Jernej Weiss1, Tjaša Ribizel2, Ines Kouh3, Matja Debevc4
1 Akademija za glasbo, Univerza v Ljubljani, Pedagoška fakulteta, Univerza v
Mariboru;
2 Filozofska fakulteta, Univerza v Ljubljani
3 Fakulteta za elektroniko, raèunalništvo in informatiko, Univerza v Mariboru
4 Fakulteta za elektroniko, raèunalništvo in informatiko, Univerza v Mariboru
MySolfeggio: MOBILE AND TABLET APPLICATION FOR LEARNING OF
SOLFEGGIO
Izvirni znanstveni èlanek / Original Scientific Article
Abstract
The mobile and tablet application MySolfeggio is intended to be used for independent
practicing of Solfeggio. The application is an upgrade of traditional printed literature for
learning music theory, which is used during courses of music theory in Slovenian music
schools. The app MySolfeggio allows practicing songs, which are included in the
textbooks Mali glasbeniki 3 (2014), Mali glasbeniki 4 (2015), Priroènik za solfeggio 3
(2008) and Priroènik za solfeggio 4 (2008). The app works in such a way that a pupil
directs the smartphone camera toward a certain notation in the textbook, makes a photo
and the app recognises which song the pupil wants to practice. In this process, elements of
augmented reality are used. Users of the app can listen to songs, practice rhythm and
singing, as well as consolidate their knowledge about the songs by completing an
integrated quiz about music theory. In order to examine the practical usefulness of the app
MySolfeggio, we conducted an experiment on three Slovenian music schools. During the
experiment, we precisely designed the methodology and the first results show that the
pupils have developed a positive relation in regard to learning with the mobile application
MySolfeggio. Moreover, there is also a tendency for using MySolfeggio as a learning tool
at home.
Keywords: MySolfeggio, mobile application, information and communications
technology, music theory
Izvleèek
MySolfeggio: mobilna in tablièna aplikacija za uèenje solfeggia
Mobilna in tablièna aplikacija MySolfeggio je namenjena samostojnemu uèenju solfeggia.
Aplikacija nadgrajuje tradicionalno tiskano literaturo, ki je sicer v uporabi pri predmetu
Nauk o glasbi v slovenskih glasbenih šolah. Z aplikacijo MySolfeggio je tako mogoèe
vaditi glasbene primere, ki so zajete v uèbenikih Mali glasbeniki 3 (2014), Mali glasbeniki
4 (2015), Priroènik za solfeggio 3 (2008) in Priroènik za solfeggio 4 (2008). Aplikacija
deluje tako, da uèenec usmeri kamero telefona na notni zapis v uèbeniku, ga fotografira
aplikacija pa razpozna, kateri glasbeni primer eli uèenec vaditi. V tem postopku so
uporabljeni elementi razširjenje resniènosti. Uporabniki aplikacije lahko nato glasbene
primere poslušajo, vadijo ritmièno in melodièno izvajanje le teh, hkrati pa tudi utrjujejo
svoje znanje o dotiènih glasbenih primerih z reševanjem kviza z glasbenoteoretiènimi
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Jernej Weiss, Tjaša Ribizel, Ines Kouh, Matja Debevc: MySolfeggio ...
vprašanji. Da bi preuèili praktièno uporabnost aplikacije MySolfeggio, je bil izveden
eksperiment na treh slovenskih glasbenih šolah. Prvi izsledki so pokazali, da so uèenci s
pomoèjo aplikacije MySolfeggio razvili pozitiven odnos do samostojnega uèenja, kae pa
se tudi tendenca, da bi uèenci uporabljali mobilno aplikacijo kot uèni pripomoèek doma.
Kljuène besede: MySolfeggio, mobilna aplikacija, informacijsko–komunikacijska
tehnologija, Nauk o glasbi
The Development of the Application MySolfeggio
The boom of information and communications technology (ICT), the growing availability
of smart devices and social acceptability of digital sources in education have lead
developers of mobile applications to an increasing development of learning tools which
would function on smart devices. As a result, growing interest for research of influences of
usage of contemporary learning tools on user learning appear in different spheres of
knowledge also in the research field.
