Radical Tunes: Exploring the Impact of Music on Memorization of Stroke Order in Logographic Writing Systems

Abstract

Music and rhythm are powerful tools that can be employed to enhance learning and memory. While games are commonly utilized to aid in second language acquisition, few have explored the implications of sound on learner's ability to draw and remember logographic characters (such as those in Chinese hanzi, Japanese kanji and Korean hanja). We created Radical Tunes, a kanji drawing music game, to explore the impacts of incorporating music on players' ability to retain meaning and stoke order of several kanji. In this paper, we describe the design rationale for Radical Tunes, and present results from a pilot study comparing a music focused version of the game with one that uses non-musical sound effects. Results show that while both conditions improved players' short-term ability to remember/draw kanji, there were no significant differences in improvement between the conditions. However, the use of music did improve immersion-an important factor related to learning. This work has implications for designers of second language acquisition games, and how they can incorporate rhythm and music into their games to increase player engagement.

Full text

Radical Tunes
Exploring the Impact of Music on Memorization of Stroke Order in Logographic Writing Systems
Oleksandra Keehl
University of California, Santa Cruz
Santa Cruz, CA
okeehl@ucsc.edu
Edward Melcer
University of California, Santa Cruz
Santa Cruz, CA
emelcer@ucsc.edu
ABSTRACT
Music and rhythm are powerful tools that can be employed to
enhance learning and memory. While games are commonly uti-
lized to aid in second language acquisition, few have explored the
implications of sound on learner’s ability to draw and remember
logographic characters (such as those in Chinese hanzi, Japanese
kanji and Korean hanja). We created Radical Tunes, a kanji draw-
ing music game, to explore the impacts of incorporating music on
players’ ability to retain meaning and stoke order of several kanji.
In this paper, we describe the design rationale for Radical Tunes,
and present results from a pilot study comparing a music focused
version of the game with one that uses non-musical sound eects.
Results show that while both conditions improved players’ short-
term ability to remember/draw kanji, there were no signicant
dierences in improvement between the conditions. However, the
use of music did improve immersion—an important factor related
to learning. This work has implications for designers of second
language acquisition games, and how they can incorporate rhythm
and music into their games to increase player engagement.
KEYWORDS
Educational Game; Music; Immersion; Second-Language Acquisi-
tion; Kanji; Radicals
ACM Reference Format:
Oleksandra Keehl and Edward Melcer. 2019. Radical Tunes: Exploring the
Impact of Music on Memorization of Stroke Order in Logographic Writing
Systems. In The Fourteenth International Conference on the Foundations of
Digital Games (FDG ’19), August 26–30, 2019, San Luis Obispo, CA, USA. ACM,
New York, NY, USA, 6 pages. https://doi.org/10.1145/3337722.3337764
1 INTRODUCTION
Logographic writing systems, such as Chinese, Japanese and Korean,
are notoriously dicult to learn. The students of these languages
have to copy the characters dozens of times in order to memorize
them. As a result, acquiring hundreds of characters through rote
learning is a daunting task and can discourage a casual learner from
pursuing a language.
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fee. Request permissions from permissions@acm.org.
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©2019 Association for Computing Machinery.
ACM ISBN 978-1-4503-7217-6/19/08. . . $15.00
https://doi.org/10.1145/3337722.3337764
Games have become a frequently utilized tool to aid in second-
language acquisition (SLA), addressing topics such as vocabulary
and meaning [
7
,
21
], tones [
11
], conversational phrases [
5
], and cul-
ture [
2
]. However, there has been relatively little focus on how SLA
games can be employed to teach writing skills for logographic char-
acters. For instance, while there are many educational games and
applications out there intended to help people memorize Japanese
kanji, most focus solely on the reading and meaning portions and
don’t teach stroke order (such as the popular service WaniKani
1
).
However, the stroke order is also important to learn, as it is instru-
mental for reading and writing handwritten scripts. Furthermore,
the majority of commercial writing apps primarily amount to digi-
tal ashcards. While convenient and useful to a motivated learner,
they oer little extrinsic motivation to a casual student, which is a
signicant hurdle for many kanji students [18].
To address these issues, we created a musical game for learning to
write kanji. The name of our game, Radical Tunes, is not incidental:
radicals are the building components of kanji (Figure 1), and music
can play an important role in memory and learning. For instance,
in a study by Wallace [
22
], subjects were best able to memorize
lyrics to a song if it was played to them several times with the same
rhythmically matching melody (as opposed to several matching
melodies or repeating but mismatched melody). Our hope is that the
musical aspects of the game will turn the tedious task of repeatedly
drawing the kanji into an enjoyable and educationally-eective
activity. To achieve this we are relying on the power of music as
a mnemonic device [
22
] and popularity of rhythm games, such as
Osu2which has over 13 million registered players.
Beyond its aesthetic appeal and mnemonic potential, music has
also been found to play a notable role in altering immersion [
14
,
20
].
Cairns et al. [
1
] describe immersion as "the degree of involvement
that players have with dierent aspects of the game leading to a
move of the attention, awareness and thoughts of the player from
the real world around them to the events happening within the
game". This suggests immersion is an important component of the
gaming experience, and other research has shown that it can also
enhance learning in a number of ways [
3
,
6
], making it important
to both SLA games and educational games in general.
In this paper, we provide the design rationale for Radical Tunes—
which ties unique melodies to radicals within a kanji. We also
present results from a pilot study exploring whether adding music
to an SLA game would improve learning outcomes and key factors
that can impact learning, such as immersion. To our knowledge,
no prior work has examined the relationship between music and
1https://www.wanikani.com
2https://osu.ppy.sh/home

