Tag Archives: narrative

Sound Ideas for Course Design

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Audio in Online Learning banner.

Audio is a term we all understand on some level. Commonly we think of audio as the transmission, reception, or reproduction of sound. Audible sound is what we hear. So, when we consider audio as an element of course design we are thinking about how sound can be used to communicate or support learning in an online course environment. Integrating audio in course delivery can be quite powerful if done well.

Perhaps the most common method of using sound in an asynchronous online course is via narrated lecture. The narrated lecture is typically a voice over a slide presentation or screencast. It can be an essential tool of instruction if designed effectively.

Another way the voice of an instructor can be incorporated into a course is via audio feedback on student assignments. These are short audio recordings that have been found to help build a sense of instructor presence in an online course.

Highly focused use of audio is also utilized in subjects where audio is, in essence, the topic at hand. Here we are considering language, music, and media arts courses as examples.

Other valued voices are often brought into the online learning experience via guest interviews in either audio or video format. Not to be left out, the voices of students are increasingly present in online course via tools such as VoiceThread and university provided video portals such as Kaltura Media Space. And with tools such as Zoom recording audio interviews and voice overs is easier than ever. With the availability of media platforms such as YouTube, Vimeo, Amazon Prime, Audible, and Apple Music and Podcasts the ability to bring external audio resources into the online experience seems almost limitless.

Audio is also used as a supporting resource for text-based content in online courses. In this case screen readers may typically provide the audio support. When using audio as a primary learning resource it is necessary to provide text-based transcripts as accessibility options. A fuller description of making audio accessible can be found at the W3C website.

The examples listed above are common ways we integrate audio elements into online learning. Are there other perhaps different ways we might consider? In the next few paragraphs we will explore a few ideas of how we might use audio in specialized ways in course design.

Specialized Audio Use

Orientation & Review Audio

Audio is a great tool to use when smaller segments of media should be used to orient students to a part of an online course. Think about short, more ephemeral, voice messages that can be easily produced and updated from term to term as the course changes. These audio segments need not be highly produced but should be of good quality. This type of audio segment reconnects students with the instructor via voice.

Listen to the orientation audio sample below that was used in an online course: RE 270 – Outdoor Recreation Resources, Behavior and Values | Module III Orientation by Dr. Craig Rademacher; Northern Michigan University c. 2012. (00:02:56).  [download orientation audio transcript  from Temi.com]

Similar short segments of audio may be used to review sections of content. The review audio may be produced by instructors or students. These audio reviews may be used in preparation for an exam, major project, or collaborations within the course. The goal of such reviews may vary but certainly one goal would be to re-focus the listener to the task at hand while providing timely tips or learning objectives.

One of the things you may have noticed about the audio clip above is the integration of music to the orientation message. Purposeful music selections can support the emotional feel of a course or module being introduced. Music can also serve as an audio cue, or audio branding, for a course. So, selecting audio stingers, or music introductions, can highlight that a particular message or topic is coming or reinforce an emotional tone if carefully planned.

The primary benefit of using audio for orientation and review is that audio is less production intensive making it a quick way to provide feedback. Audio is also fairly easy to edit with a free cross-platform audio tool such as Audacity.

Narrative

The oral traditions of learning go back centuries. Prior to print, learning was interwoven in spoken traditions, legends, and cultural stories. Today story remains a potent vehicle for learning. As you might imagine audio is a great vehicle for story.

An example of this is an Oregon State University political science course titled Governing after the Zombie Apocalypse which was designed and taught by Dr. Rorie Solberg. The story that underpins this course is that a natural disaster has caused the breakdown of the U.S. government. In response citizens must create a new government including a bill of rights and constitution. Students become the citizens creating that new government taking into account marginal populations such as the surviving zombies which are called “blues”due to their virus-caused color.

Audio is used creatively in the course by periodically inserting radio broadcasts about odd happenings around the country. Although not the heart of the effort of the course, these audio presentations, really imagined radio newscasts, provide situational tenor and decision points as students go about creating a new government. Listen to a segment of a mock radio broadcast below.

Mock radio broadcast excerpt: Story by Dr. Rorie Solberg. Produced by Oregon State University Ecampus. Voice acting credit: Warren Blyth (00:02:04)

This segment highlights how audio can be used to shape and carry a narrative through an online course. You might imagine how different narrative audio presentations may support history, literature, or science courses.