The mobile and tablet application MySolfeggio was developed for solfeggio learning
within the project Mobile and interactive solfeggio learning with the help of augmented
reality1. Under the auspices of the Faculty of Education (PEF UM), Faculty of Electrical
Engineering and Computer Science (FERI UM) at the University of Maribor, eight
students from the departments of Musical Education, Media Communication, Informatics
and Technologies of Communication and Information Technologies, as well as five
members of the teaching staff from both faculties worked in the multidisciplinary project
team.
This article presents several basic motivational factors for inclusion of ICT into the
practicing of music theory and as a possible solution introduces the app MySolfeggio,
which was developed as part of the aforementioned project and is suitable for usage.
This article is divided in three parts:
1) Connection between the course music theory in music schools and the usage of
information and communication technologies;
2) Presentation of the mobile and tablet app MySolfeggio with elements of augmented
reality;
3) First results of the research, in which the app was assessed.
Music Theory and Information and Communications Technology (ICT)
With the fast development of technics and technology, also the amount of knowledge that
pupils have to gain during the learning process is growing. This development also affects
education – with its new forms and methods of teaching, it has to be able to forward
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GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek
1 The project, which takes place as part of the programme Creative Path to Practical Knowledge, is
co-financed by the Ministry of Education, Science and Sports of the Republic of Slovenia and the
European Union from the European social fund.
knowledge as efficiently, quickly and well as possible (Panèur, 1997). The exact same
capability of forwarding knowledge belongs to ICT that is not especially mentioned or
recommended in the Slovene curriculum for Music Theory (Uèni naèrt. Nauk o glasbi /
Curriculum. Music Theory, 2003). It is known that ICT entered into music schools much
later than into primary schools. According to Valant, this probably happened due to the
specificity of music, “music as art and its musical moment which at a given time and space
is unique, unrepeatable.” (Valant, 2009, p. 57). Valant writes that the computer can sense
real, objective components of music, such as pitch, intensity, speed, duration, but it cannot
sense the nuances of expression and experience. These findings are correct – mostly when
it comes to the artistic effect and performance of music, solo instrument playing or playing
in various music formations (instrumental or vocal groups, ensembles). Learning
music-theoretic elements and solfeggio, including the practicing of rhythmic punctuality
and intonation, is especially in the beginning of musical development of an individual an
objective act to which ICT may contribute greatly.
In Slovenia, the course music theory is divided into six years and is taught at music schools
on the primary level. “With complex musical activities, the development of relative pitch,
musical capabilities, skills and knowledge is stimulated. It introduces the pupils into the
understanding of musical notes in a reproductive and productive way” (Uèni naèrt. Nauk o
glasbi / Curriculum. Music Theory, 2003, p. 322). The content of the music theory
curriculum is for each class divided into five sublevels – solfeggio (performing rhythmic
content, singing melodic exercises with sol-fa syllables and the music alphabet etc.),
performance and interpretation of examples from music literature (practicing singing
technique, familiarisation with music literature, accustomation to assessment of one’s
own interpretation etc.), creating, listening and music-theoretic and form-related
knowledge (clefs, time signature, scales, intervals, rhythmic duration, music alphabet,
sol-fa syllables etc.).
Solfeggio is a complex field that particularly aims at developing different skills – relative
pitch, rhythm recognition and chord recognition. The pupil cannot gain the required
knowledge and capabilities regarding these skills only at school but has to upgrade them
also at home (Panèur, 1997). However, the problem is, that at this stage, the pupils have
not yet been trained enough to be able to practice solfeggio comprehensively and
efficiently on their own. ICT can be a helping training tool because its multimediality
eases the pupils’ perception and prolongs the duration of their memory. Doing homework
independently, the pupils can improve certain musical skills and develop their relative
pitch and rhythm and chord recognition. Playing and practicing are also important
strategies of ICT implementation (Valant, 2009). For younger pupils, computer learning
environments, which support intuitive musical thinking and enable creative seeking of
new solutions, are more appropriate (Borota, 2007).
