment

0 To encourage creative activity with music

0 To provide subtle information on the life cycles of gardens

Imagine a Garden — Design Concept

A Garden Symphony is intended to be a multimedia application including animation,
sound, interactivity and avenues for creativity. This project will target children ages 6-10.
Its potential use is by music teachers who wish to stimulate their students’ thinking of
musical composition, by home schooled students or just for entertainment purposes at
home or school. A Garden Symphony will be different from other musical composition or

garden exploration software for children or even a trip to a live garden. It will provide a

new perspective of a garden - a perspective through space and time. Movement and
expressions of change through the seasons combine with a playful perspective of a garden
told primarily in music. The interface will be a garden scene that changes visibly and
audibly as the seasons change, all controlled by the child. The changes which may
naturally occur over time, should unfold immediately before children’s eyes, suggesting
information about the life cycles of a garden that could never be revealed on one or two,
or even a number of visits to an actual garden. All objects in the garden will respond to
rollovers and mouse clicks with animation and sound. Each detailed animation will
demonstrate a movement that each garden object might make, either in space or in time.
Each sound will consist of one measure of music, providing an interpretation of what that
garden object might sound like as music. For instance, what does a bunny rabbit sound
like when she hops, and what does a tulip sound like when it blooms? The pieces of
music in the garden will attempt to characterize the type and behavior of the plants or
animals they represent. Smaller plants will have higher pitched sounds, and animals
moving rapidly will have faster sounds. From one season to the next, the melodies for
each plant will be produced using the same digital instrument. So, a kazoo, for example,
will perform all of the music for the bee, but the melody played when the bee is selected
will be different in each season. Children will be able to experiment with all of the
different melodies, combining them in different ways, exploring the multitudes of sounds

and emotions that are created as music is composed.

Upon entering the program, children will be able to select a season and the garden

appropriate for that season will appear on screen. What suits a garden scene to a

particular season will be the type of plants growing there, the animals living there, and the
weather conditions. Once in the garden, children will be able to interact with any of the
items in the garden, including flowers, trees, bushes, other plants, or animals. A rollover
of an item will result in a Short animation. A click will trigger a sound and a more

detailed animation.

A musical score will be present at the bottom of the screen at all times. Users will be able
to add up to four items from the garden to each measure of the score by dragging and
dropping each item on the score. They will also have the option of removing any item
they put on the score or clearing the score all together. At any point, children will be able
to play back the music they have composed in the score. After they have composed a
piece for every season, they can combine those pieces and perform the entire Symphony.

So, the result of their interactivity with the garden will be the creation of a totally original

symphony.

A secondary goal of the garden symphony concept is to familiarize children with concepts
of garden life cycles. However, the primary purpose behind the concept is to encourage
children’s interest in music, because music can play many roles in the lives of children

and have a potentially significant impact on their growth both intellectually and socially.

Chapter 2: Planning the Garden

Literature Review

Four areas of research in particular were investigated for this study and provide a basis for
the design goals detailed in this chapter. These research areas include general interface
design concepts, interface design Specifically for children, the theory of multiple
intelligences and the use of music to enhance a multimediated experience. Critical
concepts learned in this investigation of existing literature have been categorized under
ten separate design goals. How these particular design goals will be met in the design and
production phases of A Garden Smphony will be covered in Chapter 3 under

Conforming to Design Goals.

Goal 1: Define the User and Uses
One of the most important conditions to determine at the beginning of the design process
is who the audience is - what age, gender, education and level of experience with
computers (Kristof and Satran, 15). Children, in particular, can have very different needs
or methods of interacting with a program from one age to the next (Druin, The Design of
6-7). Before we can design for children, we must first define this audience. As Kim
Wimpsett wrote, “It’s clear that web builders need to concentrate on specific age ranges,
rather than a generic kids rating” (2). Of course, this idea can apply to any type of
multimedia design. Her reasoning is that from one age to the next, children change and
mature very rapidly, so it is necessary to target a narrower age range, to ensure that tastes

and behaviors have at least some similarity.

Once you have defined your user, you will need to define the conditions of use of your
design. This includes defining the:

Usage - will the product be: used at home? used at work? viewed and controlled
by a single person? projected in front of a group?

Environment - will it be: noisy? quiet? too bright or dark?

Equipment - what can you assume about: the kinds of computers, equipment users
have? the performance user’s computers can deliver? (Kristof and Satran, 15)

With these conditions defined, it stands to reason that you can better outline the process
of design. Outlining the phases of design is critical to your success. Regarding this, Ray
Kristof and Amy Satran note, “When you venture into new territory, it’s impossible to set
out fully prepared. But if you haven’t figured out how much time and money it will take

to get where you want to go, you may run out of both before you get there” (24).

Goal 2: Let the Content Be Your Guide
“A good interface needs to grow logically out of the material and its presentation”
(Stansberry, 47). In other words, look to the content for the design, and determine what

type of design would best communicate the content.

Navigation design is an area where letting the content guide the design can be very useful.
One way Domenic Stansberry says designers often devise a program’s navigation is “L .

.] they first examine the material itself, the task at hand, and the program’s intended use;
then they search for natural fissures, the junctures at which the material seems to divide
itself naturally” (Stansberry, 43). From this type of preparation, a menu structure or

navigational environment can evolve.

Goal 3: Integrate Information
Using a design that integrates a variety of information can increase a program’s
usefulness significantly. Integration is defined for this study in two ways. It is the
presentation of a mixture of concepts in one session, such as a game that presents
concepts of math, nature and music at the same time. Integration can also be defined as
the presentation of one category of information using another category to deliver it, such
as teaching the alphabet by singing the alphabet song. Some teachers insist that
educational integration is a must and that new technology can help with this integration.
“I see the Internet and all technology being a real powerful tool for integrating the various
areas of the curriculum. Integration is now necessary,” said one teacher interviewed for
this study. Not only does integration consolidate the large amounts of information being
taught, it can help to enhance students’ knowledge gain by presenting the information
from a different perspective, one possibly more accessible to them. One theory used to
support this method of instruction is the theory of multiple intelligences. ”The theory of
multiple intelligences was developed in 1983 by Dr. Howard Gardner, professor of
education at Harvard University. It suggests that the traditional notion of intelligence,
based on I.Q. testing, is far too limited. Instead, Dr. Gardner proposes eight different
intelligences to account for a broader range of human potential in children and adults”
(Armstrong, 1). The eight different intelligences according to Gardener are: linguistic,
logical-mathematical, spatial, bodily-kinesthetic, musical (“music smart”), interpersonal,
intrapersonal, and naturalist (“nature smart”). “Dr. Gardner says that our schools and

culture focus most of their attention on linguistic and logical-mathematical intelligence”

(Armstrong, 1). Children who are most gifted in other areas such as music and nature,

therefore, suffer in this type of classroom.

“The good news is that the theory of multiple intelligences has grabbed the attention of
many educators around the country, and hundreds of schools are currently using its
philosophy to redesign the way it educates children” (Armstrong, 1). Teachers in this
study express that they have SO much information to teach that it cannot be done without
some help from technology and creatively integrated lessons. By integrating information
from different areas of the curriculum in a variety of ways, teachers have the potential to
reach more students with more of the information. Students that were once overlooked in
a linguistically and logically focused lesson can now benefit from these uniquely

structured lessons that appeal to other areas of intelligence.

AS children experience some of the most developmentally active years of their lives, they
should be allowed and encouraged to discover their greatest potential. Exposing children
to various disciplines and encouraging them with lessons that emphasize all of the
different intelligences, helps to ensure that each child will achieve a broader range of

potential than they might have ever thought possible.

Goal 4: Consider the User
During design preparation, considering the user is one of the first steps. “We continue to

demonstrate to ourselves - through both our successes and our failures - that the first and

most important question to ask is, what does the user want to do?” (Laurel, xiii). After
considering this, we will have a better concept of how to design something that they will

want I0 1156.

“The program exists for the user, not for the sake of the design” (Laurel, 48). This is a
fact that is easy to forget as a designer who is faced with technological limitations and
timeline demands. Compromises must always be made, but if the user experience and
needs are compromised, even if the timeline is met, it will not make a difference since the
program will lack the interface to attract and keep users. In addition, an over zealous
design with all possible bells and whistles and the coolest animation and sound effects

can lose some of the users to confusion in all the noise.

