Educational Audio Game Design: Sonification of the
Curriculum through a Role-Playing Scenario in the Audio
Game  ‘Kronos’
Emmanouel Rovithis Andreas Mniestris
Dept. of Music Studies Dept. of Music Studies
Ionian University, Corfu, Greece Ionian University, Corfu, Greece
+30 6944272112 +30 6974665089
emrovithis@gmail.com andreas@ionio.gr
ABSTRACT
Audio-Games (AGs) are electronic games that feature partially or
completely auditory   interfaces   to   express   the   game’s   plot   and   available as offline computer applications. ABGs are addressed as
mechanics. The required concentration on sonic information
makes AGs a suitable medium not only for entertainment, but also
for education on (and not limited to) music and sound studies
curricula. This paper presents a novel educational AG entitled
Kronos that implements a role-playing scenario to facilitate the
sonification of the relevant curriculum and to create an
educational platform that combines an audio-based gaming
environment with a musical instrument. In that process a
methodology suggested by the authors has been used. The sonic
symbols   assigned   to   create   the   game’s   narrative   content   will   be   tasks. The reduction or exclusion of visual information can
explained and future developments will be mentioned.
Categories and Subject Descriptors
K.8.0 Games
General Terms
Design
Keywords
Audio Games, Role-Playing Games, Game Design, Education,
Sonification, Composition
1. INTRODUCTION
Audio-Games (AGs) are electronic games, whose content is
conveyed through sound. AG-design has developed various
techniques to express in an eye-free auditory way all the necessary
information   for   the   game’s   setup,   navigation,   game-play
mechanics and progress. The absence or presence of visual stimuli
divides AGs into two groups: a) The Audio-Only-Games (AOGs),
which make absolutely no use of visual stimuli and b) the Audio-
Based Games (ABGs), in which some visual elements are used,
but only in a supportive way to facilitate the better perception of
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Copyright 2014 ACM 978-1-4503-3032-9/14/10…$15.00.
http://dx.doi.org/10.1145/2636879.2636902
Andreas Floros
Dept. of Audiovisual Arts
Ionian University, Corfu, Greece
+30 6945461102
floros@ionio.gr
aural stimuli [7]. The majority of AOGs have been developed by
and for the blind and visually impaired community and are mostly
offline, online and lately mobile applications to a broader
audience, since the limited use of graphics makes them friendlier
to players who are not accustomed to eye-free interfaces.
The application of educational theories on computer games,
as well as the interactivity that computer games, unlike other
forms of entertainment, such as books, music and movies, can
provide, have made them an increasingly used medium for
education [25]. Particularly in AGs, players need to focus on aural
stimuli, in order to understand and accomplish the game-play
enhance the acquisition of skills, such as memory and
concentration [23]. Furthermore, AGs can introduce everyone,
even non-musicians, to musical concepts and principles, by
serving as platforms, on which players experiment and realize
their ideas [1]. Thus, AG-design can play a groundbreaking role
in research and education especially on curricula related to music
and sound studies.
Despite those developments, most of the existing literature and
research on AG -design focuses on accessibility issues and not on
mechanics, navigation, plot or narration. There are some
approaches that aim at formulating a set of specific guidelines to
aid designers in creating AGs. One such approach defines some
suggestions, by focusing on a player’s  interaction  with  the  game’s  
auditory information [16]. Another approach focuses on
techniques to achieve sonic orientation, consistency, economy and
self-awareness [4], while another concludes fifty design
guidelines for AGs arranged in categories, including for example
the use of sounds to describe the status of objects or characters
and the presence of an audio tutorial to help first-time players to
get accustomed with the game [8].
The authors of the paper at hand have conducted research on the
uncharted area of educational AG-design and formulated a
methodology to aid designers in creating AGs for educational
purposes [18]. Among others, they advise educational-AG
designers to organize their composition in four stages: 1) the
definition of the educational goal and selection of the most
appropriate AG sub-genre 2) the definition and organization of
the curriculum 3) the research on the specific learning conditions
and the existing similar applications and 4) the composition of the
narrative content through sonic symbols (Figure 1.). In essence,
the first three stages try to deal with basic design issues and to
create a conceptual template, on which the designers can apply
their imagination in the last stage.
The following chapters will explain in detail the design of the
educational-AG case-study Kronos. Each chapter deals with a
different stage of the methodology that was followed. The last
chapter discusses potential future developments of the project.
