Dissertation Literature Review: The use of Music Technology within Music Therapy

Posted on Friday 4 May 2012 by howsitgoingbob

My dissertation literature review has helped with my product development and applied research also as it looks in the area of music technology & music therapy which is the area that I am focussing on. My lit review has provided me with important statistics and facts as to why music therapists are not using music technology as much within the are as would be expected. My dissertation can be read below:

The use of Music Technology within Music Therapy

Introduction

This article will review literature, which looks into the use of music technology within the area of music therapy. The review will be split into key areas found within the literature, these will be, The History of Music Therapy, Traditional Techniques used Within Music Therapy, Technology within Music Therapy, How these new Technologies are being Utilized in Music Therapy, The Benefits of New Technologies in Music Therapy & The Disadvantages of New Technologies in Music Therapy.

A variety of literature will be discussed during this review including a total of five articles from journals and nine books.

The History of Music Therapy

Healing through music is a theory, which has existed for many thousands of years and most music therapy handbooks begin with a section upon ancient theories such as in Maranto’s introduction to, The Art and Science of Music Therapy, “the oldest account of medical practices, the Kahum papyrus [1800 BCE], provides an account of the use of incantations for healing, and references to the therapeutic uses of music are continually found throughout eastern and western history.” (1995.P.9) Darnley-Smith & Patey’s book, Music Therapy, includes a similar introduction, “As far as we can tell music probably existed as a form of healing in the most primitive of societies.” (2004. P.6) Suggesting these ancient theories played a key part in the development of music therapy.

Although healing through music has been in practice for many centauries, music therapy was only developed as a professional association within the UK in the 1950’s and is now seen as both an art and a science. (MARANTO. 1995. P.10) Music therapy has been described in many different ways, The Handbook of Music Therapy defines it as, “the use of sounds and music within an evolving relationship between client/patient and therapist to support and develop physical, mental, social, emotional and spiritual well being.” (BUNT. L. 2002. P10-11)

Traditional Techniques Used Within Music Therapy

The most common traditional methods used in music therapy seem to be improvisation, reception and composing, which are mentioned in both Maranto’s article (1995. P.10) and Bruscia’s book (1991, P.5.) both books also mention other methods such as performing (1995. P.10) & recreating (1991, P.5.) however these seem to be used less frequently as they are not mentioned in other literature.

These methods use mostly traditional instruments such as vocals, piano & drums (HANSER. S. B. 2005. P6-8) These methods have been tried and tested sufficiently by the music therapy profession over the past 60 years, meaning they have been well documented making them the preferred method of practice for the majority of trained music therapist and music therapy students.

Improvisation

Bruscia summarizes that during therapeutic improvisation the therapist will help to create an ongoing accompaniment, they may also incorporate a theme or idea to base the piece upon. The client may then choose an instrument to create a melody, rhythm or lyrics. The piece may be a solo or perhaps an ensemble with family members or other clients. (1991, P.5.) Hanser & Clair cite different ways in which the technique is used, such as call and response between therapist and client. (1995, P.350-351)

It has become apparent from these texts that improvisation plays a key role in music therapy and appears to be one of the most widely used techniques, “Free improvisation is a central part of music therapy. The benefits…are that techniques allow exploration of feeling and the communication of these feelings in a non-verbal way, thus bypassing the restrictions, inherent in spoken language…” (TOWSE. E. 1995. P.328)

Recreating

This is the technique of reproducing music, perhaps from notation or ear, by the client. This method could be used to provoke memory or perhaps as part of a performance. (BRUSCIA. 1991. P.5&6) Whilst this technique is not cited in Maranto’s article there is mention of methods which crossover with recreating such as performance. (1995. P.5)

Composing

This is the composition of song which may include lyrics, melody, rhythm etc that have been written by the client (BRUSCIA. 1991. P.5&6) The composition process may begin from improvisation and is often used as a means to discuss personal issues, express emotions & as a form of accomplishment. (HIBBEN. 1999. P.3)

Listening

Receptive music therapy involves the client listening to music for purposes such as relaxation, guided imagery, movement and painting. (BRUSCIA. 1991. P.5&6) “One of the most important parts of receptive music is that it is different from a creative activity which involves making something, and it is also different from entertainment, which is entirely passive.” (TOWSE. 1995. P.338) Towse goes on to say that music can offer something which other arts therapies cannot, which is to participate without having to be physically engaged. (1995. P.338)