Considering what children want when designing an interface for them is crucial because
they can be the most attentive but also the most easily distracted audience a designer can
have. Allison Druin devised some guidelines to follow when designing an interface for
child users. The following are just a sampling:

0 Design activities to be inherently interesting and challenging so children will want to
do them for their own sake.

0 Present instructions in an age appropriate format

0 Design instructions to be easy to comprehend and remember

0 On screen character interventions should be supportive rather than distracting
0 Allow children to control access to instructional information

0 Design icons to be visually meaningful to children

0 Use rollover audio, animation, and highlighting to indicate where to find
functionality (The Design of 17)

Druin also feels that it is important for children to be involved in the design process.
Druin writes, “As the development of new technologies for children becomes more
common place in industry and university research labs, children’s input into the design
and development process is critical” (The Design of 52). In describing the development
techniques of what she considered some of the better children’s multimedia design
companies, Druin wrote, “Not only do these companies ask for children’s input, but they
listen as well. Many animations or activities have been created or altered thanks to the
suggestions of children” (Druin and Solomon, Designing Multimedia 89). Other
researchers agree with Druin, at least to the extent that children should definitely be a
crucial part of development as testers of the prototype, if not earlier in the design process.
AS Wimpsett wrote, "The sooner you get feedback from real kids, the faster you’ll be able

to build a site [program] that kids will really like” (5).

Goal 5: Give the User Control
“A good interface is one in which the user feels as though he is in control of the system [.
. .] the system tends to respond quickly enough so that the user does not get bored with
these operations, begins to forget and makes errors” (Bemold, 23). Of course, this latter
point is probably even more important for child users, as they can get frustrated quickly
with slow or dysfunctional interfaces. If you give the user control of the program, they

can explore the information that is most useful to them and are therefore likely to interact

with the program longer than if they were required to sit through a long, tedious

monologue of information that they are not interested in.

Another important point to mention specifically regarding children’s interactions with
multimedia is their desire to repeat actions that they enjoy. Jakob Nielsen described in
his observations of children using a program called Peter Pan, that children 3 to 8 years
Old often want to repeat actions over and over again. So providing them with a
navigational interface that allows them this level of interactivity and control is a good
idea (Nielsen, Multimedia and Hypertext 249). Druin and Solomon also wrote, “What I
found most interesting, is that children love to select the same hot spots over and over
again [. . . ] It seems children love familiarity [. . .] However, they do not like it when
adults ask them to repeat the same task over and over; but if they are at the controls,
children love the experience” (Designing Multimedia 72-73). Not all children will
explore an interface this way though, so it is important to provide a flexible interface that
allows for all sorts of interactions. “The product needs to accommodate children who
click madly around a screen as well as those who sit back and wait to be told what to do”

(Druin, The Design of 6).

Goal 6: Make it Usable
One of the most important elements of a design can be its usability, which is dependent,
among other things, on the navigation design and use of metaphors. According to Jakob
Nielsen, “Usability is traditionally associated with five usability attributes: [. . .] 1) Easy

to learn [. . .] 2) Efficient to use [. . .] 3) Easy to remember [. . .] 4) Few errors [. . .] 5)

Pleasant to use [. . .]” (Multimedia and Hypertext 279). Any of these attributes can apply
to navigation design and use of metaphors, and if they fall short in any of these
categories, that creates one more hurdle for the user to overcome when attempting to use

the program.

“A good navigation design will: minimize travel [. . .] minimize depth [. . .] minimize
redundancy” (Kristof and Satran, 42). So, the navigation should provide few steps
between pieces, few levels of information through which a user must delve to find what
they really need and no redundant methods for doing the same tasks or going to the same

location from the same screen.

Goal 7: Use Meaningful Metaphors
Directly linked with the usability of an interface is the appropriate and meaningful use of
metaphors. “When the human mind regards something for the first time, the impulse is to
put that new thing in an old category - to find ways in which it resembles something else
with which the mind is already familiar. One of the primary ways the mind makes such
comparisons is through the use of metaphors” (Stansberry, 34). Using metaphors to
communicate an idea and organize information is a common practice in multimedia
design. “Perhaps the most common types of metaphors encountered in interactive media
are spatial metaphors: those having to do with the arrangement of objects in a physical
space” (Stansberry, 35). While using metaphors in this way can increase the usability of
the program, as with any elements Of a multimedia interface, if it is poorly designed, it

will inhibit the usability. “To the extent that an interface metaphor provides users with

12

realistic expectations about what will happen, it enhances the utility of the system. To the

extent it leads users astray, or simply leads them nowhere, it fails” (Laurel, 73).

“Navigational dimensions and metaphors can help users better understand the structure of
the information space and their own movements” (Nielsen, Multimedia and Hypertext
272). So, when designed properly, with basic concepts of usability in place, navigation

and metaphors can ensure a successful user interaction.

Goal 8: Include Interactivity
Another key element in the design of a good interface, especially important to consider
when designing for children, is interactivity. “Kids like to leave their mark on things —
anyone who’s seen scratchings in wet cement or been forced by errant crayon marks to
repaint their home knows that” (W impsett, 3). Giving children a place to leave their
mark, or the ability to interact with an environment and significantly change or impact it

will encourage continued interaction with the program.

“But interactivity doesn’t have to be complicated. Kids enjoy a cool mouseover more
than a lot of text to read” (W impsett, 3). This is important to remember. If we bore our
users with a lot of text on screen and patronize them with simplistic animation, they will
not find the program engaging. Additionally, an important point to remember about
interactivity is that the program must be unburdened by it, or it will be so slow that
children will wonder if it is interactive at all and lose patience. Interactivity at the

appropriate level provides an engaging experience for the user. Balancing the amount of

13

user control and program control is the trick. “We must find that balance between
immersing users in a point of view or narrative and enabling users to shape their own

unique experiences” (Druin and Solomon, Designing Multimedia 69).

Goal 9: Do Use Characters, But Don’t Patronize
Another technique often used in children’s multimedia is the use of a character to guide
them or join them on their exploration of the program. “L . .] the use of characters can
creatively stimulate kid’s minds” (W impsett, 6). Perhaps children can identify with the
character and imagine themselves actually doing what they see the character doing, in
response to their mouse actions. There are many other reasons the use of characters could
be beneficial. “Web builders can use cartoons or even real-life characters to aid in
teaching, navigation, or excitement [. . .] In fact, characters are practically mandatory for
younger kids, and the right personality can usually keep the older ones interested, as well”

(Wimpsett, 6).

When designing characters, animation, interactivity, or other features of an interface, you
must take care not to patronize your child users. They can sniff out fakery and lameness
miles away. “Avoid anything that smacks of being phony, simple, condescending, or
boring” (W impsett, 7). There are precautions designers can take to avoid this. “User
testing and checking out other kids’ stuff can help you figure out the correct reading and

humor level for your site [program]” (W impsett, 11).

I4

Goal 10: Use Music as a Communication Tool
As mentioned earlier, the theory of multiple intelligences supports the idea of integrating
information in education. Music has been used as a tool for educational integration for
some time and has been considered a critical part of a well-rounded education. “Music is
much more than an addendum in the lives of children: It is part and parcel of their
development as individuals and as members of social groups of family, neighbors, and

friends”(Campbell and Scott-Kassner, 4).

While music has for some time played an important part in child development,
technology has grown to be just as prominent in children’s lives. “Learning geography,
history, or science while catching computer cartoon thieves is becoming as common as
climbing a tree. Painting and clicking at hot spots or buttons on a computer screen are
becoming as common as turning pages in a book” (Druin and Solomon, Designing
Multimedia 64). Music is still considered critical to child development and technology is
now a critical tool used to introduce children to a variety of concepts. Integrating the two,

therefore, suggests a greater potential impact on a child’s education and development.

For a while, researchers have been studying the effects of music on development, learning
and the psychology of children as well as adults. The results of these studies may vary,
but one thing we do know is that sound or music in a multimediated environment does
have an impact on the experience of the user. “Some designers believe that sound
accounts for more than half of the experience of using an interactive product” (Kristof

and Satran, 112). The application of sounds can help to communicate important

15

information about the content. “L . .] by adding sound to the interface the bandwidth of

communication can be significantly increased” (Laurel, 322).

Others have suggested that music can help to enhance a user’s awareness of the world
around them. “Ideally, children have opportunities to select sound effects and music,
again enhancing their understanding of the world through ‘hands on’ experiences”
(Haugland and Wright, 51). This music or sound can represent objects and aspects of
their personality, quality or movement. “Equally important for helping children discover
about the world are realistic corresponding sound effects or music. The sounds are
representative of the people, animals and/or objects on the screen” (Haugland and Wright,
51). When designed properly, the music communicates critical information about these

objects.