In her article, Borota draws the attention to the following viewpoint of the usage of
computer as well as information and communication environments. It is vital that the pupil
“starts interacting with the content and not with the technology” as soon as possible.
“Wasting time trying to master the technology first can affect the interest for music and
technology negatively.” (Borota, 2007, p. 31).
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Jernej Weiss, Tjaša Ribizel, Ines Kouh, Matja Debevc: MySolfeggio ...
Tsolova and Angelova state that the research which was carried out with students at the
Academy of Music in Sofia showed that there is a relatively high preference for the usage
of practicing systems on mobile devices. According to the positive results of this research,
they have come to the conclusion that electronic and mobile learning should gradually be
developed and introduced into the musical educational system (Borota, 2007). Due to their
size, mobility and prevalence, smart phones and tablets are the handiest.
Presentation and Usage of the App MySolfeggio
MySolfeggio is an app which can be used on smart phones or tablets. Its purpose is to
upgrade the usage of literature in the courses of music lessons in primary music schools
and make it more diverse. With it, pupils can practice solfeggio at home using music
examples from the chosen literature. For the app, the textbooks Mali glasbeniki 3 and Mali
glasbeniki 4 by the authors Torniè Milharèiè and Širca Costantini were used, because their
textbooks are the most widely spread in the music theory course at musical schools in
Slovenia. Furthermore, handbooks Priroènik za solfeggio 3 and Priroènik za solfeggio 4
by Debevc were used for the app, because all six handbooks by this author are on the list of
recommended literature on the music theory curriculum (Uèni naèrt. Nauk o glasbi /
Curriculum. Music Theory, 2003). The app is designed in such a way that it can be
upgraded with new music examples, regardless of the textbook. The target group were
third and fourth grade pupils. They are already capable of using mobile devices and
tablets, but are mostly not yet capable of independent practicing of music theory.
The app MySolfeggio includes a wide variety of functions2 – the possibility to listen to
music, practice rhythm and singing and solve a music-theoretic quiz that can cover all the
aforementioned sublevels of music theory lessons. The app includes two efficient ways of
learning – learning through game and practicing. For diversification, elements of
augmented reality3 with which we sense a certain music example in physical form were
added.
The app MySolfeggio is simple to use. With the help of the camera on the smart phone or
tablet, the pupil photographs the printed music example which is included in the app. After
the photo has been taken, four options occur – “listening”, “rhythm”, “singing” and
“quiz”.
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GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek
2 For the demonstration and manipulation of bar lines, the library SeeScore, Cross-platform Music XML
Rendering (Dolphin Computing Cambridge Ltd.) was used. Accessible on: http://www.seescore.co.uk/.
(13.5.2017).
3 The sensing of music examples in the physical form with the help of augmented reality is enabled by the
developer tool Vuforia.
Figure 1. Screen display of the app – “listening”
When choosing “listening”, the users can listen to the vocal (musical alphabet,
solmization or text) or to the piano version of the music example. If they choose the
options “rhythm” or “singing”, they can test themselves. The option “rhythm” enables the
pupil to tap the rhythm on the screen of the smart phone or tablet, while the app senses the
accuracy and gives feedback with a red or green signal. The same happens with the option
“singing”, where the app senses the pupil’s tone and checks the intonation and gives
feedback. If the notes are red, they were not performed in accordance with the acceptable
deviation. Namely, the human voice cannot sing a certain tone accurately to the Hertz, so
the deviation + or – 10 Hz from the ideal frequency was added to the programme.4 In the
case of rhythm, the deviation of + or – 0.15 seconds was taken into account.5 The last
option is the “quiz”, which offers music-theoretic questions of the closed type (answers a,
b, c, d) that are related to the photographed music example.
Empirical Research: Rating of the App MySolfeggio
With this research, the usefulness of the app MySolfeggio in practice for potential users
was tested. The research was relatively broad-based; the primary interest was to find out
whether the app was simple to use and understandable enough at the same time. The goal
was also to find out how the pupils experience learning music theory with the app.
