A Platform for Authoring Interactive Web Audio Learning Objects

A Platform for Authoring Interactive Web Audio Learning Objects Hans Lindetorp Royal College of Music, Stockholm [email protected] Michel Buffa University Côte d’Azur [email protected] Kjetil Falkenberg KTH Royal Institute of Technology [email protected] ABSTRACT Technology has radically changed educational systems and teaching strategies over the last decades. The use of interactive applications for training and exams has become increasingly common. Even audio and music production education benefits from Learning Management Systems (LMS), and teachers can utilize quizzes with listening tests to assess students’ progress. Several commercial applications support the learning process, often including testing features. An area that has been less explored is educators’ need for custom, interactive content targeted at local curricula. A valid result typically requires audio programming skills and a considerable amount of time. Recent open-source technologies, such as WebAudioXML (WAXML) and Web Audio Modules (WAM), aim to simplify the development of webbased audio applications, making them potential candidates for building Web Audio Learning Objects (WALO). This study presents a design study in which a WALO is built with WAXML, WAM, and p5.js. Three sound and music technology experts evaluated it through a workshop and a semi-structured interview. The results reveal several strengths of the technology, as well as limitations and challenges that need to be addressed in future iterations of the design process. The informants asked for a graphical tool for building a WALO and more detailed settings for the student challenges. They also emphasize the great benefit of a tool such as this for a creative and explorative learning environment. 1. INTRODUCTION Developing interactive learning tools that support practice-based, exploratory learning is a challenge across many educational domains—particularly in areas where knowledge is embodied, sensory, or experiential, such as sound and music. While educators in text-based subjects can rely on standard platforms and methodologies to create quizzes or self-guided exercises, those working with audio or other perceptual media face more significant limitations. Learning music production, for instance, involves navigating complex relationships between technical skills, artistic Licensed under a Creative Commons Attribution 4.0 International License (CC BY 4.0). Attribution: owner/author(s). Web Audio Conference WAC-2025, November 19–21, 2025, Paris, France. © 2025 Copyright held by the owner/author(s). decisions, and attentive listening. Although digital technologies with domain-specific tools have transformed educational practices over the past decades, creating interactive, sound-based exercises still demands considerable effort from the teacher, often including custom programming or tool development. In this study, we introduce Web Audio Learning Objects (WALOs), which are modular, interactive learning components built around sound-based tasks. A WALO is designed to support focused exploration and reflection in a learning environment where listening and perceptual judgment are central. To support educators in creating such learning objects without prior programming experience, we present a prototype platform that enables the authoring of WALOs tailored to specific pedagogical goals and learning objectives. The platform is based on a combination of Web Audio Modules (WAM) and WebAudioXML (WAXML). While our examples in this paper focus on music production, the approach is broadly applicable to any education within sound and music where practiceor experience-based learning can be enriched through interaction and exploratory tasks. This study contributes knowledge about the strengths, weaknesses, and potential educators see in WALOs in general, as well as in this prototype in particular. It also suggests design ideas for a standardized way of developing WALOs. 2. BACKGROUND This section presents interactive learning research relevant to this study, as well as a few commercial tools that exemplify how real-time audio processing in a standard web browser is utilized for exploratory learning experiences. Finally, we describe the core technologies used for the prototype platform — Web Audio Modules (WAMs) and WebAudioXML (WAXML). 2.1 Interactive learning From a sociocultural perspective, learning is situated within meaningful, authentic practice [41, 38], and deep learning (the desirable outcome) similarly stems from active engagement in meaning-making [4, 13]. According to Vygotsky’s concept of mediating artifacts, interactive tools that support learners in exploring, manipulating, and responding to material in real-time can create meaningful learning experiences. Approaches like question-based learning [3] promote such engagement by tapping into intrinsic motivation, as learning becomes a process of discovery driven by the questions posed rather than linear instruction [17]. In music education, the concept of musicking reframes music not as a fixed object (a recording, composition, or performance), but as a participatory act — ‘to music’ — that includes, among other things, performing, listening, rehearsing, reflecting, and discussing [37]. This participatory view renders musical learning socially situated, which is supported by studies where focused, repeated listening enhanced understanding [28], and where didactic approaches based on personal and emotional listening supported deeper reflection [40]. Question-based learning and related methods build on this principle by transforming focused listening into a self-directed activity that promotes the metacognitive reflection critical to musical meaning-making. 