Expert Interviews

The intent of the expert interviews with the teachers was to determine several important
facts about their usage of multimedia technology in their lessons. Any preferences or
patterns of usage that they demonstrate can then be referenced in the production phase of
A Garden Smphony. Six experts were chosen to participate in these one—on-one
interviews. They were known by the researcher and also referred to the researcher by
other educators and associates. In some cases, they were the teachers of children also
participating in the study. Interviews were informal and taken in person and recorded on

audio tape solely for note-taking purposes, which was explained to the expert in the

16

description and statement of verbal consent. Also, for experts that could not meet in
person, they were asked to view the program and complete a questionnaire consisting of

the same questions asked in the in-person interviews.

Demographic information about each expert is summarized in Table 2.1 below.

Table 2.1. Demographic information on teacher experts.
Teacher D em ogr aphics

 

Number of Teachers Per.

Spedalizaton Media Specialist
ClassroomiGeneral Studies
Language
Reading
Age Group 5 to 8
6 to 10
7 and 9
7 to 10
9 to 10

Region Southern U. S.
MidwestUS.

 

 

 

 

 

 

 

 

 

 

 

wwmflwwwwo—owt—o

 

 

 

 

 

AS indicated by this demographic information, all teachers teach students in the targeted 6
to 10 year-old age range. They also instruct in a wide variety of curricular areas.
Interviews with these teachers resulted in some useful information regarding their usage
of technology in the classroom, their observations of their students’ usage of the software,
and other information. The teachers’ responses to interview questions are tabulated in

Table 2.2 below.

17

Table 2.2. The six teachers’ responses to interview questions.

Expert Interview Results
#of’leachersWho: 1 2 3 4 S 6
Use muhimediaincless

 

 

 

 

Use bothweb deeds

 

Use atleast 2-3 timesiwk.

 

Use as lesson sumlement

 

Use for research by kick

 

Believe media contributes
to kids education

 

Think highly interactive
interface is good

an... m an... methl W

. . v r .. " '
Use mine to teach other fleas .. [if

 

 

 

 

Use non- traditional teaching
methods I) get atb ntion

 

Use phyncal activity to engage
the student

 

 

 

 

The results of the expert interviews support a number of the design goals already
discussed in this chapter. First, a majority of general studies teachers are using technology
to either integrate information or supplement the information in their lessons. Therefore,
it would be beneficial to provide them with a program that already integrates information
or that can serve as a tool to integrate many topics in their lessons. This will enable
teachers to take advantage of the benefits of a program that integrates a variety of topic
areas, Goal 3: Integrate Information. Second, teachers find that interactivity is important
to children’s software. Interactivity not only entertains children, it can provide them with
key indicators of how to use the program and keep them engaged, Goal 8: Include

Interactivity. Third, all teachers interviewed do believe in using music in their lessons to

18

help communicate other concepts. The fact that the experts interviewed for this study do

commonly use music in their lessons adds merit to the idea that music can contribute to

the education and development of children. It also suggests that music can play a key role

in multimedia applications designed for children, Goal 10: Use Music as a

Communication Tool.

Review of Previous Productions

Michigan 4-H Children’s Garden, produced by the Communication Technology Lab
at Michigan State University, 1999. This CD—ROM based application consists of two
main sections. The first is the Virtual Tour of MSU’S Children’s Garden located on
the intemet and linked through the CD-ROM. The second section, which this review
shall focus on, is the Plant Problems Exploration. The purpose of this section is for
the users to select one of three different plants that have problems. The program’s
narrator, Dr. Norm, then walks them through analyzing the plant problem and
determining a good solution for all of the elements that may be affected in the garden:
the plant itself, the butterflies, the people, the dragonflies and the frogs. The program
is very colorful with a friendly and supportive cartoon-like main character. There is
very little text on screen, so users are not required to do a lot of reading and can get
sufficient instruction from the audio. If the user makes a mistake, the audio gently
corrects them and allows them to choose again, while also providing responses to the
choices they’ve made, such as saying “frog” when the user clicks on the frog.

Additionally, users are in control of the interface. This is a nice feature because it

[9

allows the users to interrupt an animation or change their minds at any point in the
exercise. They are not required to complete the entire lesson. One feature that I would
like to see enhanced is the rollover recognition. While there are visual responses to
clicking actions and instructions that highlight a button as that button is being
explained, it may be nice to also have a cursor rollover state in which the cursor
changes to indicate that the user is over a “hot” object. However, overall, this program
was easy to learn and to follow, with simple navigation, sufficient instructions, a

wonderfully colorful interface and cute animation.

Lamb Chop Loves Music, produced by Media Station, Inc., 1995. This is a CD-ROM
application narrated by Shari Lewis and Lamb Chop. The program opens with a video
of the two talking, which can be interrupted by the user, as can most any part of the
program. It proceeds to the main menu of the program, a bedroom scene in which
different items, the toy chest, the poster, the book, all lead the user to different
sections of the program. The focus of the program is the story being told by Shari and
Lamb Chop. The user can select to listen to the story only, or to listen to an interactive
story that pauses after each passage of the story and allows the user an opportunity to
explore the interface. Exploring each scene by rolling the mouse around the screen
reveals a number of “hot” spots, indicated with a “thumbs-up” cursor. Upon clicking
on a hidden hot spot, a clever animation plays, usually with some sort of background
music to suit the mood of the animation - a lamb tiptoes through accompanied by
sneaky, tiptoe-type music. Some “hot” spots play one or two different animations for

each time you visit. This is a nice feature for kids who especially like to repeat

20

enjoyable tasks. Responding with a new animation each time can provide even more
enjoyment and encourage exploration. The animations are fun and definitely one of
the most engaging features of this program. The story almost becomes secondary to
exploring the scene for new and cool animation. However engaging the animations
are, they cannot be interrupted, and some of them are long. Also disappointing was
the decreasing number of “hot” spots and animations as the story progressed. The first
scene is very dynamic and animation filled, but the progression up to the last scene
leaves the user wanting more. Additionally, the navigational devices are simplistic, a
left arrow, a right arrow, a question mark and a lamb’s head. Simple navigation is fine
for a kid user, the left and right arrows are fairly obvious, but the question mark and
lamb’s head icons are more ambiguous. The question mark does provide help, as
would be expected, but does not give any indicators as to what kind of help it will
give, which is actually just an audio instructing the user on what to do in that
particular section. The lamb’s head doesn’t really say “home”, but that’s where it
takes the user, back to the main menu. Perhaps an image of the room or something
that suggests a return to the main menu would be less ambiguous. Overall, this
program is filled with color, clever animation, friendly cartoon-like characters, fun
and suggestive music and sound effects, helpful instructions and easy indicators of
what to do when. This is a program that both children and adults would find easy to

use and simply engaging.

5 A Day Adventures, produced by IDD, Inc. for Dole Food Company, 1996. This

program was designed to provide a fun nutrition education for children. The main

2]

interface is a place called Banana Boulevard where users are introduced to one of the
main characters, Bobby Banana. Bobby Banana is the kid-like character, “Skater
dude”, that walks the user through the program. When he is not there, some other
character provides instruction and narration. All graphics are in a two-dimensional,
cartoon style, as well as being very colorful. Throughout the program are scattered a
number of simple animations. The program begins by offering users “Travel Tips”, an
instructional session on how to use the interface and what each of the different icons
represent. Very little text is used for instructions. Most instructions are presented in
audio, and each section offers a help button that repeats the instructions in case the
user missed them the first time around. A cursor that changes to a hand over hot spots
is also a useful tool, explained to the user in the “Travel Tips” section. When the
cursor changes, often, the object it is over also highlights. The music is one of the
strongest features of this program. In the jukebox section and also scattered
throughout the rest of the program in bits and pieces are seven or eight different songs
about the vitamins and other nutrients provided in fruits and vegetables and the
beneficial effects they can have on people’s health. The music is used to reinforce the
concepts presented in the program. In the jukebox section, music videos are presented
with titles so a user of reading age can easily learn the words and sing along. As the
songs are repeatedly presented to the users throughout other sections of the program,
the idea is that familiarity with the songs will grow reinforcing in their minds the

concepts of the goodness of fruits and vegetables.

22

Chapter 3: Planting the Seeds
Conforming to Design Goals
Even before the preliminary testing was conducted, critical design goals had to be
considered during the conception and early production of the program. As mentioned
earlier, these design goals Should be met as this program is being developed, to ensure its
success. These goals were first considered during the production of the program’s
prototype. Then, as full production proceeded following preliminary tests of the
prototype, special consideration continued to be taken to meet these particular design
goals. Following are the ten design goals and brief descriptions of how they were met in

the production phases of this program.

