Dr Sarah Nicolls, UK, Steve Varden, UK

We were brought together by the Sony Assistive Musical Instrument Hackathon in September 2024. I had not met Steve Varden before and we were tasked to create an instrument for him. Steve is in a wheelchair and can only perform with one hand as he needs his other arm to balance. He has quite big movements but during his first music performance (of some really energetic electronic dance music) I was able to observe that he can anchor his hand using a kind of roll from the thumb so that he's able to control knobs and faders one at a time with hand gestures. In the pre-call, he told us that he wanted to be able to play chords but that he didn't have the dexterity to play a keyboard. Steve has quite a few great interfaces that allow gestural capture, like pads, but it was this specific control over the harmony that he was unable to explore. His most delightful provocation was for us to make an edible device: i.e. attractive.  My first focus was on what we do musically with chords and how I personally like to explore chords. On a keyboard preset it's easy to play the root to make a major, minor or seventh. But when I'm improvising at the piano that isn't how I play chords. It's a much more organic journey, often just changing one note to travel. This is what I wanted to give Steve.  We began to explore physically what might work for Steve, imagining chords and notes being triggered. We just used a table and objects we'd found lying around, old CDs, some foam, wooden fruit, so Steve could show us how he plays with things, his desire to stack things, really creatively changing the relationship of objects, playing and exploring. To make this musical we drew notes and chords on the table, and I played simultaneously to represent his choices on a keyboard: a great, quick method for a hackathon.  We tried to work out different interfaces which represented harmonic journeys, like the cycle of fifths. We discovered not having to roll over other notes or chords was important so we tried putting chord names in a circle but that rendered a lot of wasted space. We all loved the stacking but couldn't work out how the motion capture Ayako had prepared could read it. We played with ident tags but the system needed to be memorable and comprehensible for Steve.  Eventually we returned to making a large keyboard layout one using copper tape circuits for each note, connected to a midi keyboard and arpeggiator in Ableton. We gave him 3 flat weighted objects covered with copper which triggered and held their pitch when placed on the notes. By moving 1 object at a time he had total control of his harmonic journey. We also added buttons to transpose entire chords up and down. His final performance was an amazing demonstration of the freedom he'd suddenly gained to compose his own chords.

Dr David Nabb, University of Nebraska at Kearney, USA

I propose a lecture with supporting a Powerpoint presentation and videos with sound reviewing the life and work of George Theodos (1928–2015).  Theodos was a musician, musical instrument repairman, and builder in the New Haven, Connecticut, area. His work remains influential for its high quality, craftsmanship, and innovative design, as well as for his inclusive philosophy towards persons living with disabilities. Geroge Theodos' most unique contributions were the saxophones he adapted from conventional layouts to one-handed mechanisms for persons with disabilities. The lecture will be based on a paper currently at press for the Fall 2024 issue of the Saxophone Symposium (the professional journal of the North American Saxophone Alliance).
   
Conventional saxophone designs typically exclude persons living with a disability from playing the instrument, although saxophones designed for one-handed playing have been built on a limited basis for over a hundred years.  More recently, the pace of innovation has accelerated. 
Only sparse and scattered documentation is available on how most of the early adapted saxophone efforts were initiated and carried out. 

Undifferentiated participation in music refers to musicians living with disabilities working side-by-side with able-bodied musicians, playing the same literature and working under the same conductor in rehearsal and performance. George Theodos’ modified saxophones enabled a handful of musicians with disabilities to play one-handed saxophones, and musicians playing Theodos’ instruments serve as early examples of truly undifferentiated participation in music. With Theodos at its centre, this group serves as a model today for contemporary instrument technicians and builders interested in adapting saxophones, as well as for anyone living with a disability who wishes to make music.

Word of George Theodos' work inspired David Nabb and Jeff Stelling to develop a toggle-key saxophone (first winner of the 2013 OHMI "playable instrument category" prize).  Nabb will demonstrate the toggle-key saxophone as part of this presentation.

Dr Alex Lucas, and Dr Damian Mills, Queens' University Belfast, UK, Dr Brian Condon, UK

In 2021, accomplished folk-guitar musician Brian Condon injured his left hand in a sailing accident. The injury significantly impacted Brian’s music-making, as it made it challenging to bend his hand around a guitar neck and finger chords on the fretboard. Before the accident, Brian would play within a repertoire of up to 50 songs, easily accompanying singers of varying abilities and sometimes singing himself. 

This presentation will share the outcomes of a two-month pilot diary study on the potential of the Harpejji stringed 'tapping instrument' as an accessible and similarly sounding alternative to the acoustic guitar. The research team intends to use the findings of this pilot to inform a larger research project that looks at ways to support the rehabilitation of musicians with acquired disability. 

