As I (hopefully) reinter the work force and finish up my independent study with music technology, I hope to be better prepared for certain situations taking a look at a few things. Up to this point, this blog has focused on the music ed tech that can be used as part of your everyday curricula. Much of this technology can be adapted to fit the needs of many of our students; others with more severe disabilities will require alternative means of music education and new tools. So, I'll be taking a look at some of the major technologies for students with disabilities, describe them, provide links and embedded video, and discuss the ways that they can be used in the classroom (inline with the National Standards for Music Education). Also note that the technology discussed in this post can be used by anyone, not just students with disabilities.
One of the most innovative technologies that I have seen recently is Soundbeam (http://www.soundbeam.co.uk/). According to their website, Soundbeam is "an award-winning device which uses sensor technology to translate body movement into digitally generated sound and image," and is "identified as a key resource by the Qualifications and Curriculum Authority in assisting children with learning disabilities." It is essentially a MIDI device, one that uses "ultrasonic beams and switches to turn music into sound" (Ayling, 2011). Originally developed for dancers, Soundbeam allows students with limited mobility the opportunity to be musically expressive. Up to four beams can be be attached to the controller, it is seemingly easy to set up and move. The unit has been simplified from earlier versions, all five functions (synthesiser, sampler, amplifier, drum machine, and soundbeam) of which are all integrated with 30 built-in soundsets. Ayling says this makes "it usuable in the classroom right away."
The different soundsets in Soundbeam make a wide variety of music accessible to the students. Others would be albe to interact either with another Soundbeam system, or any other musical instrument or technology one can think of. Disabled students would thus be able to perform on a varied repertoire of music on instruments alone and with others (NSME 2), and improvise melodies (NSME 3). Soundbeam also allows part or all of the performance to be recorded, so with collaboration, students can also compose and arrange music (NSME 4). Depending on the severity of their disability, accomplish NSME 5, 6, 7, 8, and 9. Of course, singing is an option as well (NSME 1).
There are some videos on the Soundbeam website. A quick Youtube search will reveal several others. Check out this video of a student with Spinal Muscular Atrophy performing with Soundbeam:
For those who are able to hold and manipulate objects, Schulmerich, Inc.'s MelodyWave (www.melodywave.net) is an interesting instrument that uses wireless, battery-powered MIDI technology. They are black and white "batons" (about the size of a flute) that are meant to resemble a piano keyboard. Each baton can be programmed via the Base Station to sound as a set of 13, 25, 37, or 49. The base station tone generator has 256 different voices; all you have to do is specify the quantity of batons and the tones for the batons, and hook the generator into an amp and speakers. This is collaborative music with a big tech spin (think handbell choir). Students who are unable to play traditional instruments can do more with these batons than the standard percussion instruments. With a baton, the playing technique is the same while the sound changes.
Unlike Soundwave, MelodyWave users are responsible for specific pitches. Therefor, they are a important piece of the musical puzzle. Students can be taught rhythm and melody, following a conductor, dynamics, and other musical elements while playing instruments with others (NSME 2, 8). Students can also help compose and arrange music (NSME 4) or improvise (NSME 3). Students can learn their parts by ear (NSME 6), and possibly learn how to read their part (NSME 5). The various musical sounds that MelodyWave produces gives students the opportunity to experience varied music, from European orchestral sounds, to the sounds of the Indonesian Gamelan. This facilitates understanding of music in relation to history and culture (NSME 9).
Check out this cool video of a small group playing a Bossa Nova tune:
The company Dancing Dots (www.dancingdots.com) deals specifically with products and curriculum development for blind and low vision musicians, as well as teaching training. Their newest technology is the Lime Lighter Low Vision Music-Reading Device (link). Music notation is presented on a wide screen monitor with black and white inverted notes, and is foot pedal operated. This allows those who need enlarged music to be able to keep up with notation, play in an ensemble, and "focus on the joy of music-making. The screen can be interacted with, so students can write in their music, zoom, and save marks. The Lime Lighter comes with SharpEye Music Reader OCR software that allows standard music to be scanned in.
Dancing Dots also developed GOODFEEL (link) software (Windows only) that allows a user to scan in notated music, and transcribe it to Braille. GOODFEEL includes MusicXML support (for programs like Sibelius). CakeTalking allows the blind to work with the popular music studio software Sonar (http://www.cakewalk.com/). With this technology, students are no longer "left in the dark" when it comes to producing their own music. New York City singer-songwriter Raul Midon uses CakeTalking software to record and produce his music. CakeTalking "allows you to do audio editing, create tracks, use compressors and reverb... and it all is built so you can access the parameters with speech, because it talks to you" (Midon, 2009).
Check out this video of Raul Midon using CakeTalking:
Autistic children have short attention spans, narrow interests, and often get stuck on a single topic or task; they also prefer to spend time alone and solitary play, and sometimes can "act up" with intense tantrums (PubMed Health; www.ncbi.nlm.nih.gov). Focused, solitary activities are good for autistic children, particularly music oriented ones. Autistic children like repetitive sounds, and humming and playing simple instruments (www.sensory-processing-disorder.com). Solitary music activities can be a gateway to collaboration for autistic children, who generally have problems with social activities, and communication.