2.2 Tools for learning audio and music Learning music through educational computer programs has been practised for over three decades. Applications like Auralia1and EarMaster2were distributed via CD-ROM and became popular for ear training, sight reading, and music theory. In recent years, we have witnessed a surge in highquality, interactive web-based educational tools for music and audio. Traditional applications have been ported or recreated using web technology, and even complete platforms for music education like MusicTheory.net3and MusicFirst4are available online. Some tools are targeted specifically towards music production; notably, Ableton’s platforms Learning Synths5and Get Started with Music Theory6offers accessible introductions to audio synthesis and fundamental music concepts. Similarly, the suite of Google Magenta Experiments7showcases various interactive applications for exploring generative music, rhythm, and synthesis. Ear training tools for music producers have also become web-based, with platforms like SoundGym8offering exercises for critical listening skills such as identifying frequencies, dynamic changes, and effects processing. Pedagogical tools can also take the form of interactive tutorials for acquiring specific skills; one example is learning how to program the renowned Oberheim OB-X analog synthesizer and recreate an iconic sound (Van Halen’s Jump) using a faithful Web Audio Module port called OB-Xd9. An original aspect of this work is the use of HTML and CSS to dynamically disable or hide specific synthesizer controls, allowing learners to focus on a subset of parameters relevant to each tutorial step. 2.3 Web Audio and WAXML When teachers require tools to meet specific pedagogical needs or to comply with local curricula, commercial offerings are likely insufficient or unavailable. Then they’re confronted with the complex and often prohibitive challenge of 1https://www.risingsoftware.com/auralia 2https://www.earmaster.com 3https://www.musictheory.net 4https://www.musicfirst.com 5https://learningsynths.ableton.com 6https://learningmusic.ableton.com 7https://magenta.tensorflow.org 8https://www.soundgym.co 9https://webaudiomodules.org/s64GtX3K/private/ tutorial/ developing a custom application. Several standard environments are adopted to simplify the process of building custom audio applications, including scriptor graphics-based languages such as SuperCollider [29], Max [33], and Pure Data [32]. However, distributing these applications to students necessitates downloading and installing the software. Since the advent of Web Audio API [1], several frameworks have been created to make web audio development more accessible. There are web versions of traditional tools like Max10, Pure Data11, and SuperCollider12, and frameworks specifically targeted at Web Audio. This includes JavaScript abstractions like WAAX [11], Flocking [12], and Tone.js [27]. There are also graphical abstractions, such as Quint.js [9] and JSPatcher [35], as well as online coding environments like BRAID [39], EarSketch [26], and p5.js [36], which facilitate the creation of audio applications on the web. WAXML is an XML abstraction of Web Audio API. It was presented as a new standard for structuring Web Audio applications [21] and is more like a document syntax than a programming language. It utilizes standard XML syntax to describe the web audio node’s structure, settings, and connections. A JavaScript parser can interpret the WAXML document and construct an audio graph with oscillators, audio buffers, filters, gain nodes, convolver nodes, and more (see one example in figure 1). WAXML supports native web audio nodes, custom elements for tasks like mixing and chaining audio signals, and mapping parameters [22]. Earlier studies with WAXML have demonstrated its effectiveness in building sonification applications [23, 30], learning audio interactions [24, 20], creating accessible digital instruments [25], and implementing adaptive game music [19]. In this study, WAXML is used as the technical platform for routing audio signals, embedding WAMs, and comparing WAM properties. Figure 1: WAXML code describing an audio graph containing an audio buffer serially connected through four filters of different types. 2.4 Web Audio Modules (WAM) The Web Audio Modules (WAM) [6, 16] are the standard plugin format for the Web Audio API, effectively serving as the Web equivalent of VST plugins. The WAM ecosystem comprises a wide range of components [7], including note generators (e.g, piano rolls, step sequencers, random note generators), virtual instruments (e.g., synthesizers, physically modelled acoustic instruments), and audio effects (e.g., equalizers, reverb, modulation), see Figure 2. 