Methodological Approach and Conduct of Empirical Research
In this research, various research methods were used: experiment, method of observation
and method of questioning. Before the beginning of the research, an agreement from all
participants was acquired – from representatives of music schools, teachers and children’s
parents. An agreement from the ethical committee of the Faculty of Arts at the University
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Jernej Weiss, Tjaša Ribizel, Ines Kouh, Matja Debevc: MySolfeggio ...
4 The app senses the tone A4 with the frequency 440 Hz as correct if the user sings this tone with the
frequency between 430 and 450 Hertz.
5 If the user tapped 0.15 seconds too fast or too slow, the tap was still recognized as accurate.
of Maribor, which confirms that the study corresponds to the standards of research, was
also obtained.
The execution of the research comprised of four parts: 1) standard form of the music
theory lesson with a music teacher, 2) first assessment session, 3) independent learning of
solfeggio, 4) second assessment session.
In the first part, a standard lesson with a music teacher who worked according to a lesson
plan took place. Working with the music example from the previous lesson, the teacher
revised the pupils’ knowledge on music-theoretic concepts: clefs, time signatures, scales,
intervals, rhythmic duration, music alphabet and sol-fa syllables. After the music-theoretic
part, the pupils performed the music example with the teacher’s improvised
accompaniment on the piano. The standard form of lesson is in this way intended for
revision of knowledge about music-theoretic concepts and for vocal warm-up. After this,
the pupils were acquainted with a new song which they practiced in the second part of the
research by themselves. The teacher sang the song, so the pupils got a first impression
about it. The third grade pupils got to know the song Imam dolino zeleno (Širca Costantini,
Torniè Milharèiè, 2014, p. 52) and the fourth grade students the song Tinga Layo (Širca
Costantini, Torniè Milharèiè, 2015, p. 57).
In the second part, the first assessment session took place. At first, the pupils received their
identification numbers and wrote them down on the questionnaires. This assured the
anonymity of the test. According to even and odd numbers, they were randomly divided
into two groups which were sent into different classrooms. One of the groups was
experimental and used the app in the third part of the research, whereas the other – control
– group did not use the app. Afterwards, the pupils filled out the questionnaires. Their
music-theoretic knowledge was measured on the basis of the song they were acquainted
with in the first part of the research. Furthermore, the demographic characteristics of the
pupils were measured, as well as their experience with the initial standard form of lessons
with a teacher.
In the third part, independent practice of solfeggio took place. The pupils in the control
group worked with a musical notation, they studied independently and had the opportunity
to consult their teacher in case of confusion or difficulty. Here, the method of observation
was applied – the researcher observed the way of practicing and the behaviour of the
pupils and noted his findings on the report afterwards. The pupils in the experimental
group used the app MySolfeggio on smart phones. It has to be underlined that all phones
had comparable technical specifications. The method of observation was applied to this
group as well; the relationship the pupils were building towards the app MySolfeggio and
how the app influenced their individual practicing and behaviour was assessed. Similar to
the pupils in the control group, the pupils in the experimental group had the opportunity to
consult the teacher in case of confusion or difficulty. This was registered by the
researcher.
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In the fourth part, the second assessment session, which included two components – filling
out the questionnaires and assessment of singing – took place. The pupils had to fill out the
questionnaire about music-theoretic concepts regarding the music example once more.
In this way, the information about the level of knowledge of the research participants was
acquired; the so-called before-and-after test was done. The results enabled a comparison
between knowledge and the influence of the type of individual learning of music theory on
the pupils’ level of knowledge. Furthermore, the experience of independent learning of a
music example was measured in the control group; rhythm, text, help with learning
intervals with an instrument and attentiveness to intonation. In the experimental group, the
relationship of participants towards the app MySolfeggio was measured. In the second half
of the fourth part, the assessment of participants’ singing took place. Members of both
groups sang the music example. For the purpose of the subsequent thorough analysis, the
recordings of the singing were carefully preserved. Afterwards, three teachers of music
education – researchers – assessed them in accordance with the assessment report.