Technology Within Music Therapy

Technology is now a part of everyday life for the majority of people, “With the current widespread diffusion and use of ICT in all domains of everyday life, ICTs are increasingly considered a fundamental and necessary resource for every European citizen.” (SILVERSTONE. R. 2005. P.21)

The invention of such devices as the internet & mobile phones has meant that for a lot of people many limitations were broken down and, with technology getting ever cheaper, many people are finding new independence, “…especially due to the accessibility of technology and the increasing numbers of adult clients who are utilizing various forms of technology to enhance their quality of life. This can be seen in the increasing numbers of older adults who are using social networking sites to communicate with old friends as well as the number of younger individuals using cell phones to text message and communicate with others.” (CEVASCO & HONG. 2009. P. 71)

It is therefore unsurprising that the health industry has also been affected by the invention of these new technologies, “Computer, electronic and digital technologies have become part of daily life both personal and professional. Technological applications are growing daily in health care, including computer mediated therapy, supervision, professional networking, research and distance learning.” (MALCHIODI. C.A. 2000. P. 9)

Technologies such as the Internet and computers are now being used everyday through out health care, for things such as research, communication between professionals and data input. However it has only recently been explored how these technologies could also benefit the client/patient.

Telehealth

Telehealth appears to be the most successful form of using these new communication technologies within health care to date. Telehealth uses telecommunications to provide health assessments, diagnosis, consultations etc. Services such as E-Therapy, communication between client and professional via the Internet, and WedCounseling, counseling via the Internet, have now become an alternative means of receiving therapy. (MALCHIODI. C.A. 2000. P.16)

It is something which has been explored in the field of music therapy, however only vaguely, meaning it has not yet been possible to know the full extent of benefits this service may be able to offer to the therapy. Minimal documentation can be found upon the subject with Krout, Baker & Muhlberger’s article upon Information Sharing being the most detailed. In the article they discuss the results of an experiment, in which music therapy students met over Skype and carried out songwriting sessions. (2010, P.80)

The results achieved from this experiment were promising, participants commented that their experience of collaborating over Skpye was not overly different from doing so face to face, “It didn’t matter whether this process was taking place face to face or Skype to Skype – the collaboration process felt very similar.” (2010, P. 83)

There were also some difficulties experienced such as, signal loss, which was found to be disrupting to the session; playing and singing in time together, was also not possible. It was also discussed that rapport may not develop with the client as quickly as it would during a face to face session, due to the misjudgment of facial expressions. (2010. P. 83, 84)

However with technology developing at an extraordinary rate it is extremely likely that the difficulties experienced during this study will soon be non-existent. Whilst telehealth will never replace in-person therapy it can offer an alternative and open the door to therapy to clients who before may not have been able to experience it due to their circumstances, as Krout, Baker & Muhlberger’s quote “It should be noted that the purpose of the study was not to investigate replacing face to face, in person songwriting…it was to begin to develop protocols that might be replicated in the future with clients who do not have access to in-person music therapy.” (2010, P.80) Malchiodi makes a similar point, “While in-person therapy is still the preferred relationship health care professionals…are realizing that there are advantages to online interventions and communication in certain cases.” (2000. P.14) She goes on to state the benefits for those with, “Physical, geographical or lifestyle limitations” (2000. P.14).

Musical Interfaces Used Within Music Therapy

Music technology has been used within the area of music therapy for some decades now. Several pieces of equipment are being used which were primarily created for general music making, but went on to be adapted to fit the area. Others have been specifically created for primary use within music therapy. Below is a list and brief description of the technology currently being used in music therapy (MAGEE. 2006. P.142) (HUNT, KIRK & NEIGHBOUR. 2004. P.52):

Soundbeam

Created in the late 80’s, Soundbeam uses movement sensors to translate gesture into sound. The sensors can be set to pick up certain types of movement, for instance if the user is limited to the movement of one finger the sensor can be set to a minimal range, however if the user is able to move a wheel chair it can be set to larger range.