The iPad (www.apple.com) has grown tremendously in popularity. It is quickly becoming a great teaching tool in the music classroom. Autistic, emotionally disturbed students, and students with limited ability can utilize the touch aspect of the iPad. There are a few apps (and perhaps several more than I have yet to discover) that may be of some use with special education students, including the autistic, and the emotionally disturbed. Beatwave is a simple to use visual sequencer app. Music making can happen within relatively no time. The user can "grow" into the app and layer rhythmic and melodic patterns, create harmonies, and switch musical events. Autistic children like "sameness"and patterns, so the visual display could be attractive to them. They can draw pictures of sound, and arrange patterns of sound. The patterns can also provide a soothing effect, and hopefully hold the child's attention.
Check out this awesome Beatwave demo:
A different take on the touch based music idea is Bubble Harp (www.snibbe.com), an app that traces your touch movements and creates abstract art, patterns, and music. The tonality can be changed to different modal and world music scales, and the rhythmic durations can be changed. Thicket (www.intervalstudios.com) is essentially a simplifed multitouch sequencer. It has five different musical settings and patterns, accessed by the way the iPad is held. Thicket responds visually to gestures, rhythmic tapping, and pinching. This one is a really simple way to get into music.
Bubble Harp demo:
Thicket demo:
Bloom (www.generativemusic.com) is one of three apps by Generative Music. Bloom was developed by the ambient music composer Brian Eno and software designer Peter Chilvers, who describes it as "the music box of the 21st century" (2011). Bloom provides several different moods as palettes for creating music. Select a mood, and start touching the screen to create circular shapes that "bloom" on the screen. A drone is played with a corresponding color gradient background; the color of the blooms correspond to the mood as well. Pitch is determine by high and low regions, so it is possible to form coherent melodies and ostinati rhythms (NSME 6). Multitouch allows users to create chords and chord-like sounds as well. The generative aspect refers to the touches being recorded and cycled (users can change the frequency of the cycle). So a user need only play something once to keep it around for a while. It can all be cleared with a shake of the device. When I first downloaded it, I spent nearly an hour "spacing out," creating music and trying to create structure. I came to appreciate the uncontrollable qualities of the ambience I had created! Bloom is a great way to introduce anyone to the ambient music, minimalism, and other unique compositional techniques associated with sound and the late twentieth century (NSME 8, 9). Visual applications such as Bloom and Bubble harp also form a meaningful relationship between music and visual arts (NSME 8)
Bloom demo:
Technology has been able to bridge the gap between regular and special education students. MIDI technology has been around since the 1980s, but it has never been so widely accessible. Today hardware and software like Soundwave, and Melody Wave, and touch screen technology like Apple's iPad are making it possible for everyone to make music. From my 8 month old son, who loves Bloom and Thicket, to a student with a degenerative spinal disease or mental retardation, or a blind studio musician, technology is making it more possible to perform, create, and understand music. The rise of technology in the music field is progressing at an extremely fast rate, helping to reestablish music as a truly communal art!
Coming Soon: The benefits and disadvantages of technology in music
Sources:
Activities for Autistic Children. Retrieved from http://www.sensory-processing-disorder.com/activities-for-autistic-children.html
Beatwave for iPhone, iPod, and iPad [video file]. Retreived from http://www.youtube.com/embed/0Y9RO5aaYWA
Bubble Harp. Retrieved from http://www.snibbe.com/store/bubbleharp/
Bubble Harp for the iPad, iPhone, and iPod Touch [video file]. Retrieved from http://www.youtube.com/embed/ly8tgaswRo8
Dancing Dots. (2005). Retrieved from http://www.dancingdots.com/main/index.htm
Generative Music. Retrieved from http://www.generativemusic.com/
iPhone apps, Bloom [video file]. Retrieved from http://www.youtube.com/embed/zBPna8dFejY
Kaneshiro, Niel K. (2011). Autism. Retreived from http://www.ncbi.nlm.nih.gov/pubmedhealth/PMH0002494/
Melody Wave. (2006). Retrieved from http://www.melodywave.net/
MelodyWave [Brochure]. Retrieved from http://melodywave.net/documents/MelodyWave.pdf
Midon, Raul. (2009 September). Raul Midon - The Making of "Synthesis" [video file]. Retrieved from http://www.youtube.com/watch?v=pDRuj5Od4y8&feature=player_embedded#at=110
National Standards for Music Education. (2011). Retrieved from http://www.menc.org/resources/view/national-standards-for-music-education
Sonar. (2011). Retreived from http://www.cakewalk.com/
Thicket. Retrieved from http://www.intervalstudios.com
Thicket 2.0 Demo [video file]. Retrieved from http://www.youtube.com/embed/I8XklLnZ7rs
The United States Department of Labor. (2010-2011). Bureau of Labor Statistics' Occupational Outlook Handbook. Retreived from http://www.bls.gov/oco/ocos070.htm
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