Figure 1. Educational AG-Design Methodology
2. EDUCATIONAL GOAL
2.1 Setting the Goal
Clearly defining the educational goal reveals the targeted skills to
be exercised through the game-mechanics. Hence, the designer
can select the AG sub-genre that best serves the educational
purpose. Kronos is an educational AG related to the theory and
practice of electro-acoustic music. The work’s  innovation  consists   express different kinds of exercises in the form of mini-games.
of the effective combination of three different aspects, namely
education, gaming and music creation, into one unified system,
which provides its users with the ability to: a) entertain
themselves in an immersive audio-based environment, b) educate
themselves through a series of thematically structured and
progressively advancing lessons, and c) construct a customizable
modular instrument for music performance and composition. In
essence, the fundamental elements of a game and an instrument
are merged and arranged into an educational context, in order to
convey the desired curriculum. The underlying difficulty, as well
as compositional challenge, was that games and instruments are
built on a quite contrasting basis.
According to Salen and Zimmerman [19] the definition of a game
is : “An   activity   with   some   rules   engaged   in   for   an   outcome.”   At first, the curriculum was divided in terms of the raw material
Players are bound to that set of rules. Their actions are being
monitored and objectively evaluated. Instruments, on the other
hand, do not measure success in high-scores. They call for
freedom of expression and have more in common with toys than
with games [14]. Instruments impose only one goal: to master the
instrument’s  capabilities; and even  that  falls  under  the  performer’s   with audio input, which can be practically any recording
subjective aesthetics. When playing an instrument, rules can be
bent,   when   playing   a   game,   they   can’t.   It   was   hence   quite   clear  
that Kronos had to somehow include two modes of operation in
its design. The first would provide a finite set of rules, measure
the performance and establish the game-context, while the second
would provide infinite freedom for expression and improvisation,
thus constituting the instrument-context. Therefore, a sub-genre
that could combine the essence of a game with the essence of an
instrument had to be selected.
2.2 Applying the Role-Playing Model
Role-Playing Games (RPGs) are games, in which the player
creates, controls and develops one or more characters. Characters
are defined by a set of attributes, such as skills and special
abilities [13]. The quality  of  a  character’s  attributes  defines  their  
role in the game. Available roles are designed in a way that they
complement each other, thus making the cooperation of players
necessary to accomplish difficult tasks. RPGs do not impose a
‘’win-and-lose’’   situation. Instead players compete against
themselves, trying to improve their character by accomplishing
tasks and gaining experience points [24]. In that process they have
complete or nearly complete freedom of choice within the
fictional world, much more than in most other computer-games
[15]. Even within the same role, players may choose to walk
different paths. In general, they   can   follow   the   game’s   narrative,  
socialize, practice by themselves or even do nothing.
Role differentiation, quest leveling and freedom of choice are the
key elements of the RPG genre that realize the educational goals
of Kronos. Players build and customize their instrument just like
creating their character. They are confronted with educational
tasks, which they have to accomplish in order to unlock new
modules or upgrade their existing ones, just like RPG players
complete quests to gain experience and evolve. By choosing a
distinct role they learn more on a specific composition technique
and they complement each other when performing together.
Freedom of choice facilitates the coexistence of the game-context
and the instrument-context. Players can either focus on the game
and follow the narrative, or focus on the instrument and practice
on a specific technique. Furthermore, different kinds of quests
Each mini-game can focus on a different segment of the
curriculum by establishing those mechanics that best target the
desired skills.
3. CURRICULUM
In educational AG-design, the narrative content needs to convey a
specific curriculum to the player/student. Organizing the
curriculum may lead designers to useful conclusions about the
level and scenario design. In the case of Kronos, the curriculum
comprises principles and composition-techniques of electro-
acoustic music. Such a large amount of information had to be
arranged in a way that would facilitate its later re-composition
into narrative content.
that produces auditory information. Thus, three categories
occurred: noise, oscillators and audio samples. The first two
sources are produced through internal procedures of the computer,
while recorded samples have to be externally inserted. This
implied a closer relationship between noise and oscillators than
whatsoever.
Then, related techniques to each category were defined. A
common technique to manipulate noise is through filtering.
Oscillators can interact in various ways, such as frequency
modulation (FM), amplitude modulation (AM) and additive
synthesis. Recorded material can be cut and re-organized up to the
granular level, played back in variable speed and direction and
shaped by amplitude envelopes.