Goal 1: Define the User and Uses
Before any design could be conceived or any production started, it was critical to
determine who would be using A Garden Smphony and how. As mentioned previously,
defining the user is also referred to as defining the target audience. Targeting a child
audience by a particular age range is preferred over targeting them by type. As indicated
in the Design Concept in Chapter 1, the age range chosen for A Garden Smphony was 6
to 10 years old. Users will be both boys and girls. They will require very little experience

with computers, just enough to know how to work the click and drag function of a mouse.

The potential uses of the program are as part of a classroom lesson or in a home setting

for educational or entertainment purposes. Children not of a reading age would possibly

23

have adults with them to answer any questions about the program’s functionality. The
program would be played in an environment where music would not be disruptive, or at a
computer that includes headphones. Users would be required to run the program on a
computer with higher than 300MHz processing speed, either Macintosh or Windows.
This minimum requirement should allow the program to run smoothly. This processing
speed will be necessary to handle the amount of computations carried out by the program

as the music and animations play.

Other software designed for children in this 6 to 10 age range was consulted for examples
of how to design for this audience. While there are considerable developmental
differences among children within this age group, teachers agreed that students at both
ends of the age spectrum could use this type of software. The program may appeal to all
children in this age group for many of the same reasons, but they will potentially use it in
many different ways. For example, the younger users do not have the capacity to read text
that the older users do. Considering both the younger and older users, a compromise was
met by including very little text in the program. It was only included where audio would

not work or as a supplement to audio that says the same thing.

Goal 2: Let the Content be Your Guide
The design of A Garden Symphony was conceived of following careful analysis of the
content. For example, while the general purpose of A Garden Symphony is to explore the
relationship among different pieces of music, a secondary goal is to introduce users to

information on seasonal changes in a garden. Therefore, the content for A Garden

24

Syr_nphony is facts about music and about seasonal change in a garden. A garden was
chosen as the interface to help children explore musical composition in a way they can
understand, and help them relate the information to concepts or objects they are already

familiar with. The garden environment presents the material in a fun and friendly way.

See figure 3.1 below.

 

 

ID
I?
in
If:

 

 

 

 

 

 

 

 

 

 

    

Figure 3.1. Screen shot yorfthe garden in summer.

The navigation bar in the garden was directly inspired by the content. Four of the main
buttons represent the four main sections in the program. These main sections represent
the four stages of seasonal change that a garden experiences throughout a year - spring,
summer, fall and winter. Additionally, the remaining buttons on the bar correspond with

the musical content. The buttons use icons and names that mirror terms and ideas used in

25

musical composition as well as other commonly used symbols, such as a stop button

shaped like a stop Sign, and play and play all buttons showing musical notes.

The content also influenced the animation design in the program. Content was gathered
on the life cycles and behaviors of plants and animals commonly found in a garden.
Based on this information, animations were created for each plant and animal in the
garden, simulating some real-life behavior. For example, queen bumble bees are typically
known to hibernate in the winter, therefore, the bee in the winter section of the program

was shown sleeping in a hole in the ground.

 

- \

Figure 3.2. Screen shot of the bee animation in winter.

Goal 3: Integrate Information
As mentioned previously, the theory of multiple intelligences supports the idea of
integrating information in a lesson. A Garden Smphony was designed to appeal to at
least two of the intelligences mentioned in this theory, musical and naturalist. Using
music, the garden symphony program intends to communicate information about nature,
specifically life in a garden. It also uses the garden metaphor and concepts of change in

the garden to communicate information about musical composition. Therefore, A Garden

26

Smphony offers two alternative avenues for learning to children who may have had
difficulty learning music and science in a logically and mathematically oriented

classroom.

While the purpose of this project is not necessarily to educate children, one goal is to
appeal to something within them that will then spark or encourage an interest in musical
composition and garden life cycles. By presenting information on these disciplines in
such a uniquely integrated and non-traditional form, A Garden Smphony encourages
creative thought on musical composition in all children, but especially appeals to those

whose strengths are in the musical and naturalist intelligences.

Goal 4: Consider the User
Child users were considered in the production of this program in several ways. To
determine what child users enjoy doing, extensive investigation was conducted on
existing child user studies. In-person observations of children using other computer
programs and interacting with each other revealed some interesting information on what
children enjoy. Some of the observations most relevant to this study are listed below:

0 Features that solicited some of the largest responses were characters with funny
voices, animations and characters behaving in unexpected or silly ways.

0 Children do listen to and often follow characters’ instructions for physical movement.
0 If not too shy, children will sing along with simple songs.

0 Children also enjoy hearing contemporary styles of music in computer programs.
0 Children want control, to be able to stop their interactions with the program at any

time.

27

0 Primarily older children want to be able to move rapidly through the program.
0 Children enjoy experimental activities.

0 Children will tolerate a certain amount of inconvenience if they enjoy what they are
doing, or find another way around the inconvenience.

0 Almost every child does the same activity slightly differently. Some are more
systematic while others tend to make choices more randomly.

Children were also asked for their Opinion on how to design the program. Early in the

production phase, they played with a prototype of the garden program and were asked for

suggestions on how the design might be improved. See Table 5.2 in the Results section of

this document for details on their suggestions.

Goal 5: Give the User Control
As mentioned earlier, all children will probably use the program in slightly different
ways. Some will need more guidance than others. Some will want more control than
others. A Garden Symphony was designed to accommodate all types of users, giving
complete navigational control to those who want it. At any point in the program, they can
go to a different section of the program within one or two clicks. For example, the
tutorial is currently a fairly lengthy monologue, however, users can leave the tutorial at

any time to begin the game or just exit the program.

As a result of user pretesting, the program was redesigned later in the production phase to
accommodate some children’s need for repetitive action. As mentioned previously, most

children enjoy the ability to repeat their favorite actions in a program. This was evidenced

28

in the pretesting of A Garden Symphony as several older children attempted to
immediately repeat the action of adding plants to the musical score but were prevented by
the program design. The problem was resolved with a redesign of this mechanism. For
more details on this redesign, see the Particular Difficulties section of this document

under Results.

Goal 6: Make it Usable
The area where usability was most critically addressed in A Garden Smphony is the
navigation. It was designed to follow Nielsen’s usability attributes. The opening tutorial
defines how the program works and makes it easy to learn. It is efficient to use because it
was designed to require no more than two steps at a time to go anywhere within the

program. The navigation bar was designed using simplistic icons representative of fairly

common ideas and symbols. This makes its functionality easier to remember.

 

 

 

Audio rollover statements on each button also help the user remember how each button
functions. The audio statements were added in response to user pretesting. This change is
described in more detail in the Results section of this document. User testing during the
production phase has revealed no consistent errors. Any errors as a result of slow
performance appear to be corrected when the program is run on a system with a processor

speed higher than 300MHz. The combination of colors, sounds and animations make the

29

program pleasant to use. Preliminary testing showed that the interface was, in fact,

pleasing to children and teachers alike who responded well to these features.

Goal 7: Use Meaningful Metaphors
In A Garden Symphony, the spatial metaphor is a garden, composed of objects, plants and
animals, that represent pieces of music. The activity users do in the garden is a metaphor
for composing music. Using what resembles a musical score at the bottom of the screen
and other musical symbols, like notes, users can recognize the activity’s relationship to
musical composition. While a musical score is present on the screen, it remains visually
simplistic to avoid confusing users who may be inexperienced with musical composition.
The colorful plants and animals in the garden also present a non-threatening environment.
Whether children believe that the plants and animals are metaphors for music or that the
plants and animals are actually making the music, it’s obvious that they are the source of
the music in the program. As users drag plants and animals to the score, they are, in

essence, writing notes to the musical score and simulating the act of musical composition.

O. . .0.

 

Figure 3.4. Screen shot of the musical score filled in summer.

Goal 8: Include Interactivity
As mentioned, kids do like to leave their mark on things. A Garden Smphony exists for
children’s creations. It is nothing but an animated, sound filled interface without a child

using it to compose a song. The garden provides interactivity in the form of rollover

30

animations, rollover sounds and click responses. Most animations were designed to
demonstrate an actual behavior, so they were made as detailed as possible, more detailed
than just a simple highlighting of color. However, the greatest interactivity depends on
the imaginations of the children using the program. Children leave their mark in the
garden by composing an original song. Not only does the song exist thanks to the child’s
activity, it also visually impacts the state of the garden as it plays. How a song is
composed, what plants and animals are chosen, determines what activity goes on in the
scene as the song is performed. In simple terms, children can make the garden dance.
The original design also intended to provide a mechanism for children to save their
compositions. This will be developed in the next version of the program since it can

greatly benefit the design and add to the interactivity already in place in the program.

