Case Study: How the digital violin is enabling music-making in a life lived with Cerebral PalsyHere, Alex Lucas and Marylouise McCord recount the impact the digital violin project has had on them.
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An important strand of OHMI’s work in enabling music-making for disabled people is its research into music education, instrument design and instrument manufacture. The OHMI Research Partnership (ORP) was set up in 2018 to establish OHMI’s relationships with several research groups at UK universities and to develop new research projects and collaborations. As part of the ORP’s work, we recently supported a 6-month placement project with Alex Lucas, a PhD student at the Sonic Arts Research Centre (SARC) at Queen’s University Belfast. The project explored co-designing a one-handed digital Violin with disabled musician Marylouise McCord.
A particular goal of this project was to develop an accessible digital musical instrument that would be capable of supporting traditional or mainstream instrument lessons. Inclusion within mainstream music settings, for example in whole-class teaching in schools, or ensembles such as orchestras and brass bands, is a key priority of OHMI’s work. We decided to use the grade 1 Violin teaching syllabus as a starting point for the kinds of techniques that the instrument should afford. This involved evaluating the instrument through a number of lessons with a Violin teacher.
A particular goal of this project was to develop an accessible digital musical instrument that would be capable of supporting traditional or mainstream instrument lessons. Inclusion within mainstream music settings, for example in whole-class teaching in schools, or ensembles such as orchestras and brass bands, is a key priority of OHMI’s work. We decided to use the grade 1 Violin teaching syllabus as a starting point for the kinds of techniques that the instrument should afford. This involved evaluating the instrument through a number of lessons with a Violin teacher.
The digital Violin project is part of a wider Performance Without Barriers research programme at SARC, funded by the Arts and Humanities Research Council via their National Productivity Investment Fund. OHMI supported Alex’s placement project through regular supervision with ORP research director Jacob Harrison, provision of equipment such as the LinnStrument, and financial support to cover Marylouise’s Violin lessons.
Here, Alex and Marylouise recount the impact the project has had on them. |
Giving accessible digital musical instruments a long life
In Alex's words
I have a background in commercial product design, primarily designing user interfaces. It was my work on two products – the Novation Peak and Circuit Mono Station synthesisers that piqued my interest in improving the usability and accessibility of digital musical instruments. That interest led me to take up a PhD research opportunity at Queen's University Belfast, exploring how we might increase the lifespan of bespoke, accessible music technologies.
This particular project appealed to me as I am interested in understanding how digital technology might be used in a more traditional musical context (i.e. classical Violin lessons). There was also a more personal reason since it gave me the opportunity to work more closely with Marylouise. I've known Marylouise for about three years now as my PhD programme involves me working as an Access Music Tutor with the Drake Music Project Northern Ireland. Marylouise is a member of the Wired Ensemble, a group I support in music workshops. Her passion for music is, quite simply, infectious! |
When undertaking research of this kind, I strive to follow a participatory design process. It’s important to involve the musician closely in the design process to ensure the design is wholly appropriate. Of course, the pandemic impeded this process somewhat. We had to opt instead for remote collaboration, which involved design workshops at the beginning of the project.
We also followed the Matching Person and Technology process; a popular framework used by occupational therapists to assess individual assistive technology requirements. It was a valuable way to garner a clear understanding of the nature of Marylouise's impairment.
Once Marylouise started using the instrument, however, we soon discovered that it needed modification. For instance, we needed to invert the strings' pitch-mapping, to allow Marylouise to rest her hand on the instrument whilst playing.
The mechanical design was particularly challenging. The touch sensors are placed on a pressure sensor to allow articulation of dynamics. I haven't quite perfected this aspect of the design. In practice, it means the sensor is a little inconsistent in its response, making the instrument harder for Marylouise to play at times.
In Northern Ireland, we've faced issues with accessible digital musical instruments not having a particularly long lifespan. Very often, we use either prototypes or those made using fairly simple ‘maker’ technologies. If the instrument breaks, it’s often only the person that made it that knows how to fix it! I hope my digital Violin instrument lasts, that we can continue to refine it with Marylouise, and that she reaches her goal of performing a piece in front of an audience.
I also hope that it’s the start of a much longer collaboration with OHMI. I first heard about the charity a few years ago now, back when I was working for Novation. I got the opportunity to see some of their adapted instruments and stands for myself when I attended the Naidex trade show. It’s been an ambition of mine to enter the competition since then. I'm really excited to finally submit an instrument this year.
We also followed the Matching Person and Technology process; a popular framework used by occupational therapists to assess individual assistive technology requirements. It was a valuable way to garner a clear understanding of the nature of Marylouise's impairment.
Once Marylouise started using the instrument, however, we soon discovered that it needed modification. For instance, we needed to invert the strings' pitch-mapping, to allow Marylouise to rest her hand on the instrument whilst playing.
The mechanical design was particularly challenging. The touch sensors are placed on a pressure sensor to allow articulation of dynamics. I haven't quite perfected this aspect of the design. In practice, it means the sensor is a little inconsistent in its response, making the instrument harder for Marylouise to play at times.
In Northern Ireland, we've faced issues with accessible digital musical instruments not having a particularly long lifespan. Very often, we use either prototypes or those made using fairly simple ‘maker’ technologies. If the instrument breaks, it’s often only the person that made it that knows how to fix it! I hope my digital Violin instrument lasts, that we can continue to refine it with Marylouise, and that she reaches her goal of performing a piece in front of an audience.
I also hope that it’s the start of a much longer collaboration with OHMI. I first heard about the charity a few years ago now, back when I was working for Novation. I got the opportunity to see some of their adapted instruments and stands for myself when I attended the Naidex trade show. It’s been an ambition of mine to enter the competition since then. I'm really excited to finally submit an instrument this year.
“My ultimate ambition is to perform a piece in public, perhaps even with an orchestra. Being involved in this project puts me firmly on track to continue my learning and to achieve my goal.” Marylouise McCord, Disabled Musician
Taking charge of my own creativity
In Marylouise's words:
One change over the years is that technology has improved significantly. I love the creative freedom that offers me, and the innovative ways I am continually finding to create music.
Working with Alex has been great. He is both patient and tolerant, and his ideas are exciting. He listens to what I need, and is constantly adapting the instrument as a result. Playing the Violin is something I never thought I would be able to do. Having access to a digital Violin helps me overcome the biggest challenge I face which is my own hand control. The most enjoyable part by far is learning practical music and theory. On the recommendation of my Violin teacher, I practise ten minutes five days a week. My ultimate ambition is to perform a piece in public, perhaps even with an orchestra. Being involved in this project puts me firmly on track to continue my learning and to achieve my goal. |
You can read Alex Lucas's academic paper on the development of the McCord Digital violin.
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All content © OHMI - Enabling Music-Making for Physically Disabled People
The OHMI Trust is a registered charity (Registered in England and Wales Charity No. 1143623, Scotland Charity No. SC052047).
Registered office: 29 Woodbourne Road, Harborne, Birmingham, B17 8BY