FDG ’19, August 26–30, 2019, San Luis Obispo, CA, USA Oleksandra Keehl and Edward Melcer
Figure 1: Anatomy of kanji. Each kanji consists of one or
more radicals and each radical has one or more strokes.
ecacy of an SLA game for learning the writing stroke order of
kanji characters.
2 RELATED WORK
The following subsections provide a brief overview of games created
to teach various aspects of a language, and notable prior research
examining the relationship of music, immersion, and learning.
2.1 Second-Language Acquisition Games
Many studies have been conducted on the use of games in SLA,
including exploration of kinesthetic learning [
8
,
23
], augmented
reality [
16
], alternate reality [
4
], collaborative learning [
4
,
9
,
11
,
16
,
21
,
23
], and roleplaying [
2
] in games. These games addressed
various aspects of language acquisition, such as vocabulary and
meaning [
2
,
7
,
15
], pronunciation and tones [
9
,
11
,
17
], grammar
[4], writing [21, 23] and even culture [2, 16].
Notably, many of these studies showed that one of the main
benets from including games in SLA was increased engagement.
Multiple ndings highlighted that the majority of players felt en-
tertained and challenged, which could lead to dedicating more time
to the learning activity. Other benets observed in some of the
games were ease of access (on mobile devices) [
11
] and reduced
stress (from not having to perform in front of teachers/peers) [
4
].
However, to our knowledge, no one has conducted a study on the
eects of music on memorization of kanji or other logographic
characters.
In addition to positive outcomes of games on learning language,
some prior work has found negative eects as well. Specically,
DeHaan et al. has studied eects of cognitive load in interactive
Figure 2: Radicals and kanji used in study. Left to right: per-
son, mouth, tree, rest, episode, annoyed.
games on learning [
7
]. Using a commercial musical vocabulary
learning game Parappa the Rapper 2, they compared vocab retention
from students who played the game and those who watched the
gameplay without any interaction. In their study, the watching
students retained more vocabulary than the players, which lead the
authors to caution that it is possible for interactivity in a game to
aect learning outcomes negatively. We kept this concern in mind
when designing Radical Tunes. In Parappa the Rapper 2, the player
had to hit sequences of buttons in time with music. One could
master this activity without paying any attention to the words. In
Radical Tunes, the music is created as the player draws each stroke,
and thus the game’s interactivity is integral to the learning activity
instead of distracting from it.
2.2 Immersion, Music, and Learning
Music has been linked to various aspects of human performance.
One study suggested that calming music helped increase children’s
performance in math, word memorization and altruistic tendencies
[
10
]. Another study examined eects of music on lyrics memoriza-
tion and found that subjects exposed to a repeating melody with a
rhythm matching the lyrics performed better than those listening
to a mismatched, altering or no melody[22].
Music has also been linked to immersion in digital games [
20
],
and immersion, in turn, has been shown to have a positive eect on
learning [
2
,
3
]. Many of the papers mentioned in the SLA section,
while not explicitly mentioning immersion, listed engagement as a
factor leading to positive learning outcomes. Notably, engagement
is recognized as one of the core components of immersion [
1
,
3
].
Immersion is therefore another important factor to examine in our
study.
3 RADICAL TUNES
Radical Tunes is a musical game for learning to write kanji, the
Japanese characters borrowed from Chinese language. Kanji consist
of radicals and strokes (Figure 1). Radicals are building blocks of
kanji, and each kanji has at least one radical. Each radical has a
meaning, which may or may not contribute to the meaning of the
kanji, and these are often used in mnemonics. WaniKani
3
uses
made-up humorous meanings for radicals, which often have little
to do with the original meaning, but through the shock value have
a strong mnemonic eect. Each radical consists of one or more
strokes. Strokes don’t carry a meaning on their own.
Many mnemonic devices exist for remembering the shape and
meaning of a kanji [
19
], but to our knowledge, none of these are
focused on learning the proper writing stroke order—which is nec-
essary for handwriting prociency. As a result, we created Radical
3https://www.wanikani.com