Goal 9: Do Use Characters, But Don’t Patronize
The main character used in A Ggrden Symphony is the chipmunk. He introduces the
program and provides instruction on how to play. He is happy and friendly and has a
squeaky little voice. Currently, during the tutorial, he stands, talks to the user and then
runs off screen. In future versions of the program, he will be designed to run around
during the tutorial and show users how to play, as well as popping up randomly in the
garden, as they play the game, to provide any needed assistance. Ideally, the chipmunk as
well as other characters will play a larger role in the garden in future versions of the

program.

31

Goal 10: Use Music as a Communication Tool
Obviously, music is used as more than just a recognition tool in A Garden Smphony.
The music that children hear and compose within A Garden Sflpphony is representational
music. This music serves to communicate information about members of the garden and
their movements and behaviors in each of the seasons. This music supports the visual
representation of a chipmunk and shows the user what a chipmunk might sound like if it
were music. Likewise, for other animals, flowers and trees. For example, the music used
to represent a bee going out to look for pollen was composed with an instrument that
sounds like a bee’s buzz, set to a rhythm and tone reminiscent of a serious mission.
Therefore, the visual and audio cues during this animation reinforce each other to

communicate information about the bee’s primary behavior in the summer.

Technical Issues Addressed in Production

While it was critical to address particular design goals in the production phase, certain
technical issues also needed to be addressed. A Garden Smphony is an interactive
application that consists of multiple states of activity and numerous variable behaviors.
The need to track a number of choices made by users can easily be accommodated in the
Macromedia DirectorTM programming environment using the scripting language, Lingo.
Therefore, this was the chosen programming environment for A Garden Symphony.
DirectorTM uses metaphors of film and theatre production, with terms like stage, cast,
score, and frames. The stage is a window in which the program is visually arranged.
Instances of graphics stored in the cast are placed on the stage. Once on stage, these

graphics are referred to as “sprites”. A programmer can place as many Sprites of the same

32

cast member as she wishes on stage. The program can also be arranged in the score,
which is a large table with columns for each frame of the DirectorTM movie and rows for
each channel. Sprites are placed in the score at the intersection of the frame, indicating at
what time the sprite is on stage, and the channel, indicating the depth of the sprite on
stage relative to other sprites. Sprites will be referred to again in the Results section of

this document.

Each sound in the program is one precompiled measure at 4/4 time (four beats in a
measure), or Common Time, created using the midi and wave components of Cakewalk
Home Studio9T". All sounds, when combined, synchronize or play harmonically. While
these sounds are precompiled, the user still has total creative freedom with which sounds
are chosen and how many are chosen (1-4) for each measure. The fact that these sounds
are precompiled allows users to create quality, sensible music without needing to know

anything about musical composition.

33

Chapter 4: Evaluating the Growth
About Formative Evaluation
Designing a successful multimedia application requires a lot of preparation, analysis of
existing research, testing and testing again. Getting users involved early in the
development cycle of the program is most important. Early user involvement can identify
issues that could significantly impact the program’s usability. “Once children are
interacting with the design, errors and observed confusion can directly predict errors
children will make when using the future computer product” (Druin, The Design of 10).
This method, referred to as formative evaluation, considers and even consults the receiver
of the message during the design process. “First used by educational researcher Michael
Scriven in 1967, then made famous in broadcasting circles by its use in Sesame Street, the
term formative evaluation refers to the systematic collection and analysis of evidence to
aid decision making during the planning, design, and production stages of a program,
product, or system” (Mody, 62). With this type of evaluation, the original idea of the
communication flow as sender-message-receiver has been reconstructed to allow
feedback from a sample of the receivers before the message is finalized and sent to the
entire audience. This reconstruction of the traditional flow has come about to help ensure
that, in simple terms, the message that is sent is the one that is received. The effect that
this method has had on the development of multimedia programs is that designers have
been able to develop more valuable and useful programs for their intended audience,

thanks to direct feedback from members of that audience.

Formative evaluation typically has two major phases: preproduction and production
testing, also known as pretesting. “Preproduction formative evaluation may be used as an
aid to planning, to help decide what to communicate in a broad general area (e.g., health)
through assessments of the information contexts and information needs of users” (Mody,
62). Information provided in Chapter 2 is the sum of preproduction research conducted
for this particular study. The literature review, expert interviews, and product reviews
have all been conducted to determine what information should be considered in the
design and production stages of this study. This thesis document will refer to production
testing as pretesting, “L . .] in which prototype or pilot messages are pretested to obtain
audience reactions prior to final production” (Rice, 132). The rest of this chapter will

summarize the pretesting procedures used in this study.

Testing the Soil - Preliminary Testing Method

Some designers believe that the earlier you test your design idea on the intended users,
the better. This is the idea behind the pretesting phase of formative evaluation. As
mentioned previously, pretesting involves presenting the product to a sample of the
intended audience for feedback on potential errors or problems. Pretesting was
accomplished in two phases for this study, preliminary testing and final testing.
Preliminary tests were conducted early in the design phase of A Garden Symphony. The
concept and design were tested by five children ages 6 to 10. “Observing even a few
children using the product during early product design will catch a substantial number of

issues that are difficult to predict ahead of time” (Druin, The Design of 15). The prototype

35

these children tested contained one completed season, spring. Children were selected
from a group of children at a local elementary school and children known by associates of
the researcher. The parents were presented and asked to Sign a permission slip that
explains the premise of the study and asks the parents to grant permission for their
children to participate. The main goal of this informal preliminary testing was to find out
how children react to the interface; if they could use it; what would make it easier to use;
what would make it more fun to use; and any suggestions they might make for changes.
In a home and computer lab setting, a video camera was set up to capture the children’s
responses as they used the program. Casual interviews after children used the program
provided additional information about their reactions to the design. The goal was to get
feedback from children on the design of the program before the program had gone too far
into the production phase. In this same phase of testing, children were asked to play with
several other edutainment type programs which have a Similar appeal to A Garden
Smphony. Observation of these interactions provided additional information on
children’s typical interactions with these types of programs. All information collected
during this preliminary testing phase is summarized in the Results section of this thesis

document.

Pulling the Weeds - Final Testing Method

Final Testing is a form of pretesting, according to the method of formative evaluation.
Final testing for this program was conducted after a majority of the program was
completed, and was not intended to be as proactive as the pretests conducted early in the

design phase. However, it does serve to identify any potential problems in need of repair

36

before a final version is released. “Evaluating products with children at the end of the
product development cycle provides invaluable information for future directions” (Druin,
The Design of 15). This round of testing was conducted slightly differently than the
preliminary testing. The local elementary school proved to be a useful source for potential
users and doing the testing in the school’s computer lab provided the researcher with
access to more students, in a setting more familiar to the students than the preliminary
round of testing. However, the sessions could not be videotaped in the school, so
observation, interviewing, note-taking, and analysis and write-up after the fact were the
main methods used to conduct and record the sessions. In this phase, children were asked
to interact with a complete prototype of A Garden Smphony. After a period of
observation, they were asked a few questions regarding their opinion of the program and
specific aspects of it. Some of the same children who participated in the preliminary
testing of the program also participated in this phase, but most of the other participants
were first-time users of the program. Both individual interviews and group interviews
were conducted to gather user feedback. The results of this testing were considered in the
final revisions phase of this study. See the Results section of this document for further

details.

37

Chapter 5: How Does Your Garden Grow?
Results
The preliminary testing and final testing phases of this study serve to predict the
usefulness and over all success of the program. Testing implicates whether or not
intended goals were met and even suggests ways to improve the program for use either
now or in the future. This chapter summarizes the most significant findings of the Study,

specifically those that had the greatest impact on the design of the program.

Particular Difficulties
The first and second rounds of testing, revealed a number of potential usability problems.
None of the problems were surprising, but all of the more serious problems indicated a
need for change. Those particular problems and the changes made in response to these
problems are summarized below. The problems are categorized by their hindrance level --
minor, moderate, or severe. A minor hindrance would be a problem experienced by few
users and/or does not detract from the usability of the program. A moderate hindrance
would be one experienced by a significant number of users that affects the usability of the
program enough to confuse and frustrate the users. A severe hindrance would be one that
most users experience and that prevents them from continuing interactions with the
program. The percentage of users who experienced the particular problem is also

indicated for both the preliminary testing and final testing phases.