Finally, manipulated material from any category can be combined
vertically or horizontally in time, in a deterministic or stochastic
way, creating gestures and textures of variable complexity,
rhythmic sequences and delay-based effects, such as
reverberation. Accompanying historical information can provide a
theoretical background for the gaming mechanisms. For example,
the distinction between internally produced and externally input
material can be linked to the respective mid-20th century
directions in electro-acoustic thought: the German Elektronische
Music and the French Musique Concrete [12].
4. RESEARCH
As   the   first   part   of   the   authors’   research,   the targeted group and
learning conditions were considered. Kronos does not intend to
restrict educators to a deterministic approach. Instead it aims at
creating the framework on which educators will adjust their lesson
as needed. The game is addressed to both beginners and advanced
students. Hence, the implementation of an audio-tutorial and the
organization of the narrative into chapters were regarded
necessary, in order to guide players from simple concepts to more
complex ones.
Then, research on existing similar applications was conducted.
AGs have appeared and continually evolved since the advent of
computer-games. They have developed various sonification
techniques and exhibit a great variety of titles and sub-genres.
Furthermore, there are many programs for music composition and
educational interfaces displaying music exercises available in the
market. Nevertheless, our research has not found any educational
AG that can be played as freely as an instrument. Some titles that
are to a small extent related to Kronos are mentioned in the next
paragraph.
Mobile-titles,  like  Brian  Eno’s  Bloom   [2], let players change the
sonic outcome by interacting with visual elements. A milestone
release  in  the  same  direction  has  been  Nintendo’s  Electroplankton   Players choose their role in the first Chapter, called Existence, and
for the DS console [6]. In those games players can purposely
manipulate the onscreen animations and discover the underlying
stochastic relationships, but they cannot fully control them.
Though a blurring of composition and instrument is indeed
exhibited [9], the compositional potential relies more upon
limited interactivity than expressive freedom. In the stand-alone
software Syntorial [22], users are taught to understand and
manipulate a virtual synthesizer through a series of tasks of rising
complexity. Finally, some games apply a gaming context on an
educational curriculum to make the relevant exercise more
appealing. An example of such an approach is the game Staff
Wars [21], in which players have to identify notes and intervals
by shooting missiles at their names in a Star-Wars-inspired
graphical environment.
5. NARRATIVE CONTENT
The final stage in the design of an educational AG is to actually
compose   the   narrative   content   and   describe   the   game’s   plot   and  
mechanics by assigning sonic symbols to the curriculum. The
aforementioned stages have already dealt with important design
issues  and  created  a  template  for  the  designer’s  imagination. Now
it is time for the designer to come up with the right ideas and
combine all elements into a system of conceptual consistency.
This chapter describes the sonic symbols that were composed in
the sound design of Kronos.
5.1 Assigning Roles
First, the RPG narrative had to be placed in a specific time-space
context. The authors did not want to restrict the sound design to
the sonic realism of a specific era and place. Thus, a more abstract
narrative had to be adopted. RPGs roots lie in ancient stories, in
which   ‘’a   hero’’   has   the   courage   to   overcome   difficulties   and  
share his experience with the community. The experience of being
alive is a common theme in the global mythology [3]. It was
therefore decided that Kronos would recite the struggle of a
human organism to stay alive.
Then, our narrative needed the sonic representation of a villain.
Noise, usually defined as unwanted or even repulsive sound [11],
due to its damaging impact on our conscious acoustic perception
and unconscious sustainability of our body, was chosen to be our
villain. Its spectral properties, a density so compressed that it is
impossible to hear any internal pitch structure [20], linked noise
to the god of Greek mythology Kronos (pronounced chrónos,
which means Time), who used to devour his own children, so that
none would question his leadership. Kronos/Time destroys Life
and our hero has to accomplish tasks to overcome that danger and
evolve.
For defining the available roles, the three different categories of
sonic raw material were used. If the flat spectrum of noise is
assigned to Kronos, then the single fundamental frequency, which
does not exist in nature, and is quite the opposite of a flat
spectrum, is assigned to the Soul of an Existence. The audio
sample on the other hand, a concrete recording of an event that
actually happened and was captured, is assigned to the Body of an
Existence. Thus, noise refers to the World of the Dead, oscillators
refer to the World of the Spirit and recorded samples refer to the
World of Matter. Players choose their role and focus on the
respective sonic domain; they can become either a Ghost, or a
Spirit or an Organism.