Through a thematic analysis of Brian’s diary entries, the researcher team (of which Brian is an integral part) reflected specifically on the aesthetic, psychological, and practical considerations Brian made while relearning part of his guitar repertoire on the Harpejji.  
 
This study did not intend for the Harpejji to act as a direct replacement for the acoustic guitar. Instead, the research team sought to explore the Harpejji's value in the context in which Brian makes music and his creative desires for the future. Brian’s experiences will interest both disabled musicians and practitioners involved in supporting the rehabilitation of instrumentalists. 


Research Questions
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The study addresses the following research questions: 

1. How does the Harpejji facilitate or hinder Brian's ability to access and perform his acoustic folk-guitar repertoire? 

2. How does the Harpejji influence Brian's music-making, particularly in comparison to his prior experience with the acoustic guitar and contemporary instruments such as the Chapman Stick and Linnstrument? 

3. What are the psychological consequences of revisiting and relearning past repertoire on a new musical instrument now that the guitar is inaccessible to Brian? 


Brian’s Background with Accessible Instruments 
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Brian has taken advantage of the instrument hire scheme offered by the OHMI Trust and borrowed the Chapman Stick and LinnStrument. The Chapman Stick is like the Harpejji in that it is a ‘tapping instrument’ intended to be played by pressing the strings between frets. Such a technique affords one-handed playing. Brian has experimented with playing this instrument flat rather than held in two hands. He describes the instrument as best suited to melodic playing. The LinnStrument is a MIDI controller requiring separate sound synthesis software for tone generation. Like the Harpejji, this instrument is isomorphic, meaning that intervals between notes follow a repeating pattern, reusing muscle memory and reducing cognitive friction when transposing. Brian has enjoyed this instrument, but his interest in the Harpejji stems from a desire to play with a more authentic acoustic tone. 

Richard Llewellyn, TiME, UK, Prof Adam Ockleford, The Amber Trust, UK, Gawain Hewitt, UK

​Sound Moves is funded by The Amber Trust and is a partnership project with TiME (Technology in Music Education UK). The project is supported by Professor Adam Ockelford working with Instrument developer Gawain Hewitt.

The project's main goal was to develop and test a musical instrument that uses sensors to detect small movements and trigger sounds, specifically designed for children with Batten disease and restricted mobility. The key objectives for this instrument included making it easy to use with limited movement, fun and satisfying to play, portable with minimal setup, and affordable, so more children and young people could use it at home or in various settings.

In phase 1, these aims were successfully met. The instrument was developed and tested, proving to be accessible, enjoyable, and simple to operate, with minimal setup required. Additionally, it was designed with cost-efficiency in mind, ensuring it can be more widely distributed to benefit a broader range of children.

The team have agreed to name the instrument the MU-GO (Music-device, Gesture Operated). The MU-GO is a non-contact, sensor based instrument that enables music creation through movement.

At this session we would like to demonstrate how it works and talk about the disabled musicians who would benefit from using it.

Torsten Krebs, British Flute Society, UK, Thomas Tschirren, Switzerland

My issue did not arise as a result of a physical impairment but was due to poor use and eventually injury. I had rather poor posture—round-shouldered—as a child. When I took up the flute at 15 years old, my teachers regularly encouraged me to stand straighter, pull my shoulders back, and so forth. The flute, perhaps any instrument held up in front of the body, can lead to or exacerbate hunched backs or round shoulders. After school I went on to university studies and eventually a desk job, which meant more bending forward to read, write or type. I had always enjoyed the outdoors, in particular waterborne activities such as sailing, surfing and especially white-water kayaking.

 In April 2009, I tipped over in a tricky stretch of river, eskimo-rolled back upright but got the paddle caught in some rocks. A powerful pull got it free, but the sharp and continuing pain in my right shoulder forced me to stop and get out. Investigations revealed damage to the rotator cuffs: serious tears in both supraspinatus and infraspinatus in the right shoulder, less serious damage but still tears in the left shoulder. I had surgery to repair the tears in the right shoulder in May 2009, and to the left shoulder in the following October, each time with six weeks total immobilisation followed by months of aggressive physiotherapy, including home rehabilitation and strengthening routines.

For most activities, including kayaking, I am now fine, but holding the flute out is challenging and becomes painful after 30 to 45 minutes. I tried a number of solutions with little success. An article in the March 2022 issue of "Pan" (the journal of the British Flute Society) brought OHMI to my attention and in particular Thomas Tschirren's various devices to support instruments.  Thomas and I have worked together since then and developed a number of supports for my flute. I have written three articles for Pan about these developments.