38

Problem: Placing items on the musical score

 

Hindpgnge Level: Moderate % of Users Eypgrienced - Prelim Test: 100 Final Test: 0

 

 

 

The prototype was designed so that users could click on and drag any of the plants and
animals down to the musical score. Once they released the mouse button, an iconic
representation of the plant or animal would appear on the score in the particular measure
over which they released the mouse button. The way this process was originally designed
required the user to drag the icon so that it was completely within the parameters of one
measure. This function was programmed using the Lingo keywords, sprite. . .within. This
told the program that if the icon was within the parameters of any particular measure
when the mouse was released, to Show the icon on that measure. Anticipating some users
having difficulty getting the icon completely within the measure, a smiley face was added
to the center of each measure, and users were instructed to drag the mouse over the
smiley face to drop the icon on the measure. Preliminary testing revealed that the smiley
face instruction was not enough. Users often released the mouse button when the icon
was only partially within the parameters of the measure, and, therefore, no icon appeared
on the measure. This proved to be very frustrating for most users. The older users adapted
rather quickly, more so than younger users. Those who were younger sometimes gave up
on a particular plant or animal because, it seemed to them that it did “not want to go” on

the measure.

Change: From within to intersect
This is an issue of control. As mentioned previously, users must feel they are in control of

the interface. If not, they may become frustrated and give up, as children did in this

example. The solution to this problem was relatively simple. It involved changing the
keyword within to intersect. AS a result of this minor change, users can now drop the icon
even when it is intersecting the measure only the slightest bit, and the icon will appear on
the measure. This change was especially helpful for the younger users, as was

demonstrated in the final round of testing.

Problem: Dragging icons during the animations

 

Hipgpgpce Qvel: Moderate % of Users Emriengg - Prelim Test: 60 Final Test: 0

 

 

 

The program is designed so that, after users add a plant or animal to the musical score, a
detailed animation and piece of music play, demonstrating what that plant or animal
might do and sound like as music in that particular season. Originally, the design required
users to wait for these detailed animations to complete before they could drag another one
of the same plant or animal to another measure on the score. For example, a user could
not drag another coneflower down to the score while the coneflower animation was
playing. So, this delay prevented users from rapidly adding the same item to multiple
measures of the score. Preliminary testing showed that this was not an issue of great
concern for the younger users, who tended to move less rapidly throughout the program.
However, older users, once they developed a familiarity with the function of the interface,
seemed frustrated that their interactions with the program were delayed. As mentioned
earlier, Druin points out, “The product needs to accommodate children who click madly

around a screen as well as those who sit back and wait to be told what to do” (6).

40

Cir—anggz Interruptible animations

To solve this problem, another script was added to the program for each of the plants and
animals. This script was added to the plant and animal sprites during their animation
sequences and was virtually identical to the scripts on those sprites while they weren’t
animating. The minor differences in these scripts prevented an error involving the display
of an overstate whenever users clicked and dragged an animating plant or animal. Final
testing showed that this change was worthwhile since it allowed users much more

flexibility than before.

Problem: Returning to the tutorial

 

Hindrance Level: Minor % of Users Emrigggg - Prelim Test: 100 Final Test: 0

 

 

 

The preliminary prototype of the program opened with the tutorial that immediately
exited into the spring section of the program. There was no way to review the tutorial
without leaving the program and restarting the game. It was always intended for the final
design to include a way to review the tutorial, and the results of the preliminary testing
reinforced the belief that this would be a beneficial feature. Most children recalled how to
play and stop the music, however, very few recalled the instruction to drag the icon over
the smiley face to get it to stay on the measure. One boy even had a question regarding
the smiley face, but once he restarted the program and was able to view the tutorial again,

he found the answer to his question.

41

M: Make the tutorial more accessible

As mentioned in the Literature Review, a good interface makes the user feel in control of
the program. To allow the user this kind of control over the tutorial information, the
program was redesigned, as originally intended, so that the user is first presented with the
choices to visit any one of the seasons and begin composing, or take a tour of the garden.
Now, if a user is composing in a particular season and wants to review some of the
instructions on how to play, they can return to the main entrance and choose to take the
garden tour again. If they don’t care to see the whole tour, they can interrupt it at any time

and return to the game with the song they’ve composed still intact.

Problem: Confusion about the tree sap

 

Hindrancg Level: Minor % pf Useg Emriencg - Prelim Test: 80 Final Test: 10

 

 

 

Two of the plants in the garden are trees, a ginkgo and a white pine. In the spring, both of
these plants have animations that demonstrate sap running through the inside of the tree.
This is shown as a cross-section of a tree branch, magnified with a magnifying glass. An
animation inside the magnifying glass is a simplistic graphical representation of sap
flowing. During preliminary testing, very few users were able to identify this animation as

sap flowing.

Change: Add sap signs
The solution to this problem was to add a sign that says “Tree sap,” with an arrow
pointing to the magnifying glass. This change is useful for older users of reading age,

however younger users, may still need some assistance to determine the context of this

42

animation. Indications for Future Development in Chapter 6 will outline some of the
future steps that may be taken to enhance the usability of this program for a wider age

range of users.

Problem: Users Skipping the tutorial

 

Hindrance Level: Moderate % of Users Emrienced - Prelim Test: NA Final Test: 70

 

 

 

Final testing revealed a problem that was in some ways the result of a change made after
the first round of testing. AS described before, the first round of testing showed that users
needed some way to review the tutorial. The solution for this was to provide the tutorial
as an option at the main entry point of the program. It was designed to be an option, not a
requirement, so that users who are well acquainted with the program will not be required
to view the tutorial every time they load the program. However, during final testing, in
spite of the voice-over instructions to “Choose a season you’d like to compose, or take a
tour of the garden,” most often users did not take the tour first and did not realize that the

tour would tell them how to play the game.

Cmpgg: Additional audio instructions

To ensure that users would realize the importance of the garden tour, the following audio
statement was added to the program following the statement mentioned above. “The
garden tour will tell you how to play the game. Take the tour if you haven’t already.”
The garden tour sign also wiggles as the statement is playing. This statement will play
each time the user returns to the entry screen until the user has watched the whole tutorial.

Another potential fix for this problem would be to automate entry into the tutorial as a

43

user enters the program, providing them with a “skip tutorial” button if they’ve already
seen it. Currently the tutorial runs in one long sequence. As the need for further tutorial
information has grown and will grow as the program is developed further, a new design
of this section of the program should be considered. Chapter 6 will outline how this

section could be redesigned to benefit the user.

Problem: Forgetting the buttons

 

Hindrancg Level: Moderate % pf Users Emrigpgg - Prelim Test: 10 Final Test: 30

 

 

 

Both users who viewed the tutorial and did not view the tutorial occasionally forgot the
meaning of the buttons on the navigation bar at the bottom of the screen. The season
buttons in the shape of suns seemed to be those most often forgotten in the final round of
testing. Most users did not experience any difficulty using the program due to this,
however it was deemed a large enough hindrance that steps were taken to simplify the

interface.

Ch_ang§: Add rollover audio

As mentioned in the Literature Review, one of Jakob Nielsen’s five usability attributes is
that the navigation must be “easy to remember.” To help users identify each of the
buttons in the navigation bar and risk no chance of them forgetting their meaning, the
program was redesigned to play a short piece of audio that identifies the button. For
example, if a user rolls the cursor over the button that takes them to spring, they hear the

audio statement, “Spring!”

44

Problem: Interface freezes

 

Hindrancg Level: Severe % of Users Egpgrignced - Prelim Test: 10 F inal Test: 20

 

 

 

This could be a potentially serious problem. During production and final testing, a lag in
the visible refresh of the program was encountered several times. It typically occurred on
Windows computers with a 300MHz or Slower processor. After high levels of activity,
the visual portion of the program froze. The program appeared to Still be running, sounds
played and hot spots responded to mouse clicks audibly, but the images were frozen on

screen. This problem did not happen for most users and did not happen consistently.

Chirnggz Set higher user requirements or overhaul graphics

Currently, one of the only probable solutions known for this problem is to run the
program on a computer with a faster processor speed. Since some of the latest computers
are currently processing at 700MHz, this isn’t a totally unreasonable solution. However,
many children’s school computer labs are most likely going to have processors closer to
the 300MHz range. Another potential but quite time consuming change to the program
itself would be to redo all of the graphics in a low color resolution. Currently, for
aesthetic reasons, the graphics have a color bit depth of 32. The bit depth could be
significantly reduced, however, this would also significantly reduce the visual quality of

the program. A final solution has not yet been determined for this problem.