Due to the time limitation – the testing was limited to one lesson which corresponds to the
usual duration of a solfeggio lesson at music schools – the experiment had to be limited
only to two music examples: Imam dolino zeleno and Tinga Layo. The first executional
part lasted 15 minutes and then the pupils had 10 minutes for the before-test. This was
followed by 15 minutes of independent solfeggio practicing with or without the app
respectively. The last 10 minutes were intended for the after-test.
Measuring Instruments
As measuring instruments, questionnaires and assessment reports were used. Based on
empirical and research questions, which lead the whole research, research variables were
identified and measuring instruments were established accordingly. These were slightly
distinguished in respect of the fact, whether they were meant for the pupils of the third or
fourth grade or whether they were for the control or the experimental group.
There were three types of questionnaires in the first assessment session: a demographic
questionnaire, a questionnaire about the experience of the lesson in the classroom and a
questionnaire about music-theoretic concepts linked with the music example concerned.
With the demographic questionnaire, variables such as gender, age, year of music school,
number of years of preparatory music schooling, music education of parents, music
instruments that the pupils play and the type of independent practicing of music theory at
home were measured. Furthermore, the pupils self-evaluated their own knowledge of
music theory on the scale from 1 to 5, 1 meaning very bad and 5 very good. The likeability
of different types of independent learning of music theory was also measured; how fond
the pupils were of learning with a music notation, an instrument, a smart phone or tablet
and a personal computer. For the purpose of measuring the level of early knowledge of
ICT usage, the pupils assessed themselves on a scale from 1 (no knowledge or very bad) to
5 (excellent).
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Jernej Weiss, Tjaša Ribizel, Ines Kouh, Matja Debevc: MySolfeggio ...
The second questionnaire measured the experience of participants in the classroom lesson.
The focus was on their relationship towards the activities in the music theory lesson,
which was measured with the “Classroom Experience Questionnaire” (Nijs, Leman,
2013). The participants of the research had to mark on the 5-point scale whether they
agreed with the given statements. If they chose 1, they did not agree with the statement at
all, whereas 5 meant they agreed with it completely.
Afterwards, the participants received the third questionnaire along with the printed
notational material – the music example. Their knowledge on music-theoretic elements,
which were related to the music example, was tested with a closed-ended questionnaire.
This questionnaire involved questions about the scale, time signature, composer, first
interval measure and the longest note value in the music example. The questionnaire tested
the pupils’ basic knowledge on music-theoretic elements.
During the independent learning of solfeggio, the researchers primarily observed the
behaviour of the research participants. The researchers assessed the behaviour parameters
when the pupils were using the mobile app. For this, an adapted version of the
questionnaire from the literature (Cano, Sanchez-Iborra, 2015) was used. The focus was
on the simplicity of the usage of the app – to find out, whether the pupil was able to start
the app and use it easily; the intuitiveness of the app – whether the pupil could find out,
how the app works; attention – whether the pupil was able to activate it and keep it
activated in order to get appropriate information; thinking – whether the pupil was capable
to transfer the newly acquired principles into different contexts and develop new
principles for general and new situations; memory – whether the pupil was able to learn
and memorize new information; the mood during app usage – whether the pupil showed
signs of good mood (laughter, verbal expressions of happiness, enthusiasm, high level of
excitement or energy etc.). The researchers’ task was also to measure, how often the pupil
asked the teacher for help, while he was using the app, and what the specific reasons were
for that.
In the second assessment session, the pupils received the questionnaire about
music-theoretic concepts for the second time. In this case, it was an open-ended
questionnaire. When the research participants sang the music example in the end, the
assessors, who were academically educated music teachers, assessed the performance
with a 5-point scale (1 meaning very bad, 5 meaning very good) in accordance with
rhythmic accuracy, intonation, text and interpretation.
Research Sample
The research was conducted on 30 and 31 May 2017 on the Music School Ljubljana Viè
Rudnik, Conservatory of Music and Ballet Ljubljana and Music School Ljubljana Moste –
Polje. 42 pupils took part in the research – half of them were in the third grade and half in
the fourth grade. In each group, there were 21 pupils – 13 boys and 29 girls. The average
age was 10 years – the youngest pupil was 9 and the eldest 13. The majority played the
piano and the rest the flute, saxophone, violin, violoncello, guitar, drums and xylophone.