Katharina Kauruff, Odisei Music, Spain and My Breath My Music, Netherlands

This abstract highlights transformative innovations in accessible musical instruments, thanks to the collaborative efforts between My Breath My Music Foundation based in the Netherlands and Odisei Music from Spain. This initiative aims to break down barriers and empower musicians with disabilities, fostering creativity and inclusivity in the music community.

The Adaptive Travel Sax 2 is a portable, inclusive instrument featuring customizable controls for various physical capabilities, hands-free options, and digital connectivity. Its compact, lightweight design ensures convenience and high sound quality, suitable for beginners and professionals. The ergonomic design and advanced technology enhance creativity, while key pressure customization and adjustable pressure sensors support musicians with disabilities. It can be played with either hand using a pedal or mounted on a stand for hands-free use. This versatile instrument integrates seamlessly with traditional musical practices. Designed to be accessible, responsive, and versatile, these tool promotes artistic expression and ease of performance.

The partnership between My Breath My Music and Odisei Music represents a significant advancement in the mission to promote inclusivity in music. Together, they have developed new adaptive electronic instruments specifically designed to meet the diverse needs of musicians with disabilities. The My Breath My Music foundation has long been committed to creating digital instruments like the magic flute that adapts to individual needs, harnessing cutting-edge technology to ensure that everyone, regardless of physical limitations, can experience the joy of making music. 

The My Breath My Music foundation has observed the transformative impact of these instruments on musicians, nothing how adaptive technology can unleash creativity, build confidence, and enhance the overall musical experience. Their engagements have underscored the importance of accessibility in music education, and they are passionate about sharing these insights with a broader audience.

The presentation will discuss the development process of these adaptive instruments, showcasing their practical applications and highlighting the personal and artistic benefits they offer to musicians with disabilities. Additionally, it will provide a detailed overview of the collaborative efforts between My Breath My Music and Odisei Music, emphasizing the innovative features and user-centric design of the instruments. The presentation will feature two speakers: one from each organization. The founder of Odisei Music and an ambassador and musician from My Breath My Music will share their insights. 
By illustrating how these innovations have enriched musical careers and opened new doors for performance and expression, the presentation aims to resonate with attendees and spark meaningful discussions on the future of accessible music technology.  By sharing experiences and achievements, it is expected to inspire others to embrace and support inclusive practices in their musical endeavors. 
The goal is to highlight the importance of accessibility in music and demonstrate how adaptive technology can create a more inclusive and dynamic musical environment.

Dr Simon Holland and Dr Nicholas Canny Open University, UK, Dr Brian Condon, UK

We present two strands of research, both aimed at enhancing musical inclusion. The first, focused on rhythm, has particular relevance to d/Deaf and deafblind people. This strand uses the Haptic Bracelets — motion-sensing wireless vibrotactile bracelets attachable to each wrist and ankle. Haptic guidance can be transmitted to each limb in real-time, from a live player also wearing bracelets, or from a sequencer, or musical co-ordinator. The bracelets can be used to guide individual users in playing rhythmic patterns that require multi-limb coordination, or to guide and co-ordinate a group of players each playing their own rhythm in synchrony. Preliminary work with profoundly DeaF Music educator Sean Chandler to explore the inclusion of d/Deaf people in collaborative music making is outlined. Formative work with a Samba band is described.

The second strand, focused on harmony, uses a system (Harmony Space) which enables users who do not read music or play an instrument to compose harmonic sequences, perform them live, and to spatially analyse the harmony of pieces they like, to better understand how harmony works. Because of the nature of the system, people with disabilities are not at a disadvantage in performance and composition activities: this due firstly to its embodied spatial representation, and secondly because of its family of accessible user interfaces which include dance mats, game controllers and simple pointing devices. Three case studies are outlined: work with Italian school children, preliminary work with a disabled musician at Drake Music Scotland, and work with a guitarist (one of the authors) who lost use of a hand in a sailing accident. The principles behind a pluckable prototype guitar-based version are discussed. This version interfaces with a normal steel-strung guitar with an add-on hexaphonic midi pickup, together with a SoftStep foot controller, allowing allow one-handed players to use the system to perform complex chord sequences.