Soundbeam appears to be one of the most popular pieces of technology being used in Music therapy, as Magee’s found in her study, “This reveals a clear majority of technology users’ experience with electronic musical equipment using MIDI generated sounds triggered by specialist input devices such as Soundbeam (n=26)” (2006. P. 142)

MidiGrid

MidiGrid is a piece of computer software also created in the late 80’s (HUNT & KIRK. 2003. P. 135), which displays a grid of boxes upon the screen, each grid contains a different, instrument or note etc, clicking upon the grid with a computer mouse can trigger the sounds. (HUNT, KIRK & NEIGHBOUR. 2004. P.51)

MidiGrid is not mentioned in any of the articles, which carried out surveys with music therapists, suggesting it has received minimal use. However in the article, Multiple Interfaces for Music Therapy, it discusses how MidiGrid has been expanded to become more identifiable as a musical instrument whilst still remaining accessible to severely impaired users. (HUNT, KIRK & NEIGHBOUR. 2004. P.52)

MidiCreator

Developed shortly after the MidiGrid, this device converts signals received via sensors, these could be pressure, distance or direction sensors etc. The program will then send out a Midi message of notes or chords in response. (HUNT, KIRK & NEIGHBOUR. 2004. P.52)

In Magee’s survey, mentioned above, Midicreator is averagely used half as much by music therapists as Soundbeam, despite this it is still the second most frequently used piece of technology within the practice. (2006. P. 142)

Adapted Musical Instruments

Adapted instruments are used with people who have physical disabilities, which may prohibit them from playing a traditional instrument. Crowe and Rio state in their article that adapted musical instruments are one of the most extensively explored areas of music technology within the music therapy practice. (2004 P.291-292) They also help individuals to actively participate in music making which they may have been unable to partake in before. (2004. P.301) However examples of these adaptations within literature appear to remain unexplored.

Other

Magee’s survey, which looks into the technology being used by music therapists also lists other technologies which have been used such as Electronic & Midi instruments, Recording equipment, Amplification & Vibroacoustic equipment however they were substantially and variably less. (2006. P. 142)

Crowe and Rio however state an apposing argument in their article, “The use of midi capability has been explored extensively as a tool in music therapy practice and research.” (2004. P.293) They also state that the American Music Therapy Association’s entry requirements for 2003 request a basic knowledge of the midi keyboard. (2004. P.283)

In Hunt, Kirk & Neighbour’s article they discuss instruments which they were in the process of creating, such as the Audiovisual drum. The drum would react when played not only with sound but also with a image projected from the inside of the drum onto the skin. (2004. P.53) However there appears to be no further publications upon the instrument.

From the above we can see that the development of new technologies within music therapy seemed to peek in the late 80’s early 90’s however there have been minimal developments since. (MAGEE & BURLAND. 2006. P.34) We will go on to discuss this later in The Disadvantages of New Technologies in Music Therapy.

How these new Technologies are being utilized in Music Therapy

Music technology within music therapy has focused primarily upon people with severe physical disabilities, as Magee and Burland noticed during their study in 2006. (P.38) However Hunt’s et al research makes it apparent that there has been clear benefits gained by physically disabled clients who are using technology as it has enabled them to receive therapy that they may have otherwise been unable too have. (2004. P.50)

A study, carried out by Magee in which surveys were sent out to the Association of Professional Music Therapists, gathered results which estimated that on average only 7.2% of the entire music therapy profession, at the time of data collection, had at some stage used electronic music technologies within clinical practice. (2006. P.142) Cevasco & Hong conducted a similar survey receiving comparable results, “Based on the results of this survey, MTSI (Music Therapy Students and Interns) have greater accessibility to technology than the MT-BC’s (Music Therapist – Board Certified)…however they are not using these devices as much for clinical use.” (2009. p.71)

What is particularly interesting from Cevasco & Hongs results is that MTSI’s who are currently under going what should be the most up to date training and have access to the latest technology, are in fact using the technology a lot less than MT-BC’s, who may have been practicing in the area for sometime and quite possibly have received their training many years ago. This brings into question the training that MTSI’s are receiving in the technological area of music therapy.