Radical Tunes FDG ’19, August 26–30, 2019, San Luis Obispo, CA, USA
(a) (b)
(c) (d)
Figure 3: Radical Tunes screenshots. (a) Meaning pre- and post-test. (b) Stroke order pre- and post-test. (c) Stroke learning
screen. (d) Timed and scored game portion.
Tunes to ll that void. Past studies have shown the positive eects
of music on memorization of text, especially when it is rhythmically
aligned with the material [
22
]. We wanted to explore if this music
mnemonic eect could be extended to memorization of the stroke
order of a kanji.
Radical Tunes achieves the intended musical mnemonic mech-
anism by employing a unique instrument and melody for each
radical, thus giving each radical a melodic ngerprint of sorts.
These melodies are further broken down, with each element of
the melody corresponding to a stroke within the radical. As a re-
sult, as the student correctly draws a kanji, they will hear a unique
melody corresponding to that kanji unfolding with every stroke.
For our initial game we selected three of the six most commonly
occurring radicals in the J
¯
oy
¯
o kanji (the 2,136 characters required
for baseline literacy). We also selected three kanji which consisted
of combinations of those radicals, to add increased complexity, for
a total of six characters for our subjects to learn (Figure 2).
Radical Tunes teaches writing stroke order in three stages. First,
an animated demo of the stroke order is shown. Next, a player is
asked to trace the character with the help of arrows (Figure 3c),
and nally, they are encouraged to practice tracing the character
without the arrow order hints. If they draw a stroke incorrectly, a
soft ping alerts them of the mistake and they will have to attempt
the stroke again. After learning is complete, the player can play the
game, where they have to draw the kanji correctly and as quickly
as possible to earn the most points (Figure 3d).
4 METHODS
The goal of our pilot study was to investigate the impact that music
and rhythm would have on learning in Radical Tunes. Given that
immersion can play an important role in learning for educational
games [
3
,
6
] and music has been shown to impact immersion [
20
],
we also wanted to examine if the musical nature of Radical Tunes
increased player immersion.
Our study had two versions of the game: 1) the original Radical
Tunes with unique tunes for each radical and melodic elements ac-
companying each stroke; and 2) the control version where the music
was replaced with the sounds of chalk writing on a blackboard.
4.1 Procedure
The participants were told that the study was for an educational
game where they would learn the meaning and writing of six Japan-
ese characters. They were then randomly assigned to either the
music or control condition and given an Android tablet with the
appropriate version of Radical Tunes loaded. For the experiment,
meaning and stroke order tests were built into the beginning and
end of the game (Figures 3a and 3b).
For the meaning tests, the participants were shown the characters
one at a time and had to chose an answer from 6 possible meanings