10https://rnbo.cycling74.com/ 11https://github.com/sebpiq/WebPd 12https://github.com/Sciss/supercollider/blob/wasm/ README WASM.md Figure 2: Examples of WAM plugins developed by the community. In addition, WAMs offer less conventional plug-ins that are not usually supported by native plugin formats, such as parameter modulation plugins (orbiters, step modulators, envelope modulators). Operating like a modular synthesis system, these tools enable sample-rate-synchronized time modulation of multiple parameters in other plug-ins, greatly expanding the creative possibilities for sound design and synthesis. The WAM standard has undergone a significant evolution with the release of version 2 in 2021 [8]. This version, published under an open-source MIT license, has dramatically expanded development possibilities: plugins can now be written in JavaScript or TypeScript, take advantage of modern front-end frameworks such as React, and incorporate cross-compiled DSP code from C, C++, Rust, or domain-specific languages in WebAssembly [18, 10]. WAMs are packaged as Web Components, guaranteeing seamless integration into any web application without the risk of dependency conflicts. DSLs such as FAUST [31] and Cmajor13 offer dedicated tools for generating high-performance WAMs [34], with the DSP layer compiled in WebAssembly in a matter of seconds. Given the rich set of examples available in these languages, dozens of WAM plugins have already been created in FAUST, Csound, and Cmajor. Since 2021, development has accelerated, and more than a hundred WAM plugins are now available as free, open-source software. A distinctive feature of the WAM standard is its web-awareness: each plugin can be dynamically imported and instantiated in any application via its URI. WAMs can also be used in “headless” mode, i.e., without a graphical user interface, making it possible to develop plugins that host other plugins internally. Notable examples include pedalboard plugins [5], which emulate guitar pedalboards and enable the construction of complex plug-in chains or audio graphs. By design, WAMs are interoperable Web components. They can be instantiated programmatically via dynamic JavaScript imports or declaratively in HTML code. In this study, support for WAMs is added to WAXML through a dedicated <wam> element. This integration significantly improves the quality and diversity of the instruments and effects available for WAXML. The numerous note generators and modulation plugins also introduce students to advanced 13https://cmajor.dev/ Figure 3: Some WAM plugins in a p5.js sketch: a piano roll that sends MIDI notes to a WebAssembly synth (blue), connected to an effect chain (a Vox amp simulator for adding distortion, a stereo delay, and a FAUST-based port of the Eventide Black Hole reverb pedal). synthesis concepts and real-time audio interaction. 2.5 Web Audio Learning Object (WALO) A learning object is a resource designed to support learning [2]. It’s a modular, reusable component that can be combined with other learning objects to create courses or training programs. Learning objects can be used for both individual training and assessment. Here, we introduce Web Audio Learning Objects (WALOs), which are digital learning objects built on Web Audio and specifically targeted to the audio field. A WALO is intended to be embedded in a bigger framework, like a quiz or a Learning Management System (LMS), but for this study, a prototype is built using the p5.js editor14. Additionally, new features were introduced to WAXML for evaluating the potential of WAXML as a platform for interactive WALOs with WAMs. These features are described in detail in section 4. 3. METHOD This study covers the prototype phase of designing, developing, and evaluating a WALO. The design process is user-centered [15], and data was collected from the designers’ annotated portfolio [14] and through interviews with three expert users participating in a workshop. A prototype of the platform was built for p5.js15, which enables users to customize and test the code in a web browser (see figure 6). A workshop was then held with three sound and music experts (P1, P2, P3), all with decades of teaching experience, which includes using tools for learning about audio in their course activities. P2 and P3 are also highly experienced in designing and developing their own pedagogical 14https://editor.p5js.org/ 15https://editor.p5js.org/hanslindetorp/sketches/ 6DeEjbUtm applications, and P1 has extensive experience in using and implementing Learning Management Systems. The participants were first introduced to the technical setup and the prototype. They were then asked to customize an object with an audio file they selected, and to modify some audio parameters to create an exercise tailored to a particular case. After the workshop, all participants were asked to share their observations on the strengths and weaknesses they identified with the technology, as well as their potential applications in their own practice. The semi-structured interview also allowed the informants to contribute their thoughts and ideas freely. The workshops and interviews were recorded, transcribed, and analysed thematically to understand essential improvements from the users’ perspective. All participants have given their consent to contribute data anonymously for this study. 4. TECHNICAL SETUP The pedagogical exercise used for the prototype involved replicating equalizer settings for a piano recording. The configuration includes an audio file, two identical WAMs, and one mixer object. One WAM is invisible and contains preconfigured settings stored in the WAXML file. The other WAM is visible and can be edited by the end-user from the graphical interface. The signal from the two WAMs is mixed through a WAXML <Mixer> element with a feature for switching between the two signals (see figure 4). Figure 4: A schematic overview of the audio units used in the prototype. An audio signal feeds two instances of the same WAM – one invisible, with settings set by the teacher, and one visible and editable for the user – and the user can switch between the two signals using buttons in the interface. The project is hosted as a p5.js sketch to make code editing accessible through a web page, eliminating the need to install a local code editor and a test server. In the workshop, participants used the editor to customize and test the prototype in a web browser (see Figure 5). The testing included switching between the pre-configured equalizer settings and the current user settings visible in the graphical interface. When the user wants to evaluate the settings, a button triggers an evaluation function in WAXML. It compares all predefined WAM properties with the user settings and presents the differences in a table. In a fully developed WALO, this information will be reported to a hosting system instead. Figure 5: The coding environment for the prototype in p5.js. The code demonstrates how WAMs can be embedded in WAXML and how WAM properties can be configured using WAXML attributes. Figure 6: The interactive learning object with a graphical equalizer and controls for comparing the user’s current and predefined target settings. 