Soundscapes & Nature Sounds

Experiencing authentic places or environments is believed to be a valuable form of learning. This idea is a driving force behind field-based learning and experiential learning. Audio soundscapes provide access to authentic acoustic environments that can support online learning about the context of an environment. The environment may be urban, rural, or perhaps in a wilderness-like setting. Soundscapes may also be used to create sense of cognitive and emotional world building that can be used in instruction. Soundscapes typically feature a molar perspective of the acoustic environment.

Listen to an example of such a soundscape titled Elk Rut and Rain Shower — Rocky Mountain National Park in Colorado by Gayi immersions (00:28:03) at SoundCloud. (link will open in a new tab)

Other, more specific sounds of nature are potentially positive resources for online instruction. Below is a sound sample of the call of a common raven. Listen to the raven’s call.

Audio recorded in the Beaver Basin Wilderness at Pictured Rocks National Lakeshore in Michigan in 2010 | Craig Rademacher. (00:00:26)

Now imagine how this simple recording may be utilized in a course. It might be used to help identify ravens from crows in an ornithology course. Perhaps this audio clip could be used to help communicate a sense of isolation for listeners studying wilderness values. Or, perhaps it could be used to introduce the poem by Edgar Allen Poe titled The Raven. In each case the audio would be used intentionally to deepen the context or experience of the learner.

Fidelity Matters

Sound quality is an important factor when selecting and using audio in an online course. Audio files need to be of sufficient quality to clearly indicate what you are expecting students to hear. Poor audio, or a confusing sound recording, is experienced as distracting and student will likely tune out. Recording and editing audio does require some knowledge and practice. And there are many places where you can learn to produce audio. LinkedIn Learning offers courses in audio production, podcasting, and even how to select a microphone. So, if you are interested give it a try.

If you are not inclined to produce your own audio content there are resources available where you can find high quality audio for use in courses. Some of these resources are royalty free. Others may require licensing of audio for use.

Final Thoughts

We have reviewed how audio is commonly used in online courses and how we might think about new ways of integrating audio. As you explore the links to resources below start to think about your next course design. How can you augment the text and video you normally use with audio? How might you leverage voice, narrative, or soundscapes to connect online students to the context, authenticity, and humanity of learning? You might want to experiment with audio at first. Start small. If it works, then you will have truly found a sound idea for online course design.

Select Audio Resources

Royalty free online resources:

Podcast Resources
There are several ways to find audio podcasts to review for inclusion in a course. Apple Podcasts is a dominant resource in this area. Apple streams over 750,000 podcast shows with over 20 million episodes. Google Play Music is another good resource. Podcast feeds can also be found simply by browsing for podcasts online.

Audiobooks
Audiobooks are found in many online book seller sites such as Amazon (Audible.com). Additionally some more specific sites such as audiobooks.com also provide resources.

Soundscapes and Nature Sound Resources

 

**Special thank to Matt Djubasak and Chris Lindberg for their contributions to this post.

Games as a Model for Motivation and Engagement, Part 2

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Narrative and World-Building

For this post, I will focus on two simple strategies you can use to improve motivation and engagement in your online course, narrative and world building. These terms are used frequently in games, as well as in literature, film and other domains. They are a powerful tool, easily applied to your existing course material or as you develop new content.puzzle world

If you want some background about where my thinking is coming from, check out my last blog post, Games as a Model for Motivation and Engagement, Part 1, where I take a deeper dive into gaming and Self-Determination Theory. I would also recommend a post by Dr. Meghan Naxer, Self-Determination Theory and Online Education: A Primer.

There are two kinds of world building I’d like to talk about; instructor-created narrative and student-created narrative. To set the tone for our thinking about this, I’ll start with a quote from Designing for Motivation.

“… if you increase autonomy then engagement will improve, if you increase competence then motivation will increase, and if you increase relatedness then wellbeing will be enhanced–these needs become the controllers we tweak and adjust to iterate on and improve experience.”
(Peters, D., Calvo, R. A., & Ryan, R. M. (2018) Designing for Motivation, Engagement and Wellbeing in Digital Experience. Frontiers in Psychology, 28 May 2018. DOI: 10.3389/fpsyg.2018.00797)

So how can we use world building to ‘tweak’ these three controllers?

Instructor-Created Narrative

role-playing game diceInstructor-created narrative refers to the world or environment created by the course builder and determined by the story they are telling about that world. This world building can be for a particular course activity, but also keep in mind that your entire online course is a learning environment and you, as the course builder, have significant influence over how that world is curated. A colleague recently described how an instructor begins their course with the phrase, “Welcome scholars”. This sets a tone that is a competence-supportive environment with just two words. Tone is a commonly used tool for world building across many domains.

As a simple entry point for world building, I’ll start with a classic type of game, role-playing.