FDG ’19, August 26–30, 2019, San Luis Obispo, CA, USA Oleksandra Keehl and Edward Melcer
Table 1: IEQ mean scores, standard deviations, signicant dierences between the two conditions, and the eect size, which is
in the medium to large range for signicant dierences.
Control Music Signicance Eect Size
IEQ Measures µ σ µ σ p r
IEQ Overall 100.33 18.1 115.25 15.29 .04* .41
Cognitive Involvement 30.08 7.01 36.08 5.13 .026* .44
Real World Dissociation 25.58 6.49 28.5 5.81 .26 .23
Emotional Involvement 12.33 3.58 15.58 3.48 .034* .42
Challenge 16.33 1.5 17.67 1.83 .063 .37
Control 16 3.54 17.42 3.15 .31 .21
(Figure 3a). The options were the same for pre- and post-tests. At the
end, the players were notied how many characters they identied
correctly, though not which ones. This was done to prevent the
participants from learning character meanings during the pretest
via conrmation of their guesses.
For the stroke order tests, the participants were asked to trace
each character on the screen with their nger. We placed orange
dots along the lines, and the dots turned green when touched, to
indicate which sections of a kanji were already traced (Figure 3b).
No feedback was given on this evaluation, as we were examining
their knowledge of stroke order without any hints.
After the pre-tests for meaning and stroke order, the participants
were taken through the educational section of Radical Tunes. First,
the subjects were shown the animation of the correct stroke order
with accompanying sounds. Then, they were asked to draw the
strokes by following the arrows on the screen (Figure 3c). Finally,
they were asked to trace the character unassisted. A soft ping
would let them know if they made a mistake, and they would
have to redraw the latest stroke. To ensure that each participant
received the same amount of instruction, we limited each step to
two unskippable repetitions.
Next, participants played the Radical Tunes game by tracing
the characters appearing on the screen as quickly and correctly as
possible (Figure 3d). The game included each character twice in
a randomized order. The same randomized order was used for all
participants.
After the game was completed, the nal score and time were
displayed and the participants were directed to take the meaning
and stroke order post-tests. Lastly, they completed a demographic
and experience questionnaire on a laptop.
4.2 Participants
Twenty four participants took part in the study. They were recruited
through class announcements and by word of mouth outside of
the university. There were 11 female, 12 male and one non-binary
participant. The ages ranged from 19 to 51 with the average age
of 25.6 (SD = 7.8). During the study, participants were randomly
assigned to one of the two conditions: music (7 female, 5 male) and
control (4 female, 1 non-binary, 7 male). All participants reported
no prior knowledge of Japanese or Chinese.
4.3 Measures
4.3.1 Immersive Experience estionnaire (IEQ). We used the Im-
mersive Experience Questionnaire [
13
] to measure the level of
immersion experienced by our subjects. IEQ takes into account
ve dimensions of immersion: cognitive involvement, emotional
involvement, real world dissociation, control and challenge. The
cognitive involvement dimension covers factors like attention and
eort the subjects invested into the game. Emotional involvement
covers the degree to which the subjects enjoyed the game and were
interested in seeing more of it. The real world dissociation mea-
sures the degree to which the participants lost track of time and
their surroundings. The control dimension assesses the perceived
responsiveness and ease of use of controls. The challenge dimension
measures the perceived diculty of the game.
In their paper, Jennett et al. suggested that immersion is an im-
portant component of what is perceived as a good game. For Radical
Tunes to serve its educational purpose, it is important for it to be
able to hold the players’ attention and provide an enjoyable expe-
rience that entices them to return. With this in mind, we decided
that IEQ would help us measure how well Radical Tunes performed
in this sense.
4.3.2 Radical Tunes scores. The participants were given pre- and
post-tests for meaning (Figure 3a) and stroke order (Figure 3b)
for each of the six characters. We used the relative improvement
between the pre/post tests to assess the learning outcome of the
game.
5 RESULTS
5.1 Prior Knowledge and Experience
According to a series of independent samples t-tests, participants in
the two conditions did not dier with respect to prior video game
experience (p = .61), prior rhythm game experience (p = .81), and
on the pre-test learning outcome measures: kanji meaning (p = .82)
and stroke order (p = .31).
We can therefore assume that participants in both groups had
similar prior game experience and knowledge of kanji for the fol-
lowing analyses.
5.2 Immersion Experience
We rst examine participants’ experience of immersion during
gameplay for both conditions (Table 1). To analyze dierences be-
tween IEQ scores for the two conditions we used an independent