5.2 Chapters and Quests
have to complete quests, in order to evolve. These quests are
expressed through mini-AGs of ascending difficulty, which
feature most of the available AG mechanics [17]. As Ghosts,
players are challenged in an Escape Game, in which they have to
silence layers of noise. If they are successful, they are introduced
to Filters and Subtractive Noise-Synthesis. As Non-Ghosts, they
first play a Pitch Recognition game, in which they choose a
fundamental frequency as their Soul and then have to recognize it
among others. If they are successful, they learn to control their
Emotions, which are sonically represented by different vibrations
of their Soul: Sine, Sawtooth and Triangle waves. Hence, they
play a Timbre Recognition game. The last stage of the first
chapter features a Melodic Dictation game, which will lead them
either to their existence as Spirits or to their birth as Organisms.
As Spirits they will advance in the Melodic Dictation and be
introduced to the compositional concepts of serialism and
aleatorism. As organisms they will choose one of the available
samples or input their own recording, as their Body, and then
proceed to the next Chapter.
The second Chapter is called Survival. Players are introduced to
different timbre families and learn how to use their Body, in order
to survive. They must learn two skills: to Flight and to Fight.
Concerning Flight, they must either stay still and do nothing until
the danger passes by, or move away from danger. Not moving interpreted as the productive interaction between two Souls,
means silence. A Movement, on the other hand, is sonically because Frequency Modulation produces sidebands, when the
interpreted as the playback of a specific segment of their body- frequency of the carrier is influenced by the frequency of the
sample in variable length and direction. Concerning Fight, players modulator.
learn how to attack by using Hits. A Hit occurs when an In the Fighter role: Martial Arts upgrades the attacking Hits, by
Amplitude Envelope with sharp attack and decay is applied on a letting players apply different envelopes on their Movements, than
Movement. Thus, the second Chapter guides players to build their the sharp attack they already possess. They can choose from an
own sampler and introduces them to the concept of musical available variety of envelopes or design their own. Escape Artist
gesture. Furthermore, Fight and Flight construct an Audio-Shoot- introduces players to the concept of playback speed. In Survival
Them-Up game, in which players have to shoot or avoid sonic they learned how to isolate a fragment of their Body-buffer and
objects using the skills that they learned. change the playback-direction. Now, players can study the pitch-
The third Chapter is called Society. After having survived, shifting effect that occurs, when changing the amount of time
organisms form groups. They invent Language to communicate needed to travel between two points in the audio-buffer. Finally,
and Property to collect resources, process them and build their Camouflage is interpreted as the re-ordering of the Body, in order
home. Language is interpreted as a code of rhythmic events. A to adjust to the environment and become invisible. Re-ordering
message is understood when it acts upon intelligence in a the buffer means dividing it into smaller fragments and changing
predictable way [10]. Thus, players perform in a Rhythm Game, their order. Furthermore, Camouflage has a blurring effect on the
in which the correct repetition of a rhythmic sequence signals perception  of  others,  who  can’t  see  you  anymore, thus linking to
successful communication. Owning something is interpreted as granular synthesis and the blurring complexity of grain-clusters.
the ability to change its nature at will. Thus, Property is Figures 2. and 3. provide an overview of the available games and
represented by collecting sounds and changing their spectral the targeted curriculum topics in relation to the four Chapters.
properties through filtering. Building a Home means placing the
collected sounds-resources in the acoustic space by applying
reverberation effects. Hence, players are guided to construct their
sequencer and introduced to the concept of musical texture.
In the fourth and last Chapter, called Civilization, all
aforementioned mini-AGs become united in a gaming
environment, where players fight or communicate with other sonic
creatures, in order to gather resources. In essence, players build a
bank of sounds, which they can later manipulate for improvisation
or composition. If a fight turns out bad for their Organism, they
can flight or heal themselves using their Soul. As the difficulty of
challenges increases, players will have to choose between
becoming a Healer or a Destroyer to unlock more powerful
healing or killing abilities. Each of these roles offers three
different paths and provides players with the freedom of choice to
customize their instrument, while differentiating themselves in the
narrative. The role of the Healer deals with oscillation techniques
and comprises Meditation, Self-denial and Love. These are
sonically represented by Additive-Synthesis, Amplitude-
Modulation and Frequency-Modulation respectively. The role of
the Fighter deals with sampling techniques and comprises Martial
Arts, Escape Artist and Camouflage, which are represented by
Envelope-Design, Pitch-shifting and Granular Synthesis. When
mastering a role, players gain the ultimate reward: as Healers, they
gain the ability to cast Magic Spells by programming a melodic
sequence; as Fighters they gain the ability to wear an Armor by
mixing two samples together. All respective sonic symbols have
been assigned after careful examination of the sonic properties of
each music principle and technique, in order to link them with
conceptual analogies in the narrative.