Particular Happy Notes
Most teachers said they could or would use the program in their lessons, and they all felt

it had great potential for a variety of uses and for additional development. Teachers

45

expressed very few complaints or concerns. Of those they did express, most were
anticipated and already considered for future development. For example, some teachers
asked for a way to save the songs, and some asked for the chipmunk audio to be a little
clearer, both of which are addressed under Indications for Future Development in Chapter

6.

All child testers said they would play again if they had the chance. Some of the
unsolicited positive responses included a boy so involved with the program that he
conducted in the air as his composition played back to him. There were also bobbing
heads, a number of “This is cool!” comments, and too many giggles to count. Most of the
children commented that their favorite part of the program was listening to the
compositions they made. They indicated that they liked the result of the various pieces
playing in unison. This is an especially happy note since one of the main goals of the
program is to familiarize children with different pieces of music and how they can fit
together harmonically. Some of the greatest fascination with musical composition can
come from knowing what is possible, and still knowing the feeling of surprise when what
is imagined actually comes to life even better than it was imagined. Providing children
with this sense of fascination and surprise was definitely an unstated goal of this program,
and while difficult to prove, the results of user testing absolutely indicated a level of
fascination and surprise in the voices and faces of these children as they composed their

garden symphonies.

46

Overall Results
Twelve children and 6 teachers participated in the final testing phase. Only two of the
children who participated in preliminary testing also participated in final testing. The
children were first, second, fourth and fifth grade students. Grades taught by the teachers
ranged from kindergarten through fifth grade. Table 5.1 tabulates some of the most
significant findings of the final testing phase. It orders children’s answers to particular
testing questions and observations of their behavior and rates their responses by

percentage of the 12 total participants.

47

Table 5.1. Overall responses to questions and interaction with the program.

Overall Results of User Testing with Kids
%ofKidsWho: 10 2D 30 40 SD 60 7D 80 90 100

 

 

 
 

 
    

 

 

 

 

Liked the program RWAWW
Wouldphy again R‘WXSRW
Visiblyenioyedit RWRMRW
Spoke phrases of

enjoyment
Thought it easy to learn

 

 

PW”: mm- W"
Favorib season- oping gm

Favorih season - summer
Rm

 

 

 

Favorin season - fall

 

 

   

 

 

Composed visually \ . ;
Composed audibly Wimw
Filled every measure gm
Only filbd some spaces
on everymeasure

 

 

Adled some is only “:9
some meaanes

Recalbd garden fats SSW

 

 

   

 

 

 

wimnopompfing gm
Recalledf afle .. W. 3‘  
Midi: .. .2... smasnm

 

48

In addition, both teachers and children provided suggestions on how they thought the
program could be improved. It has been demonstrated that including children in the
design process can potentially impact a program’s success at reaching the target audience.
SO, getting their design suggestions during the preliminary phase of pretesting, before the
program was fully developed, was crucial. The children’s suggestions from preliminary
testing are listed in Table 5.2 below.

Table 5.2. Kid suggestions for improvement during preliminary tests.

Suggestions for Improvem ent

 

Kids

0 Have random animations during periods of inactivity

0 Make the sun do something, like spin around

I Let user drop itemanywhere onamessure and have it stay
0 Add something to indimte what the tree sap is, like a sign
0 Make the sun talk

0 Add more plants

0 Drag the sun dovm to the score

 

 

 

Some of these suggestions were considered during the production phase and met before
final testing. Some of the most significant suggestions from kids in final testing were
redundant with those made in preliminary testing, such as the suggestion for random
animations and dragging the sun down to the score. Some of these suggestions will still
be considered for future versions of the program. Teachers also provided some useful
feedback and suggestions for improvement during the final testing phase. Their

suggestions are listed in Table 5.3 below.

49

Table 5.3. Teacher suggestions for improvement during final tests.

Suggestions for Improvem ent

 

Teachers

0 Redo the chipmunk audio with clearer pronounciation

0 Make the chipmunk's instructions slower

0 Make the symbols for the seasons (the suns) more creative

0 Add more plants

0 Reduce the age level or add more challenging garden ficts
for the older kids

 

 

 

Overall, teachers and students alike were very enthusiastic about the program and often
mentioned the uniqueness of the idea. “It’s a unique idea. There’s nothing in this area, of
plants and music,” responded one teacher. Most all users found it visually as well as
audibly appealing. “It’s fun. It’s very visually appealing. I liked playing with the music. I
thought the whole thing was fun,” another teacher said. While the program seemed to
have less of an educational impact, the researcher was satisfied that the purpose and
overall goals of the program were met, indicated by one boy’s comment, “I never really
thought of plants making music,” followed by his peers in a choir of agreement. That
children indicated that they had never thought about music in this context, but now did,
directly supports the proposed intentions of this study — to provide children with an
environment in which they are invited to think creatively about musical composition in

ways that they probably have not before.

Implications of Results to Intended Goals
1. Provide an entertaining experience — Children testing the program were visibly

entertained. They laughed throughout the program, with the most laughter

50

surrounding the various chipmunk, bee and chickadee animations. As mentioned
previously, they made grand conducting gestures as they conducted their orchestra of
plants and animals. They giggled with delight after the first and second and so on,
performances of the songs they composed. “This is cool!” was heard many times
during the testing sessions, and all children agreed that they would play again.

. To encourage children to make many songs -- By design, the program allows children
to make a number of variations on their composition and even wipe the score clean
and begin again with an entirely new composition. Had it not been for the time
constraints of the testing period, most children would have continued playing.

. To familiarize children with the variations in pieces of music and how they fit
together to create a harmonic environment -- The garden setting served as a non-
threatening and friendly interface for musical composition, which benefits the music
novices using the program. Children quickly grasped the concept of composition
demonstrated in the program. They expressed a definite enjoyment and preference for
the music they made after combining the different pieces of music provided in the
program, as mentioned previously. While they enjoyed listening to each individual
plant’s or animal’s sound, they were visibly more pleased and sometimes surprised
when they listened to the results of their composition with multiple sounds in the
same measure. This usually led to further exploration, combining each of the other
pieces of music, until the “perfect” combination was discovered — perfect to each
composer’s ear.

To encourage creative activity with music -- As suggested in the previous passage,

children were given an environment in which they could combine pieces of music and

51

experiment with the different combinations of sounds until they created the perfect
composition, as they saw it. Some children created their symphonies using the same
sounds, their favorite sounds, over and over. Some experimented with a variety of
sounds. Some put one sound in each measure, and some filled the score with four in
each. Some stayed in one season more than other seasons because, they said, it made
their favorite sounds, while other users composed visually. They chose how their
composition would sound based on how the musical score looked as they added
different plants and animals to it. It is a musical chemistry set of sorts, with which the
children mixed and matched combinations of sounds until they came up with the
solutions they were looking for, and all without risk of explosion.

5. To provide subtle information on the life cycles of gardens -- Their recall of specific
facts they learned about the garden was minimal. However, when children were
specifically asked what a particular plant or animal does in a particular season, and
then reviewed the animation, children were almost always able to relate back to the
researcher what the plant or animal was doing in the animation. While they couldn’t
always think of the technical terms, they related, in their own words, a reasonable
understanding of the general concepts. Regarding the chipmunks in spring, they said:
the chipmunks get married; he likes her; or she chases him. These are all Simple ways

of describing the behaviors and human-equivalent concepts of chipmunk mating.

Probably the most surprising result of user testing was the way one child in particular
chose to use the program. Many other children may also choose to look at the program in

this way, but he was unique among the users in these test groups. This seven-year—old was

52

most enthralled with the sounds that the plants made. He not only listened to and enjoyed
each individual piece of music, but he also put great effort into guessing the exact
instrument used to make each piece. He literally held his head and stared at the screen
until he could guess which instrument made each plant sound. What was even more
fascinating was that a majority of the time, he guessed correctly. So involved with this
guessing game, he had to be reminded that he could use all of these instruments to build a
song. While this was the most unique situation that occurred during testing, one of the
most significant was the statement made by the one boy, which was mentioned in the
overview of this section. This statement perfectly sums up the results of these tests and
speaks directly to the potential impact of the program and the uniqueness of its design --

“I never really thought of plants making music.”

