Acknowledgement I would like to say thank you to my family who supported me during the work with the thesis. It wouldn't have been possible without you. I would also take the opportunity to thank my supervisor Nuno Otero who supported and motivated me to do a great work with this important subject. Lastly, I would like to thank music in general for making this life a much more enjoyable experience. 1 Table of Contents Acknowledgement 1 Table of Contents 2 Abstract 4 1. Introduction 5 1.1 The importance of musical expression 5 1.2 Challenges for children with motor disabilities 6 1.3 Related work and the gap in knowledge 6 1.4 Taking advantage of the evolution of music technology 6 1.5 Motivation and purpose of thesis 8 1.6 Research Questions 8 1.7 Thesis Outline 9 2. Related Work 10 2.1 Soundscape 10 2.2 Aesthetic Resonance and State of Flow 10 2.3 Sound=Space 10 2.4 Soundbeam 11 2.5 Personal Instruments 11 2.6 Rhyme: Musickin for all 12 2.7 Skoog Music Project 12 2.8 Makey Makey 13 2.9 Mogees 13 2.10 Apollo Ensemble 13 2.11 Snoezelen 14 2.12 Beamz 14 2.13 Adaptive Use Musical Instruments 14 2.14 Leap Motion 14 2.15 MIDICreator 14 2.16 MidiGrid 15 3. Methodology 16 3.1 Methodological approach 16 3.2 Informant Design Framework adapted 16 3.3 The School Context 18 3.4 The Participants 18 2 4. Prototype 19 4.1 Interview with music teacher 19 4.2 Scenario of a band 19 4.3 Prototype development 20 5. Results 28 5.1 Session 1 28 5.1.1 Documentation 28 5.1.2 The session 28 5.1.3 Discussion with the music teacher 30 5.1.4 Lesson learned from session 1 30 5.2 Session 2 30 5.2.1 Documentation 30 5.2.2 The session 31 5.2.3 Discussion with the teacher 33 5.2.4 Feedback from the children 33 5.2.5 Lesson learned from session 2 33 5.3 Session 3 34 5.3.1 Documentation 34 5.3.2 The session 34 5.3.3 Lesson learned from session 3 36 5.3.4 Discussion with the music teacher regarding all 3 sessions 36 5.3.5 Discussion with the children about the whole project 37 5.4 Summary of all three sessions and lessons learned from these 37 6. Discussion 38 6.1 Conclusion 41 6.2 Limitations 42 6.3 Future work 42 References 43 List of figures and tables 47 Appendix A - Screenshots from the prototype development made in Ableton Live 48 3 Abstract There is a lot of research connecting musical expression with well-being, motivation and meaningfulness, especially when introduced in early years. Children should have the opportunity to express themselves through music regardless of motor disability. There is research targeting children with motor disabilities and musical expression but when the projects ends the children are left without the technology. There is a gap in research exploring technologies accessible in terms of availability to buy and use for the children. This thesis take advantage of the evolution of music production technologies where standard digital audio workstations are highly customizable and therefore an option to use as tools to democratize musical expression among children with motor disabilities. Democratize in this context means to make the children able to participate in a musical performance and express themselves in a similar way as fully abled children. To explore the use of music production technologies to promote musical expression among children with motor disabilities a proposed solution of digital audio workstation Ableton Live and beat matched functionalities coupled with various tangible controllers was explored during 3 sessions at a school in Malmö. Four children at the age of 10 with motor disabilities participated together with their music teacher. The result indicates that the proposed solution has great potential to democratize musical expression among the children using available music production technology. The key component in the proposed prototype was the use of beat matched loops and effects which were synchronized to the songs tempo and made it possible for the children to express themselves musically. The result also show that an important aspect of gaining well-being, motivation and meaningfulness among the children was connected to the proposed prototype ability to generate a musical outcome matching the children's expectations and personal preferences. Keywords: Music, children, assistive technology, motor disabilities, music technology, digital audio workstation, tangible controllers, beat matching, loops. 4 1. Introduction 1.1 The importance of musical expression Music can be a source of joy, health and well-being in many people's lives. “Music and ​ music related activities should be a right in every person’s life” says Rolvsjord in “Therapy as Empowerment” (Rolvsjord 2004). Many studies indicate a connection between musical ​ expression, well-being, motivation, improvements in learning capability and improvement of motor functionality, especially when the musical training starts in young ages. The positive health effect gained by musical expression has been well documented within biomedical and humanistic health research (Bjursell & Westerhäll 2008) (Blaxter 2010). ​ ​ ​ ​ Skoe & Kraus (2012) claims that even a few years of musical training as a child improves ​ ​ how the brain develops and the changes last in adulthood. The ability to stay focused is also affected by early childhood training in