5. RESULT This section presents insights from the development process and the workshop, followed by the main takeaways from the interviews. 5.1 Notes from the development Before the prototype could be built, WAXML needed support for WAMs to evaluate the potential of combining the two technologies. The implementation process raised several questions during the development phase. One challenge was dealing with property naming incompatibilities between XML and other languages. WAXML uses attribute names for each element to set property values in corresponding Web Audio nodes. This works fine as long as the property names do not contain invalid characters in XML. As some WAMs’ property names contain a slash sign, a workaround was implemented where ’/’ was replaced with ’_’ and all characters were converted to lowercase. I.e., a WAM property named /envelope/attack would be renamed to _envelope_attack. While this approach worked well for the current test, it will likely fail for future implementations. A decision was made to specify WAM properties as child elements in the next iteration of WAXML. Another core feature needed for this study was the ability to compare two settings of a WAM. The function was built using CSS selectors, referring to the two WAMs. This structure is suitable for a limited configuration, but less efficient for larger ones. Also, the evaluation function in this first iteration of the prototype only measures differences for each property in the WAMs. This is too limited for more complex evaluations, and a decision was made to extend the evaluation function for future versions, where custom logic for the assessment can be specified in the <var> element. 5.2 Observations from the workshop All informants participated in a workshop for approximately fifteen minutes, combined with the interview. P1 and P2 responded very positively when they were presented with the interface, exclaiming ”This is a lot of fun!”, ”This is really interesting”, and ”This is exactly what I was talking to a colleague about for a studio session course”. All participants successfully tried the prototype and modified the exercise by uploading a different audio file and adjusting custom parameter settings. They all needed some help understanding how to use the p5.js interface and encountered usability issues that required guidance. None of them was confident in the XML language and occasionally made minor syntax errors. Minor problems with the user interface and implementation of the test’s learning object were also mentioned, including the lack of a STOP button for the audio playback, misleading labels of the buttons for comparing the two WAM settings, and the fact that an equalizer with three peaking filters is a complex plugin where the same result can be achieved using any of them. 5.3 Interviews The participants were asked about the strengths, weaknesses, and potential they could see with the platform. The answers are presented below and structured accordingly. 5.3.1 Strengths P1 and P2 focused on using a tool like the presented prototype for teaching and practising. They both emphasized that an isolated music production tool, like this equalizer, is exact, easy to understand, and suitable for practising and understanding music production tools, both software and hardware. They pointed out that the A–B comparison is an excellent, but underused, method that helps focus on precisely the concepts you want to discuss. P3 was interested in exploring the possibilities of this platform and found the WAXML language simpler than other coding languages. 5.3.2 Weaknesses All three participants expressed concern about using a scripting language when creating content. Instead, they suggested a graphical interface where teachers can create and save settings. As an intermediate solution, P2 suggested several templates with settings that can be modified. P3 focused on the assessment and pointed out that the current implementation was too limited and too abstract, and that a helpful platform for making learning objects like this needs to be designed, focusing on the intended learning outcome. P3 also highlighted the diversity of intended learning outcomes, noting that it is a significant task to create a single tool that addresses all of them. 5.3.3 Potential The participants mentioned several use cases where learning objects, similar to those demonstrated in this prototype, could be beneficial. P1 pointed out that teaching and learning the art of mixing and mastering music would benefit from such technology and that various plugins would be well-suited for similar exercises. They also pointed out that students could create tests to challenge each other, making the learning experience more game-like. P1 and P2 were excited about using this technology in a Learning Management System for tracking students’ progression. They saw the potential for using