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Primary Results of the Research
In this part, the primary qualitative results of the testing will be presented. After the pupils
stopped using the app MySolfeggio, the experimental group of pupils was asked, whether
they liked it and what they liked or disliked the most. The majority agreed that the app was
understandable and interesting. They said it was easy to use and to find out how it is used.
Furthermore, they were excited about the fact that they received immediate feedback
concerning their singing. The pupils were also eager to know, when they would be able to
use the app for practicing solfeggio at home on their own. Concerning the things they liked
the least, the pupils said that the app should offer more than two music examples for
practicing solfeggio. One pupil pointed out that the app should warn the user before it
starts to measure the rhythm.
While the pupils were using the app MySolfeggio, they were also observed. It turned out
the majority was using the app with excitement and the pupils wanted to sing the song over
and over in order to accomplish better results. They also gave very positive answers to the
question, basing on five statements, with which their opinion about independent solfeggio
practicing with the help of the mobile app was measured. The pupils ranked the statements
on a 5-point scale, where 1 meant that practicing with the app was very boring and 5 that it
was very interesting. The average estimated value was 4.45 (SD = 0.53) which indicates
that the independent solfeggio learning activities with the app were interesting for the
pupils.
The control group which did not use the app for independent solfeggio practicing showed
a significant difference in terms of commitment to learn. While a few pupils actively
practiced by singing and practicing the rhythm and even wrote the sol-fa syllables on the
musical notation, the rest were bored and did not use the time available for practice fully.
These pupils also ranked how interesting the learning activities for independent solfeggio
practicing with the musical notation were with the help of a 5-point scale – 1 meant that the
activity with the musical notation was very boring and 5 that it was very interesting. The
average estimated value was 4.32 (SD = 0.74) which indicated that independent practicing
without the mobile app MySolfeggio indeed was interesting, but slightly less than the one
with the mobile app.6
Conclusion
The technics and technology are developing swiftly, which determines the amount of
knowledge, the pace, effectiveness and quality of teaching. In the future, ICT will
certainly become more and more integrated into our everyday life. The app MySolfeggio
helps in a way that is rational and effective from the point of giving feedback about the
knowledge of pupils.
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Jernej Weiss, Tjaša Ribizel, Ines Kouh, Matja Debevc: MySolfeggio ...
6 Due to the fact that the research sample was relatively small, a more extensive app testing is planned and
will be followed by an accurate statistic data analysis.
MySolfeggio includes two effective ways of learning – through game and practicing.
When creating the app, special attention was given to the simplicity of app usage, which
enables the pupils to quickly connect with the content, so that the technology does not
inhibit them. Since the app gives a relatively simple technical experience, the user can
interact with the content quickly and without unnecessary interruptions. The app is
intended for mobile phones and tablets, which are simple to use, handy and portable.
With the app, pupils can practice certain musical skills at home independently and develop
their rhythm recognition and relative pitch. Moreover, it implements all five components
of music theory – solfeggio, performing and interpreting different examples from music
literature, creating, listening and music-theoretic and form-related knowledge. The first
tests also showed that it is possible that multiple pupils use the app in class or in the same
room simultaneously. Therefore, the app offers a wide variety of possibilities for solfeggio
practicing at home or anywhere else, when the pupils do not have the chance or the
required knowledge to practice solfeggio with an instrument.
It has to be underlined that the app MySolfeggio can in no way replace the standard form of
learning solfeggio at a music school, because it cannot sense certain nuances, relevant for
expressing and experiencing of different musical examples. In spite of certain limitations,
the app offers a variety of options for practicing of music-theoretic elements and
solfeggio, including rhythmic and intonational accuracy particularly in the beginning of
musical development of an individual. Especially in the initial phase of music theory
learning, this is an objective act to which such ICT can be of great help.
The first test results of the app MySolfeggio are very encouraging. They showed that it can
motivate the user to practice music theory relatively highly. Its multimediality also eases
the perception and prolongs the duration of memory.