music according to Neville (Neville et al. 2008). Practicing music in middle school prepares the brain for the same processing needed for complex mathematical problems such as algebra (Helmrich 2010). According to “Cognitive Control in Auditory Working Memory Is Enhanced in Musicians” musicians in general are found to have superior working memory compared to non-musicians (Pallesen et al. 2010). The exposure to music and musical expression can enhance the development of parts of the brain and may hold the key to higher brain function according to researchers at University of California (Rauscher et al. 1993). Musically trained children have better motor function than children not being musically trained. The same parts of the brain used for sensory and motor functionality are developed through music (Hyde et al. 2009). Auditory and motor function are improved when music training begins in young childhood. Even a modest amount of training at young age can affect neural functionality (Tierney et al. 2015). To actively be a part of musical activities such as taking part of a musical performance are important aspects of the development of self-awareness and the self’s relationship to others. Music creation together with others also contribute to a understanding and appreciation for music and gives them a tool for self-expression (Gehlhaar et al. 2014). There are also social benefits of making music together for children. They learn how to work together as they are contributing to a song. They also learn that together they can make something better than the sum of its individual parts (PEPS 2015). ​ ​ 5 Music and especially music creation for children has a big influence on their identity building ability (Hallam et al. 2016). To be a part of a musical training at an early age is not only rewarding in the moment, feeling joy and expressivity, but also later in life since the musical activity augments the connection between left and right brain and parts of the brain related to hearing and self-awareness (Steele et al. 2013). 1.2 Challenges for children with motor disabilities The big challenge for children with motor disabilities to express themselves musically and utilize the potential benefits mentioned above is that most musical instruments are difficult to use for them. The instruments have been developed during hundreds of years for people with full motor ability. There are also problems for children with motor disabilities to processes and structure musical thoughts since these musical languages are made with regular musicians in mind. For an examples the notation system is based on playing notes and combinations of them which is not possible for many children with motor disabilities. This means that children with motor disabilities are left out when it comes to express themselves musically with conventional instruments and the musical languages connected to these (Gehlhaar et al. 2014). 1.3 Related work and the gap in knowledge The research targeting musical expression and children with special needs often involves complex custom-made systems not available outside the scope of the projects. One potential problem with these custom made solutions are that the children usually can't use them when the research projects ends, although some research project have ended up in a affordable commercially available product like the Skoog Project (Skoogmusic 2017). A downside with the available technologies targeting children with special needs are the musical outcome, which doesn’t match the musical outcome expected by the children. The software is often limited to simple sound generation and doesn't sound like the music the children listen to and identify with. 1.4 Taking advantage of the evolution of music technology For fully able bodied people the evolution of music technology has gone from equipment used for documenting a musical performance to using the technology itself as an instrument. (Ableton 2017). The name digital audio workstation was introduced in the late 80s describing ​ a computer, music production software and external equipment such as audio interfaces and tangible interfaces (Burgess 2014). In the beginning the digital audio workstation was mainly used as a digital audio recorder and a midi sequencer. MIDI is a protocol for communication between computers and electronic musical instrument which was standardized in 1983 (MIDI ​ Association 2016). MIDI consist of data representing some action carried out on a tangible interface such as a note being played on a keyboard or a fader being moved on a control surface. In order to make MIDI sound, it need to be sent to a device or software instrument 6 that can interpret the MIDI data to sound. The piece of software that was used to record, edit and process MIDI data was called a MIDI sequencer and is now a part of the digital audio workstation concept. In 2001, a new digital audio workstation was released called Ableton Live. In contrast to many other digital audio workstations Ableton Live is designed to be an instrument for live performances in addition to all the standard DAW functions like recording and editing audio and MIDI. The key concept of Ableton Live is to play repeatable regions of music called loops. The loops contain meta data of the original key and