SCORM, LTI, or similar systems to track students’ time spent on individual tests and the results. Besides its use in education, P1 also mentioned the potential of using the tool for collecting data for research purposes. P3 pointed out that what you really want to know as a teacher is if the student has listened to the correct aspect of a sound, which is a complex undertaking. Still, well-designed tasks, like listening to the effect of a resonance filter at 2000 Hz, could be purposeful. P2 suggested a service with an online directory of WALOs where teachers and students can create, share, assign, submit, review, and grade custom-made objects for different purposes built from the needs directed by local curricula. P3 also emphasized the importance of keeping students’ experiences in focus when creating learning resources and not underestimating the complexity or abstraction level of a task. 6. DISCUSSION The results generally indicate a very positive response from the expert participants, who appreciated the concept presented in the prototype and successfully utilized the platform to achieve their intended outcome. Some technical struggles during the workshop were related to the behaviour of p5.js and were particular to this study. Due to the limited number of participants and scope, the study claims no generalizability regarding either positive reactions or encountered challenges. The participants’ appreciative comments about how the WALO represented a known practical challenge in their teaching reaffirm that such exercises place music in a socially situated, authentic practice. The platform also provides a common ground to discuss tacit knowledge between students and teachers. Using well-known methods like A–B testing, it is feasible to incorporate WALOs within a modern pedagogical framework, such as pure question-based learning [3]. A strength of authoring WALOs using a combination of WAXML and WAMs is that existing web applications, such as those for ear training or music theory, can be either incorporated or adopted. It is also interesting, pedagogically, to compare commercial WAM audio effects with more educational WAMs. Another advantage is that the rapidly growing number of WAMs covers an increasingly broader area of audio-related topics, which one participant mentioned as a significant challenge. All participants successfully customized the exercise with minimal initial guidance. However, they would easily get syntax errors in the code. This indicates that text-based coding remains a complex and vulnerable method for authoring material. Several times during the interviews, it was mentioned that a graphic editor would be preferable, and that an interface where properties and values can be selected from menus and buttons would be beneficial. Several new ideas were brought up during the interviews: It is interesting to note that participants often related to using WALO in the context of an LMS without being explicitly asked about it. It was easy for them to connect with the prototype’s example and apply it to the related activities they were currently working on. A potential that was not anticipated but mentioned by the participants was the use of WALOs for research activities. One example would be to track the students’ progress, aiming to improve the system. Another approach could be to measure users’ perceptions or assess their audio technology skills. It could thus offer new possibilities both within the sound and music computing domain and in pedagogical research. One of the most well-developed ideas mentioned was the vision of a cloud-based service where WALOs can be created, shared, and used by a network of users. This also led to several questions about copyright and quality: How does one know that a WAM behaves correctly or that a WALO is configured without errors? A crowd-based open-source community is excellent, but it comes with a price, as it can be challenging to manage and administer. 6.1 Limitatitions The participants and the author performing the interviews are acquainted and share a passion for audio education and technology. They are also potential users of a platform like the one presented. While this could introduce a strong bias, it is worth considering that they also come equipped with their own set of tools, methods, and didactical preferences after decades of professional practice as educators. The study focused on only one learning objective, which the authors selected. A couple of additional WALOs could potentially contextualize the framework better for the participants, with the risk of limiting their autonomy of thought and focus on this particular set of WALOs rather than imagining other relevant learning objectives. 7. CONCLUSIONS The work with WAXML and WAM to build a WALO prototype has been gratifying and has led to several key insights. First, the platform benefits from the same strengths as many other web-based tools – it works exceptionally well on all platforms and for most users without requiring any installation. The participants responded very positively to the workshop and envisioned use cases where they could use WALOs to teach and assess several aspects of audio technology. The results suggest a graphical interface for building WALOs and an online directory where a community can share open-source resources. This would contribute to an ecological system of WALOs flowing between users, which, in turn, could encourage more people to learn the discipline of sound and music. 8. ACKNOWLEDGMENTS The authors would like to thank the participants for their valuable insights and perspectives. 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