In the future, the range of options that the app offers will be extended and the app itself will
be adjusted to the user experience. The literature, featured in the app, and the range of
musical examples for practicing will have to be extended. The visual appearance of the
app and its outreach need to be improved, so that it will not be available only on Android
devices, on iOS and Windows devices as well. MySolfeggio is certainly the only program
of its kind in Slovenia and the only program with such a design in the world; therefore, it is
worth of further development, extending and the broadest user reach possible.
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Jernej Weiss, Tjaša Ribizel, Ines Kouh, Matja Debevc: MySolfeggio ...
Povzetek
Z razmahom uporabe informacijsko-komunikacijske tehnologije in z vse veèjo
dostopnostjo do t.i. pametnih elektronskih naprav, kot tudi drubeno sprejetostjo
digitalnih virov v izobraevanju, se med razvijalci mobilnih aplikacij poveèuje zanimanje
za razvoj sodobnih uènih pripomoèkov, ki bi delovali na omenjenih napravah. Posledièno
je mogoèe zaslediti vse veèje zanimanje za raziskovanje vplivov uporabe sodobnih uènih
pripomoèkov na uèenje uporabnikov v razliènih domenah znanj tudi v raziskovalni sferi.
Za namen uèenja solfeggia je bila v okviru projekta Mobilno in interaktivno uèenje
solfeggia s pomoèjo nadgrajene resniènosti razvita mobilna in tablièna aplikacija
MySolfeggio. Slednja nadgrajuje tradicionalno tiskano literaturo, ki je sicer na niji stopnji
v uporabi pri predmetu Nauk o glasbi v slovenskih glasbenih šolah. Aplikacija deluje tako,
da uèenec usmeri kamero telefona na notni zapis v uèbeniku, ga fotografira, aplikacija pa
razpozna, kateri glasbeni primer eli uèenec vaditi. V tem postopku so torej uporabljeni
elementi razširjenje oz. nadgrajene resniènosti. Uporabniki aplikacije lahko nato glasbene
primere poslušajo, vadijo ritmièno in melodièno izvajanje le teh, hkrati pa tudi utrjujejo
svoje znanje o dotiènih glasbenih primerih z reševanjem kviza z glasbenoteoretiènimi
vprašanji. Aplikacija tako posega na vseh pet podroèij predmetnika Nauka o glasbi –
solfeggio, izvajanje in interpretacija primerov iz glasbene literature, ustvarjanje,
poslušanje ter glasbenoteoretièno in oblikovno znanje. Na ta naèin ponuja širok nabor
prilonosti za uèenja solfeggia in komplementarnih glasbenih vsebin doma ali kjer koli
drugje, kadar uèenci nimajo monosti ali znanja vaditi le teh s pomoèjo instrumenta.
Da bi preuèili praktièno uporabnost aplikacije MySolfeggio, je bilo na treh slovenskih
glasbenih šolah izvedeno testiranje razliènih vidikov uporabnosti in funkcionalnosti
aplikacije. Izsledki testiranja so pokazali, da so uèenci s pomoèjo aplikacije MySolfeggio
razvili pozitiven odnos do samostojnega uèenja, kae pa se tudi tendenca, da bi uèenci
uporabljali mobilno aplikacijo kot uèni pripomoèek doma. Testiranje je sicer pokazalo, da
aplikacija MySolfeggio ne more nadomestiti klasiènega pouka uèenja solfeggia v glasbeni
šoli, saj ni sposobna zaznati nekaterih nians bistvenih za izraanje in doivljanje
posameznega glasbenega primera. Navkljub nekaterim omejitvam pa aplikacija
posamezniku, posebej v zaèetku glasbenega razvoja, ponuja obilo prilonosti za podporo
uèenja solfeggia in drugih glasbenoteoretiènih vsebin. Le to je na zaèetni stopnji Nauka o
glasbi v prvi vrsti objektivno dejanje, ki mu je tovrstna informacijsko-komunikacijska
tehnologija lahko v veliko pomoè.
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GLASBENOPEDAGOŠKI ZBORNIK, 26. zvezek