Prof Martin Fautley, Professor Emeritus Birmingham City University, UK
​
We hear a lot about the notion of ‘embodiment’ in music education (inter alia Bowman, 2004; Juntunen, 2017; Nijs & Bremmer, 2019), but what does this mean for learners who, in the context of an OHMI event, are differently abled? In music education we have the situation where there is a clear and distinct issue of the physical and the mental. In school music classrooms children learn to play musical instruments, and, concomitantly, learn music. This is musical learning, and it is generally recognised that the ‘best’ way to teach music, is, as Swanwick observed, musically (Swanwick, 1999). But in the case of the children whom OHMI encounters daily, what does this mean? Are we moving to a situation where we invoke the notion of Cartesian dualism at this juncture? Is there a mind-body split wherein children and young people can be ‘musical’ in their minds, but not able to embody their responses using a conventional musical instrument? As (Lycan, 2009) observed: 

To anyone uncontaminated by neuroscience or materialist philosophizing, the mental does not seem physical in any way at all, much less neurophysiological. The parsimony argument does not even come in the door until it is agreed that we can find nothing to distinguish mental states from neurophysiological ones. 

There are clearly problems with a stance that only conventionally abled children can benefit from music lessons, and, as we know from earlier WCET research (Fautley & Kinsella, 2017) excluding children who do not have the full use of both upper limbs can be an overly simplistic reaction. 

This takes us to the territory of the social model of disability, with which there are also issues:

Deciding how to respond to “disability” in law and culture depends on a normative framework that cannot be supplied by the model. (Samaha, 2007)

And it is this notion of a normative conceptualisation and response that will be troubled in this paper.

What this paper will do is present the case for problematising thinking about what musicality means. We have come a long way since the Bentley Test (Bentley, 1966), and yet we seldom stop to think about what notions of musicality actually entail in music education. We know that there has been a “skills vs knowledge” dichotomy promulgated by the previous government in the UK, but in school music lessons musicality proceeds with both skills and knowledge running hand-in-hand, but what does this mean when there is only one hand? Asking questions of what it means to develop musically, and how this can be demonstrated is the function of this paper. Its intention is to ask listeners to reflect on what they think about when designing programmes of study and learning sequences for both regular classrooms, and those with a range of children in them, when ‘othering’ in an overly-simplistic fashion can be problematic for all concerned.

This paper is designed to provoke thinking, it is not a recipe with answers, this is a difficult area, and yet in many instances internationally we are only beginning to scratch the surface. It is this thinking to which this paper contributes. 

REFERENCES:
Bentley, A. (1966) Musical ability in children and its measurement, London, Harrap.
Bowman, W. (2004) 'Cognition and the body: Perspectives from music education'. In Bresler, L. (Ed), Knowing bodies, moving minds: Towards embodied teaching and learning, pp. 29-50. Dordrecht, Springer.
Fautley, M., & Kinsella, V. (2017) Independent evaluation of the OHMI teaching pilot. Birmingham, BCU. ISBN 978-1-904839-89-7
Juntunen, M.-L. (2017) Embodiment in music teaching and learning. Finnish Journal of Music Education, 20, 1, 117-126.
Lycan, W. G. (2009) Giving dualism its due. Australasian Journal of Philosophy, 87, 4, 551-563.
Nijs, L. & Bremmer, M. (2019) 'Embodiment in early childhood music education'. In Young, S. & Ilari, B. (Eds), Music in early childhood: Multi-disciplinary perspectives and inter-disciplinary exchanges, pp.

Sarah Dunn, Accessible Inclusive Music, UK

This presentation will share how my lived experience as a parent/carer of a physically disabled child and music educator has enabled me to identify some of the barriers individuals with physical disabilities face actively participating in music making. I will share how founding a small and emerging charity, Accessible Inclusive Music (AIM), has attempted to overcome some of the barriers faced by physically disabled children and young people across the UK, enabling them to participate in meaningful music making. Additionally, I will share practical solutions that I have explored with my son to actively participate in music making using Augmentative and Alternative Communication (AAC), including using eye gaze technology to make music and perform.

Personal and professional experience shared in this presentation will be underpinned by my own research undertaken as part of my MA in Music and Wellbeing, sharing relevant outcomes of this research including the barriers to active participation in music making faced by children and young people who are physically disabled, possible solutions to these barriers and the impact this may have on wellbeing. The presentation will culminate with how lived experience, research training and impact in the charity sector has led me to doctoral research exploring the possibilities of singing using eye gaze technology for disabled AAC users and the impact this may have on wellbeing.

Sam Davies, UK

Coming to one handed instruments after many years learning and playing with conventional instruments can seem a daunting task. Where do you start if you already have a considerable amount of musical experience? This presentation is about my experience with transitioning to one handed woodwind instruments, including :
- where to begin, relearning fingerings, retraining muscle memory and getting used to any extra equipment.
- the physical and emotional challenges of reaching a previous level of ability, knowing once you’ve reached a certain level, managing frustration and grief.
- playing with other people and confidence to rejoin ensembles.