In Crowe and Rios article it becomes apparent that The American Music Therapy Association’s entry requirements are outdated, they state that only a basic knowledge of the midi keyboard is needed and the only understanding of computers required is in research methods. These requirements were taken from 2003, due to lack of recent references however the technological requirements are still particularly low considering the technology available at that time, as Crowe and Rio go onto state, “Given the amount of technological support now available to practicing music therapists theses standards constitute a minimal requirement.” (2004. P.284)

Magee and Burland found that, “The participants in this study had mostly developed skills in doing this work through a combination of learning from multidisciplinary colleagues, applying concepts from relevant treatment models and trial and error in use of the equipment.” (2006. P.33) Showing a definitive lack of training in the area of music technology within music therapy, which Magee found to be one of the main causes for the lack of technology being used within the area. (2006. P.142)

However despite there currently being no clear training or process set by organizations for using music technology within the area, Magee and Burland found during their study that a process has become apparent to those therapist’s who are using technology in their practice, ”There is a clear process which needs to be followed when using Electronic music technologies (EMT’S) in clinical work with clients with complex problems. This includes establishing an understanding of the clients movement patterns in order to choose appropriate input devices and the musical sound which can be created.” (2006. P.56)

Magee and Burland also state steps, which should be followed when using music technology, these include confirming the client understands that they are making the sounds heard, correct positioning and proficient planning. (2006. P.29)

There have also been other developments in the area including Hunt’s et al research and developments into user centered design’s, “With many recent projects, the main aim is to develop technological systems that help people to “lose themselves” in artistic or emotional expression – in other words for the quality of interaction to be so high that users aren’t aware that they’re using technology.” (HUNT et al. 2004. P.51) Hunt’s et al approach could potentially make using technology in therapeutically practice much easier, not only for the client but also for the therapist, which may lower the need for such extensive training.

The Benefits of New Technologies in Music Therapy

Despite there being a lack of music technology used in music therapy, those who have partaken in its use have seen clear benefits.

One of the main benefits, which become apparent in several texts, is how music technology allows access to music therapy for severely physically disabled clients who would otherwise be unable to receive it; “Music technology can give people access to music (and thus music therapy) by providing a means of transducing limited physical gestures into musical expression.” (HUNT et al. 2004. P.50) Magee and Burland state a similar finding in their article, “Client gains include access to music making when this might not otherwise be possible and enhanced opportunities for both musical expression and for self awareness.” (2006. P.6)

Crowe and Rio also state that music technology gives physically disabled clients, who are unable to communicate, an opportunity to do so. (2004. P.301) And Hunt et al also expresses how technology enables, “Access to real time sound control for those with limited movement.”(2004. P.50)

However due to the focus of music technology in music therapy being heavily based on severely physically disabled clients, it has led to neglect of research and development into how technology in music therapy can also be of benefit to less physically disabled clients. (MAGEE. 2006. P.143) We shall look into this further in The Disadvantages of Music Technology within Music Therapy.

Technology within therapy has also provided great benefit to children and adolescents, as Hunt et al states, “Traditional instruments are related to strict training, which can be off putting for young people…Mary Abbotson…has worked with special-needs teenagers where the attraction of a “music computer” was the only thing that initially kept them in the music therapy room” (2004. P.51

Vibroacoustic therapy, which was mentioned above as a less frequently used form of technology within music therapy, uses technology to affect the sound waves of physical matter, such as the human body. This helps to deal with pain management by, as Crowe and Rio cite the work of McClellan (1988), “restoration of the entire body to its natural vibratory rate.” (2004. P.53) However as we saw from the statistics, this therapy is currently not being widely used within the area, and crosses over heavily with science. (SKILLE & WIGRAM. 1995. P.23)

Similar benefits seem to resonate throughout different texts such as Crowe and Rio’s article which states “increased motivation, participation, self-esteem, expression, and social interaction due to the use of technology in music therapy”. (P.302 & 303) Magee and Burland discuss the same benefits within their text with particular focus upon the empowerment gained by the client through technology enabling independence and therefore enhancing quality of life. (2006. P.6 & 8 ) Crowe and Rio state a similar point, of how technology has offered clients great control over themselves and environment, which has proved to be particularly liberating for the client. (2004. P.294)

Magee and Burland also state how the use of technology in music therapy is bringing new opportunities to the practice enabling it to build networks with other related areas, “Applying EMT’s also Enhances opportunities for working with other members of the multidisciplinary team and assists with integrating music therapy into the broader therapy program.” (2006. P.33-34)

The Disadvantages of New Technologies in Music Therapy

It has become apparent throughout this review that technology within music therapy is not being utilized as much as would be expected in the 21^st centaury, we shall now explore possible reasons for why this is occurring.

