by Author Rhythmix

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Developing technology to facilitate music participation and creativity: Part Three

In this three part series, Rhythmix music tutor Anna Dolphin explores the role of technology in facilitating music participation and creativity. Click to view part one and two. The part is a list of things to consider when using technology for music making

In this three part series, Rhythmix music tutor Anna Dolphin explores the role of technology in facilitating music participation and creativity. Click to view part one and two. The part is a list of things to consider when using technology for music making

Options in lower cost computing, increasing capabilities of microcontrollers including “open source electronic prototyping platforms” like Arduino, alongside relatively affordable electronics components, diverse possibilities for interfacing, and the potentials of software environments and open source software has expanded the range of possibilities for adaptable, flexible and customisable creation tools.

There are plenty of makers sharing their builds, code, patches and toolkits on sites such as instructables, Make:, and on user communities and forums for software (for example, Pure Data, Max msp) and hardware (including Arduino). There is already a huge amount and range of resources available for skills development, and modification.

There are many factors to consider when exploring and considering potential and appropriate technology to facilitate creative participation. Most importantly the interests, choices and needs of the participants should determine and lead this.

I have been compiling a working list of potential things to consider as part of a process of investigation. Any thoughts or contributions to this are appreciated and very welcome.

Considerations could include, but are not limited to

  • Flexibility, adaptability, customisation and personalisation of music technology instruments for individual interests, abilities and movement ranges
  • Ease of use, set up, trouble shooting, configuration to ensure that the technology is not itself a barrier that requires technologists to operate
  • Planning, design, build, adaptation, configuration and maintenance time
  • Is it intended to offer immediate effortless musicality and engagement or longer-term mastery and goals?
  • Is the intention to offer opportunities for individual creativity, collaboration, social interaction?
  • Causal awareness, or perceivable cause and effect
  • Additional cause and effect reinforcement, for example visual or tactile expression or haptic feedback
  • Potential for depth of interaction / dialogue
  • Access to control and expression parameters
  • Robust hardware – for example delicate non-reinforced solder points may not be durable enough to withstand day to day use without the frequent need to repair
  • Is it possible to be wireless?
  • Portable and storable
  • Fully tested to ensure that software and hardware used is dependable
  • Materials used that can be disinfected
  • Pleasing physical aesthetic and sensory experience
  • Budget

This is an on going process of investigation, and as part of this I would like to find out more about people’s experiences and projects, and welcome any sharing or signposting of potential resources, tools, designs or experiences.