Radical Tunes FDG ’19, August 26–30, 2019, San Luis Obispo, CA, USA
Table 2: Descriptive statistics of learning outcomes (mean-
ing tests, stroke order tests, and in-game scores).
Control Music
Learning Outcome Measures µ σ µ σ
Meaning Pre-test 1.08 .9 1.16 .84
Meaning Post-test 5.5 1 5.58 .67
Meaning Improvement +4.42 1.73 +4.42 1.17
Stroke Order Pre-test .33 .65 .59 .52
Stroke Order Post-test 5.41 .9 5.67 1.16
Stroke Order Improvement +5.08 .9 +5.08 1.38
In-Game Score 102.17 8.93 106.58 2.19
samples t-test. Table 1 shows descriptive statistics for IEQ scores, as
well as signicant dierences and eect sizes between conditions.
Results found a signicant dierence in favor of the music condition
of the game increasing overall IEQ scores (p = .04, r = .41), cognitive
involvement (p = .026, r = .44), and emotional involvement (p = .034,
r = .42). There were no signicant dierences for real world dis-
sociation, challenge, or control (all p’s > .063). This suggests that
adding melodies and music to our game helped to improve player
factors (cognitive involvement and emotional involvement) but not
game factors (challenge and control) of immersion [13].
5.3 Learning Outcomes
To better understand players’ learning outcomes from the game we
analyzed pre- and post-test scores for meaning and stroke order,
as well as nal scores from the game portion of Radical Tunes.
Descriptive statistics for the three measures are shown in Table 2. A
series of independent samples t-tests showed that both conditions
had a signicant increase in both meaning and stroke order scores
from pre- to post-test: control (meaning - p < .001, r = .95; stroke
order - p < .001, r = .96), and music (meaning - p < .001, r = .92;
stroke order - p < .001, r = .94). This suggests that the game itself was
indeed successful for short-term teaching of kanji meanings and
writing stroke orders to players. However, there were no signicant
dierences in improvement between conditions for meaning, stroke
order, or in-game score (all p’s > .11).
5.4 Perception of Usefulness
We asked participants to rate if they would recommend this game
to someone trying to learn Japanese or Chinese on a 7-point Likert
scale (1 - not at all to 7 - very likely). Scores were notably higher for
the music condition (µ= 6.58, σ= .67) than the control condition
(
µ
= 5.42,
σ
= 1.78). An independent samples t-test showed that
there was a signicantly higher likelihood of recommending the
game for the music condition (p > .045, r = .4).
6 DISCUSSION
6.1 Immersion and Learning in an SLA Game
The music condition participants showed signicantly more overall
immersion according to IEQ responses (Table 1), particularly in the
cognitive and emotional involvement dimensions. This falls in line
with existing studies showing increased immersion with addition
of pleasing music [
20
]. We expected challenge and control to be
similar across the two groups, since the game controls and tasks
were identical. Overall, this indicates that adding music to Radical
Tunes—and likely SLA games in general—can improve player fac-
tors (cognitive involvement and emotional involvement) but not
game factors (challenge and control) of immersion [13].
Both conditions showed a signicant improvement between pre-
and post-test scores for meaning and stroke order (all p’s < .001)—
indicating that the game is eective for helping players learn. How-
ever, there was no signicant dierence in the improvement be-
tween the two conditions (Table 2). This is possibly due to the
limited number of kanji tested and short-term interaction with
Radical Tunes, not providing enough time and diculty for the
music mnemonic approach to have a signicant impact on learning
outcomes.
6.2 Limitations
While the immersion and perceived usefulness results are promis-
ing, showing that players tend to prefer the music version of Radical
Tunes, we weren’t able to see any eects of music on memorization
of stroke order or kanji meaning. We theorize that these eects may
present themselves better over time with a larger number of kanji.
Furthermore, the number of participants in our study (n= 24) is
lower than n= 30 recommended to reach normal data distributions
for our observed eect size (this rule of thumb is derived from the
Central Limit Theorem [
12
]). This limits the scope of our results. To
remedy these limitations, we plan to conduct a future longitudinal
study with a larger number of participants and with expanded learn-
ing content to better observe the eects of kanji-specic melodies
on long-term stroke order memorization abilities of students.
6.3 Future Design Improvements
Our current implementation of Radical Tunes features melodic
elements of a xed duration in what we estimated would be the
appropriate length for each stroke to be drawn. Each element is
triggered when the player correctly begins to draw a stroke. If the
player goes out of bounds or lifts their nger half way through,
the melody is interrupted, which works as designed. However, if
the speed of the player’s drawing is signicantly dierent from our
estimate, the melody and drawing become out of sync. Several of
the participants in the music condition of Radical Tunes noted this
issue and expressed their wish for a better coupling of melody and
stroke speed. Dynamically adjusting stroke sounds is something
we intend to implement for our next round of experiments. Some
participants were also dissatised with the slower pacing of the
game, which resulted from us enforcing two repetitions of each of
the learning steps. In the next iteration, we plan to allow students
to navigate through sections of the game freely and learn things at
their own pace.
7 CONCLUSIONS
In this paper we described Radical Tunes—a musical game for learn-
ing to write Japanese kanji, which uses unique melodies to aid with
stroke order memorization. We also described the results of our
pilot study, which compared the musical version of Radical Tunes

FDG ’19, August 26–30, 2019, San Luis Obispo, CA, USA Oleksandra Keehl and Edward Melcer
with a version which instead had non-musical sound eects, i.e.,
the sound of chalk writing on a blackboard. Through use of the
Immersive Experience Questionnaire, we found that incorporation
of music in Radical Tunes signicantly increased player immersion.
The participants from both conditions showed signicant score im-
provement between pre- and post-tests, which shows that Radical
Tunes was eective in teaching the kanji to players, at least in the
short-term. The small scope of our pilot study—only six characters—
didn’t expose any mnemonic eects the music may have on players’
ability to retain the kanji long term, and it is something we plan to
investigate further in our future work.
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