The main reason which seems to arise throughout different texts is the lack of training available for both qualified music therapists and music therapy students, Crowe and Rio cite, “As a professional discipline, music therapy has not extensively addressed the issue of educating students in technology pertinent to music therapy practice.” (2004. P.283) Magee presents a similar verdict in her article, ”The findings reveal that the primary barrier from incorporating these tools involves a lack of training at an introductory level and skills development at a more advance level.” (MAGEE. 2006. P.139)

Magee and Burland also state that Britain in particular has been criticized for being slow in the introduction of music technology within music therapy. (2006. P.10) Cevasco & Hong also found concerning results, “Many MT-BC’s stated they did not even know what types of technology existed for use in music therapy.” (2009. P.71-72) Suggesting that training in music technology is an issue, which urgently needs addressing by music therapy courses and boards.

Magee also specifies in her article that training should concentrate on how to appropriately include music technologies within a therapeutic environment and explain the benefits involved for the client. (2006. P.139) From Magee’s text it becomes apparent that many music therapists believe technology can only be used with clients who suffer from profound physical disabilities. (2006. P.143) This is an issue which should also be addressed in the training process.

Another issue which emerged from several texts is the quality of sound and control experienced when using music technologies in practice, for instance Hunt et al quotes, “They also cite a lack of control subtlety, and timbre that “wore thin” after much use” (2004. P.52) Magee and Burland found similar results in their study, “the existing tools lack the facility to control subtle manipulation of components resulting in favored synthesized timbres ‘wearing thin’ after repeated use.” (2006. P.34)

Hunt et al goes on to mention a possible solution being developed; new piece of music technology, designed specifically for music therapy, Ensemble is a program, which loads midi sounds into the music software Reaktor, enabling them to be continuously manipulated, therefore taking old sounds and creating new dimensions. (2004. P.52)

Hunt et al continues to say, “This approach will open new interactive sound and image worlds and developments in the practice of therapy, which aren’t so much limited by the clients capability but by the creativity shown in designing the new instruments and supporting tool kits and our willingness to use them in practice.” (2004. P.58) Magee and Burland make a similar argument, “Greater interdisciplinary collaboration in the development of appropriate tools is required” (2006. P.33) Magee also address’ how many therapists stopped using technology in their practice due to equipment breaking and not having sufficient skills or support to repair them. (2006. P.143)

Suggesting that the engineers involved in the creation of future technology for music therapy purposes, must take great consideration in the practicalities and usability of the products they design and engaging in a close partnership with practicing music therapists could prove to be beneficial. Magee and Burland mention guidelines for future technology for music therapy is their article, “There is the aim to create EMT’s which are able to provide a comparable variety of shape, sound and playing techniques to that provided by acoustic instruments, with particular consideration of timber control & adequate tactile feedback. There is also recognition that tools must be reliable and not overly complex.” (2006. P.34)

Other points expressed were the preference of direct contact and physical engagement which traditional instruments offer. (MAGEE. 2006. P.143) Magee and Burland mention a similar concern; “There are aesthetic and therapeutic benefits of acoustic instruments which are limitations when it comes to EMT’s…particularly in terms of visual appearance. Acoustic instruments have greater evocative capabilities because of their multisensory appearance.” (2006. P.27)

Cost is another key concern which music therapists have when using technology, as Cevasco & Hong quote, “Some of the MT-BC’s mentioned that the cost of technology was especially difficult for music therapists…Others indicated an interest in obtaining grants to purchase technology and wanted further information on how to find the funding in order to include current technology in their clinical practice.” (2009. P.72) Magee makes a similar observation, “Practical issues emerged as the most common contributing factor preventing the use of electronic technologies, including access to and a lack of space for such equipment, not having enough time to set up the equipment within the clinical workload and difficulties mobilizing the equipment.” (2006. P.142)

Conclusion Of Literature

It has become apparent from this review that the literature available upon the subject is extremely limited and much of it is outdated, many of the articles used in this review concluded similarly, such as Magee’s paper, “More detailed investigation of existing applications of electronic music technologies in music therapy practice is warranted, particularly into technologies which incorporate specialist input devices.” (2006. P.144)

Therefore it is essential to extend upon the methods used to gather further research. Other methods such as the Internet, TV programs and holding interviews, where possible, with individuals who have shown clear involvement in the area, should all be explored.

Magee suggests an area for further research in other therapeutic professions, “The issue of training and support in the application of electronic assistive technologies reflect key topics for concern across the wider allied health professions at the current time…” (2006. P.144) And Malchiodi’s book, Art Therapy and Computer Technology, discussed above, talks of the use of digital media within Art Therapy, “I am always exploring what media do, how they affect us differently, what qualities they convey, how they influence the circulation of energy in spaces and in people and how new media and new interactions among existing media improves practice.” (2000. P.88)

Suggesting other art therapies may be able to offer an alternative view on technology within therapy, which could prove to be extremely beneficial to its development within music therapy. Therefore meaning further investigation into how technology is being used within art therapies is required.