Brainstorm Exercise

Consider setting up a role-playing scenario for one of your existing activities or assignments. What is the outcome you expect students to achieve from this activity? Imagine a situation (or world) where that outcome exists or can be applied. What does that situation look like? Now, imagine you are a student in that situation, what does this world look like? (See what I did there? Role playing!) How will your student interact with that world to achieve your outcome? Take a minute or two to note your answers to these questions. This is a good way to begin sketching out your narrative. Once your sketch is complete, you can begin moving the parameters and rubrics of your existing activity into this world.

The world you create for your scenario can be the ‘real world’ in a particular time period, a hypothetical political situation, a business/client relationship regarding a product, or a hypothetical world to resolve a physics problem. Here are some ways you can frame your thinking as you practice the above exercise:

  • Take the tools you have provided in the course content (competence) and use them to analyze the following situation (world building). “How would you apply what you learned this week to the following situation?”
  • Even better, “How will the situation change as a result of your decisions?”

A small change in wording can provide big changes in thinking. In the second bullet point, we have moved from applying the week’s content to a given situation to a personalized critical analysis.

Student-Created Narrative

The other side of the coin is allowing students to build on your narrative, or create their own. This is where you significantly impact autonomy. This is your world, you create the rules. You set the parameters that will focus student thinking toward the outcomes you hope for them to reach. The rules you set will determine the level of autonomy the student experiences.

Brainstorm Exercise

For this exercise, you can continue with the role-playing scenario you built in the previous Brainstorm Exercise or choose another existing activity from a course. Let’s brainstorm some ways you can add autonomy to this activity.

A simple addition to the role-playing scenario we built previously would be to allow students to choose the role they will play. You have built a narrative, now let the student choose the character they will play to build on that narrative. If you need to keep things more focused, it is totally acceptable to restrict the roles to a list of options. Even with restrictions, is it possible for students to choose the gender, race or economic background of their character? What other characteristics can you think of that will help a student take ownership of the role?

For other kinds of activities, consider giving students the creative freedom to choose and build their own narrative. The instructor still defines the rules of the world and sets the outcome and rubrics for the activity. Can you open up the choices a student has to meet these outcomes? Allow students the autonomy to take ownership of how they get to your outcome, using your rubric as a guide.

For example, select a concept that was covered in the course. In your activity, allow students to choose where and how that concept can be applied. Let them build the narrative around the concept. Conversely, select a setting in the world, much like you would for the role-playing scenario. Allow students to choose the course concepts they want to apply in that setting and build a narrative around that. This strategy lends itself well to case studies. Rather than taking on a specific role, students become story creators, while still working with instructional concepts and within the rules defined by the instructor.

Group World Building

As I mentioned in my previous post, group work and community building (as modeled by gaming communities) are great ways to increase relatedness in a course. Community members are able to share their competence and, in turn, feel valued by that community. This is another great support of motivation.

All of the strategies discussed above can be applied to group work. You can set up the same role-playing scenarios, but this time multiple students will take on different roles and interact in those roles within their group community. Relatedness is impacted as decisions and actions taken by one student will affect the world that is being collaboratively built. Here are two examples from a media course I recently helped develop. They both reflect the range of complexity group world building can undertake.

Pitch Game (Group Discussion)

For your Initial Post in this discussion, pitch a new television show. Follow the parameters presented in class; including X+Y claims, audience description, sketch of the show’s audience and the ideal network for the show. For your Peer Response, you will take on the role of media buyer. Choose which network or streaming service you work for. Review all available show pitches. Decide which show you will purchase. Reply to the show you wish to purchase; identify the network you represent and write your reasoning why you want to make the purchase. Use course material to support your decision.

Trial Simulation (Group Project)

To better understand the ways in which civil law shapes the media ecosystem, we will enact a short trial simulation. The court of the Honorable Judge is an appeals court: this means that the FACTS of the case were decided by the TRIAL court. The question that will be litigated in class regards the law and the interpretation of those facts.

One student will take on the role of Plaintiff, another will be Defense and a third member of the group will be the Judge. Over the next two weeks, you will follow the posted schedule to present your arguments and answer questions from the Judge. Before proceeding, review the Debate Rules and Trial Facts documents. You will be expected to cite actual Supreme Courts cases to support your claims.

Hopefully, this blog has provided some simple entry points for using world building to increase autonomy, build competence, and improve relatedness in a course to improve motivation and engagement. I would love to hear what you come up with in the Brainstorm Exercises.

Dice Image: “DSCF5108” by joelogon is licensed under CC BY-SA 2.0
World Building Image: puzzle-ball-1728990_1920 from Pixabay