In the Healer-role: Additive synthesis adds harmonic partials to
the fundamental frequency. If we stay true to the consistency of
the Kronos-universe, additive synthesis would mean the spiritual
expansion  of  one’s  Soul.  Therefore,  it  was  linked  to  Meditation.  
Amplitude Modulation consists of two interacting frequencies; the Figure 2. Chapters and related Educational mini AGs
one is the carrier and the other the modulator. In short, the
amplitude of the carrier is shaped by the oscillating frequency of
the modulator. The audible effect, vibrating between silence and
maximum amplitude, is interpreted, as if the Organism rejects its
Soul in favor of the others, thus Self-denial. Finally, Love is
 stochastic procedures, just like the users of the aforementioned
Bloom and Electroplankton.
The remaining two levels of interactivity concern the Organisms.
When playing any of the Kronos AGs, organisms are subject to
the respective set of rules. They have to perceive the sonic stimuli,
calculate the sonic outcome and perform according to their goal.
Their  actions  trigger  the  system’s  response,  which  in  turn  shapes  
their  next  actions  in  a  “cyclic  process  in  which  two  active  agents  
alternately (and metaphorically) listen,  think,  and  speak”  [5]. The
third level of interactivity is consists of full, but measured and
evaluated control on the sonic outcome.
The fourth level of interactivity is realized through free
improvisation. Players enter   a   ”Zen-Mode”,   in   which   they   can    
play the game outside the gaming context like an instrument.
Figure 4. displays the aforementioned levels of interactivity.

Figure 4. Levels of Interactivity

The player-to-player interaction refers to the exchange of data
among players. Players can store the attributes of their Organism,
all the numerical values that have been set and the audio-data that
have been input, for later use. Then they can send that package of
Figure 3. Chapters and related Curriculum
information to other players, so that the latter listen or even
continue their work.

5.3 Levels of Interactivity 6. FUTURE DEVELOPMENTS

Kronos is an audio-based environment that features two kinds of
Open-endness lies at the core of the Kronos-universe. The work
interaction: 1) player-to-system 2) player-to-player. Focusing on
can be constantly updated with new quests, unlocking new
the former, four different levels of interactivity can be
abilities and music tools, thus expanding the curriculum. Bearing
distinguished. This serves the educational purpose by
that in mind, the authors of the paper at hand consider three more
demonstrating different aspects of music creation and enjoyment.
directions to further develop their work.
Furthermore, it provides the educator with different learning
environments, which can be used according to the needs of the The next step of the case-study is to let Kronos be tested by
teaching procedure. educators on actual students. Useful conclusions can be drawn
from that process. In what ways does the game facilitate the
The first level concerns the state of Death. Dead players cannot do
teaching of electro-acoustic music? Do the students find the
anything at all – that is the inevitable reality of death after all.
narrative appealing? At what extent does the sonic symbolism
Dead players can only enjoy a stochastically organized electro-
affect the perception of music concepts? What problems will
acoustic ambience.
occur and how can they be resolved? Such questions compose an
Secondly, there are the Ghosts and the Spirits. In contrast to interesting field for research.
Organisms, which are conscious living creatures capable of
The issue of accessibility is very important as well. At the
making autonomous choices, Ghosts and Spirits are trapped in
moment, Kronos is an ABG. Can there be a fully accessible AOG
worlds   that   they   can’t   fully   understand.   Hence,   they   are   actually  
version for the blind and visually impaired? The main difficulty is
unable to interact with the environment in a fully deterministic
that too much information must be input by the user. How could
way. They can only partially discover and control the underlying
developments on accessible eye-free interfaces overcome that
obstacle? Could it be achieved that the blind and the non-blind
players play the game and perform/compose music on equal
terms?
Last but not least, Kronos could grow into a Massive Multiplayer
Online Audio Role Playing Game (MMOARPG). Such a
development would provide players with the ability to co-operate
towards a common goal in online audio dungeons, to compete
against each other in online arenas, and even to freely perform
together in online concerts or just to enjoy the works of others in
an online audio gallery.
7. CONCLUSION
It has been demonstrated that the implementation of role-playing
principles facilitates the creation of an educational environment
that combines an Audio Game with a musical-instrument.
Following a methodology, proposed by the authors, to design
educational AGs, the case study of the Audio Role Playing Game
Kronos has been developed as proof of concept. The process of
assigning sonic symbols to re-compose the curriculum into
narrative content has been explained and future developments of
the project have been mentioned.
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