Other areas that also require further research are; where technology works best within music therapy, training on technology within music therapy, techniques that could and are being used with technology in music therapy, current technological developments taking place within music therapy, other technological developments which could be used in music therapy but are not currently and where the future of music technology and music therapy may lead.

Further areas of interest may become apparent along the line of research and should also be addressed appropriately to ensure maximum and up to date knowledge of the subject before a clear conclusion can be drawn.

Bibliography

Books

MARANTO. C.D. 1995. Foreword. In: WIGRAM. T. SAPERSTON. B & WEST. R. The Art and Science of Music Therapy: A Handbook. Switzerland: Harwood Academic Publishers. P.5,9 & 10

DARNLEY-SMITH. R & PATEY. H.M. 2004. Music Therapy: Creative Therapies In Practice. London: SAGE Publications. P.6.

BUNT. L & HOSKYNS. S 2002. The Handbook of Music Therapy. East Sussex: Brunner Routledge. P10-11

BRUSCIA. K. E. 1991. Case Studies in Music Therapy. Gilsum: Barcelona Publishers. P.5&6

HANSER. S. B. 2005. The New Music Therapists Handbook. Second Edition. Boston: Berklee Press. P. 6-8

HANSER. S. B & CLAIR. A.A. Retrieving the Losses of Alzheimer’s Disease for patients and Care- Givers with the Aid of Music. In: WIGRAM. T. SAPERSTON. B & WEST. R. The Art and Science of Music Therapy: A Handbook. Switzerland: Harwood Academic Publishers. P.350-351.

TOWSE. E. 1995. Listening and Accepting. In: WIGRAM. T. SAPERSTON. B & WEST. R. The Art and Science of Music Therapy: A Handbook. Switzerland: Harwood Academic Publishers. P.328 & 338

HIBBEN. J. 1999. Inside Music Therapy: Client Experiences. Gilsum: Barcelona Publishers. P.3

SILVERSTONE. R. 2005. Media Technology and Everyday Life in Europe: From Information to Communication. Aldershot: Ashgate Publishing. P.21

MALCHIODI. C.A. 2000. Art Therapy & Computer Technology: A Virtual Studio of Possibilities. London: Jessica Kingsley Publisher LTD. P. 9, 14, 16, 88

MAGEE. W. L. & BURLAND. K. 2006. Exploring the use of Electronic Music Technologies In Clinical Music Therapy: Establishing Definitions and Scope of Practice: Final Report. Leeds: Institute of Neuropalliative Rehabilitation. P.6, 8, 10, 27, 29, 33, 34, 38, 56

SKILLE. O & WIGRAM. T. The Effect of Music, Vocalisation and Vibration on Brain and Muscle Tissue: Studies in Vibroacoustic Therapy. In: WIGRAM. T. SAPERSTON. B & WEST. R. The Art and Science of Music Therapy: A Handbook. Switzerland: Harwood Academic Publishers. P.23.

Journals

CEVASCO. A & HONG. A. 2009. Utilizing technology in clinical practice: A comparison of board certified music therapists and music therapy students. Music Therapy Perspectives. Volume 29. P.71, 72

KROUT. R. E. BAKER. F.A & MUHLBERGER. R. 2010. Information Sharing: Designing, piloting and evaluating an online collaborative song writing environment and protocol using Skype technology. Music Therapy Perspectives. Volume. 28. P.80, 83 & 84

MAGEE. W. L. 2006. Electronic Technologies in Clinical Music Therapy: A Survey of Practice and Attitudes. Technology and Disabilities. Volume 18. P.139, 142, 143, 144

HUNT. A. KIRK. R & NEIGHBOUR. M. 2004. Multimedia Interfaces For Music Therapy. IEEE Multimedia. Volume 11:3. P.50, 51, 52, 53, 58

CROWE. B. J & RIO. R. 2004. Implications of Technology In Music Therapy Practice & Research For Music Therapy Education: A Review of Literature. The Journal of Music Therapy. Volume 41:4. P.283, 284, 291,292, 293, 294, 301, 302, 303

Work Experience Day 2 – Soundbeam

Posted on Tuesday 24 April 2012 by howsitgoingbob

My day began with some testing of Soundbeams which were being shipped off to places around the UK and Taiwan. The testing involved testing each beam and switch input, testing samples and midi instruments etc.