53

Chapter 6: Preparing for Next Season
As with all projects such as this, it is never done. There is always more that can be added,
enhanced and deveIOped. The Garden Symphony, with its relatively open-ended design,
has many possible directions for growth. The only constraints are those set by nature and
the four seasons. The varieties of music and plants that can be added to the program are
virtually endless. Of course, one must be wary of fatiguing the users with an overly
accessorized interface. Providing users with too many options can result in confusion and
frustration. “For empowerment to occur, more powerful functionality must go hand in
hand with greater ease of use” (Laurel, xii). More features do not necessarily mean a
better interface. So, any decisions to enhance the program must be made only after

considering the impact of those enhancements.

Indications for Future Development

In its current state, A Garden Symphony could be released to the general public, but
would benefit from some relatively minor, but somewhat time consuming changes to the
program. These changes are enhancements or features that the researcher wanted to
develop during the production phase of this project. However, these particular changes
were saved for later versions due to the time constraints of the project. Their absence does

not conflict with the intended goals of this thesis project.

One of the original intended features of the program was one that would allow the user to

save the songs they compose. This could be accomplished relatively easily by adding a

54

save feature to the toolbar at the top of the program window, which is currently unused.
Users could essentially save the configuration of the program at a particular point, saving
the program information that determines what plants and animals are currently on the
score for each season. They would then be able to reopen this file while in the program
and see and hear the song they composed earlier. This feature was requested by many of

the users and always intended for implementation by the researcher.

Some suggestions were made to add random animations that would appear on the screen
whenever there is a lull in on-screen activity. Two animations were designed involving
the chipmunk and the chickadee, however these have not yet been incorporated into the
program. A variety of random animations could be designed, even some that help the
user, providing instruction on what to do next, incase the reason for their inactivity is

confusion.

The voice over audio, in particular the chipmunk’s audio, should be recorded again in a
professional recording studio. All audio was recorded with the same voice, over a simple
microphone, with a limited amount of sound effects/editing tools. Ideally, the chipmunk’s
voice should be spoken by a voiceover professional with experience doing different types
of voices. Some teachers noted that the chipmunk’s voice was sometimes difficult to
understand. This is attributed to the fact that the voice was distorted with sound editing

software in an effort to make it sound like a chipmunk’s voice might.

55

The reset button currently removes all plants and animals from the score in a particular
season. One click clears the entire score. The disadvantage of the button functioning in
this way is that one accidental click can wipe out an entire season of a symphony and

result in user frustration. To prevent this frustration, users should be provided a second
chance window, meaning that when they click the button, a second window opens and
asks if they are sure they want to clear the whole score. If not, they can simply click on

the “no” button and return to the composition.

The latest addition to the program is a function that allows users to listen to one measure
at a time. They can do so by adding items to a measure and then clicking on the smiley
face on that measure. The program highlights the measure and only the music in that one
measure plays. Due to time constraints, a description of this feature has not been added to
the tutorial. Instructions on how to play one measure at a time Should be added to the

tutorial before the program is finalized for release.

For future versions of the program, other additions and revisions may need to be
considered. When users were asked how they might improve the program, one of the
most requested changes to the program was to add “more.” They wanted more sounds,
more plants and more animals. The current garden is very full. Too many more items
might make the scene too cluttered. However, one way to avoid this clutter and still add
more items to the garden would be to increase the size of the garden. This could be
accomplished by simply adding more sections of the garden. What is currently shown of

the garden is really only one section. The garden could have many sections that include

56

 

many different plants, animals and sounds. As the garden is expanded, the sections of the
garden could even be ordered by plant type with all the plants of a particular type shown
in the same section of the garden. This method of organizing the plants would contribute
to the scientific information children can learn while composing in the garden. In
addition, more scientific facts about the garden can be included throughout the program.
These facts can appear as random animations or incorporated with the detailed animations

that play for each plant and animal.

More scientific facts will help all users increase their knowledge about the garden while
composing music there. However, as indicated by teachers in this study, the older
students would benefit most from this increase in information. Around fourth grade, they
begin to really focus on this type of information in their school lessons. Younger students
study plants and science, but at lower academic level. The scientific content of the current
design seems to be appropriate for the younger children, but not challenging enough for
the older children in the study. “I do think that it would be most useful probably for the
second graders, because they are doing plants. My kids absolutely loved it, but for them it
was more fun,” one teacher said of her fourth grade students. She also indicated that more
“fast facts” about science and the garden would make it more useful for her older

students.

Another difference between the younger and older students is their ability to read. The
text on screen in the garden is limited, purposefully, so younger users would be able to

use the program just as well as older users. Most instructions were provided with audio

57

and visual demonstrations. However, since this is already a very audio dense program, in
some cases, text was necessary to prevent confusion with multiple audio statements
playing one after the other. Also, if every item in the garden played a piece of audio as the
cursor rolled over it, for example, the number of computations demanded on the program
could easily create program errors. This does not mean that the differences between
younger and older users should not be considered. They should be considered, but may
not necessarily be accommodated in one program. As the amount of scientific
information in the program is increased, how that information is presented to children at
different developmental stages should be considered carefully, even within the small
audience, 6 tolO, chosen for this study. One option would be to design future versions of
the program that are divided into levels based on the learning levels of children in first
grade through fifth grade. While the original intent of this program was not to educate,
but simply to encourage creative thought, further study indicated that the program could
easily be transformed into a powerful educational tool. With the right information and
minor additions to the program, teachers could use A Garden Smpphony in many
different ways to contribute to their lessons. Providing the teachers with lesson plan
documents that refer to A Garden Symphony would also increase its usefulness for

teachers.

The list of possibilities goes on and on. A few additional possibilities would be, one, to
add an environmental impact feature. Users could change the weather in the garden, or
change how animals and people treat the garden, and as these things change, so would the

visual appearance and music produced by the garden. Another way to improve the

58

program would be to break the tutorial into short sections. This will be more important
especially as more features are added to the garden and the need for additional instruction
on how to use the program grows. The tutorial could have lessons on how to choose a
season from the navigation bar, how to play and stop the music, how to clear or reset
items on the score, and how to leave the program and save a song. A tutorial with
sections, as opposed to a long string of audio, also prevents the user from having to listen
to information they already know in order to get to the information they need. Also,
requiring the user to visit the tutorial section as they first enter the program will help

insure that they start playing with the information necessary to operate the program.

Conclusion

One of the most important lessons one can learn as a multimedia designer is that the
projects are almost never finished, and that deadlines are less like finish lines than they
are like milestones. Even the most successful programs always have room for
improvement. AS users and technology continue to change, the goal is often just to try to
keep up. A Garden Symphony, as shown in this study, is a fully developed program
capable of entertaining children at great lengths and in many ways. However, it also
opens the door to a world of possibilities for further development. As one teacher said, “It
seems like there is so much you could do with it. The integration is so great because kids
are so open to thinking of plants as making a sound. Kids are like that [. . .] it’s like a
whole possibility of ideas.” For that matter, kids are open to so many ideas and places in
their imaginations where adults no longer venture. This is one of the joys of designing

interfaces for children. It requires an adventure into the creative minds of children that

59

 

adults rarely get to take. In a child’s mind, possibilities are endless and musical plants are
believable, but kids are as smart as they are creative. They cannot be patronized or
distracted into thinking that a program is better than it really is. They have a sort of x-ray
vision, they can see right through the glitzy and the phony interfaces, whether they know
it or not, and tell it like it is. That is why getting children’s feedback early in the
conception of a program designed for them is so important. These users can provide some
of the most uninhibited, brutally honest responses to the design of a program; responses
that will also be the most helpful and time saving feedback a designer can get. The point
is to design a program that children can use and will enjoy using, and who can provide
better testimony to this than the children themselves can provide. Children enjoyed
composing in A Garden Smphony, their physical and verbal responses to the program
proved this. They thought of music composition in ways that they had not before and
testified to that fact. The program invited them to creative thought and activity, and that
was demonstrated in the different ways they used the program. A Garden ngiphony met
the purpose and goals of this study, but it also has a world of potential that should be
investigated. So many other goals can be accomplished with further development of this
program, even on the smallest scale. If nothing else, others can learn by the examples set
forth in this study and take a piece of it with them to the design of their next piece of

children’s software.

60

BIBLIOGRAPHY

61

BIBLIOGRAPHY

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Campbell, Patricia S. Songs in Their Heads: Music a_nd Its Meaning in Children’s Lives.
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Epstein, Bruce A. Lingo in a Nutsh_ell: A Desktop mick Reference. Cambridge:
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Harnsberger, Lindsey C. Essential Dictionary of Music: Definitions, Comppsers,
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Kommers, Piet A. M., Scott Grabinger, and Joanna C. Dunlap, ed. Hypgrmedia Learning
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63

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