tempo allowing the digital audio software to adjust the loops tempo and key to the current song tempo and key in real-time. A big difference between Ableton Live and other digital audio workstations is the concept of nonlinear workflow which promote live performances. Most digital audio workstations have a timeline where musical elements are placed, but Ableton have a session mode where there are slots that can be filled with loops. The loops in the slots can be triggered in any preferred order and combination creating music in a nonlinear way. Ableton Live is used by many musicians who use their computer as an instrument during live performances. DJ’s are another user group since it offers a suite of controls for beat matching, crossfading, and other effects used by turntablists. Ableton Live was one of the first digital audio workstation to automatically beat match songs (Wikipedia 2017a). ​ ​ Apple’s Garageband was also an early adopter of using the digital audio workstation as a musical instrument. Especially the Garageband version running on IOS where they developed the concept of smart instruments allowing nonmusical trained people to play instruments (Wikipedia 2017b). The use of smart instruments and loops are used by all major digital audio workstations today but Ableton Live is one of the most used ones for live performance (Wikipedia 2017a). One problem with using a computer as an instrument is the physical limitations of the computer keyboard. This opened up a new market of tangible interfaces controlling the digital audio workstation software. The demand of tangible interfaces for musical expression is a rising trend which is confirmed by the vitality of the conference “New Interfaces for Musical Expression” (NIME 2017). A big advantage of computer based interfaces compared to traditional instruments are that they don't require a direct relation between input and output (Cappelen & Andersson 2011; Magee & Burland 2008). The new music technology therefore opens up a lot of possibilities to adapt and customize the ways to interact for people with special needs and potentially makes musical expression more accessible for the targeted group if designed in a thoughtful way (Magee 2011; Magee & Burland 2008). 7 1.5 Motivation and purpose of thesis The purpose of this thesis is to explore the use of commercial affordable tangible controllers and a digital audio workstation to democratize musical expression with focus on self- expression, well-being, meaningfulness and motivation among children with motor disabilities. Well-being and meaningfulness in terms of feeling contented with the musical outcome and that the results can be compared with music the children listens to. Motivation refers to the will to continue to create music and be a part of a musical expression. The technology used is available outside the scope of this project and applicable for others that have similar needs. The main ambition is to let the children participate in a musical performance and to let them express themselves musically similar to fully body abled children. To do so a prototype based on digital audio workstation Ableton Live and standard commercially available tangible controllers was developed and improved during 3 sessions at Munkhätteskolan in Malmö. The prototype developed take advantage of Ableton Live’s possibilities to program and build custom features and the use of the graphical programming language Max. Four children at the age of ten with various motor disabilities participated during the sessions together with their music teacher. The goal during these sessions was to explore different ways of using the chosen music production technology to find out if it can be used to democratize musical expression for the children participating and gain positive effects such as well-being, motivation and meaningfulness. 1.6 Research Questions Based on the background and motivation above, the work described in this thesis has two research questions: RQ1: How can a digital audio workstation and tangible controllers be used to promote the possibilities for children with motor disabilities to take part in musical performances? RQ2: Does the proposed use of a digital audio workstation and tangible controllers contribute to self-expression, well-being, meaningfulness and motivation for the children? 8 1.7 Thesis Outline The rest of the thesis is structured according to the outline below. Related Work (chapter 2) In this chapter relevant research and technologies in the area of democratizing musical expression among children with motor disabilities are presented. Methodology (chapter 3) In this chapter the methodological approach and settings for the sessions at Munkhätteskolan are presented. Prototype (chapter 4) This chapter explain the technical approach and how the prototype is designed and implemented. Results (chapter 5) The result chapter describe the three sessions conducted in the study and the results from them. Each session is described individually and all three sessions are summarized in the end. Discussions (chapter 6) The last chapter discusses and gives comment about the empirical work carried out and how the results inform the research questions. It ends with a conclusion and suggestions for future work in the area. 9