Soundbeam App

After testing the Soundbeam’s me and Cindy discussed the possibility of a Soundbeam App which is something they are considering developing in the future.

I sent an email through to Leigh Davis, a MA student on Creative Sound and Music, who has experience in designing App’s himself, he is currently taking part in creating the app Feed seen below:

During the remaining of my day at Soundbeam I experimented with putting my own samples and Midi into Soundbeam, as part of my Live Brief.

My very own office at Soundbeam Headquarters: Bristol:

I began by using some samples I had created on Logic I exported them and loaded them onto the memory card within Soundbeam i then assigned the samples to switches. I then decided that i wanted to insert Midi patterns onto the beams so that individual notes could be played, to create a further sense of interaction, control and creativity.

To create the Midi I plugged a Korg keyboard into the Soundbeam interface and played the samples into the beam creating what is known as a ‘Note Sequence’ within Soundbeam this note sequence can now be assigned to a beam and played using the midi instruments within Soundbeam.

Below is a vlog of the Live Brief so far:

Music And Altered States A Review

Posted on Tuesday 17 April 2012 by howsitgoingbob

Literature Review: Brief 2

Music and Altered States: Consciousness, Transcendence, Therapy and Addictions By David Aldridge and Jorg Fachner

Copyright Nat Higgins 2012

This review will be looking primarily at the book Music And Altered States in depth and will discuss the key themes & ideological discourses of the book and how they relate to other theories & ideas being put forward by others.

The book begins by discussing the meaning and use of music and consciousness, both are described as communal activities, which can be performed and can bring people together. It suggested that both music and consciousness are ways of achieving a unity of external, eg. Social, and internal, eg. Own thoughts. (2006. P.9 &10)

It deliberates the meaning of an altered state of consciousness, this term ‘altered’ suggests that there is a normative state of consciousness however Aldridge and Fachner suggest that perhaps instead of a normative state perhaps our state of consciousness is instead constantly changing. “Maybe our lives are not linear maybe a constellation of stages that we move through. Each stage is accompanied by a altered state of consciousness.” (2006. P.12)

Like our development as human beings, which a complicated process and takes place throughout out our whole lives not just in children, our consciousness is also always developing. (p.11) Our development of consciousness much like our growth is a extremely personal thing for each individual and is dependant upon each individuals depth of involvement, experience and purpose (p.36), “We are not passive organisms but constantly in creation…We are like works of art in progress or better expressed as working art in progress.” (2006. P10 & 11)

It is suggested that an active way of altering our consciousness or perhaps moving us on to our next stage of consciousness is to make music together. Rhythm is described, as the basis of music changing our state of consciousness, as it is not a fixed dynamic and flowing, much like our consciousness, this appears to be a main theme throughout the book. (p.11)

The book goes on to discuss how music can induce trance like states, which can be used as a means to access a person’s subconscious for example painful memories, which can give an individual a new perspective upon their lives. (p.29) It can also serve to maintain and structure a state of consciousness in order to induce a trance like state to increase healing potential for therapy purposes. These trance like states result in partial loss of control, which may stimulate therapeutic experiences in particular, long term pain reduction. (p.30)

However music may not be the main factor in inducing trance but it is recognized as a key component that contributes to inducing the state. (p.49)

The effect of monotonous drumming is described as being an extremely effective way of changing the state of consciousness. (P.58) “Self consciousness becomes less accurate and the border between self and the outside world becomes fuzzy.” (P.58) This description of the change in consciousness relates heavily to the theories put forward in the The Post-Human Condition, “No finite division can be drawn between the environment, the body and the brain. The human is identifiable but not definable.” (PEPPERAL. 1995, P.16) Which suggests connectivity between human’s and nature, perhaps this can only be realized when in an altered state of consciousness.

The reason drumming has such an effective outcome on altering our sense of consciousness still remains unclear however it may be to do with a connection with the heartbeat or near birth experiences. (p.59) This connection with our heart beat can be seen in other activities musical and non, for example, 4/4 which is the rhythm of a normal heart beat, is the most popular time signature and the majority of people naturally walk in 4/4. This again shows connectivity, these occurrences aren’t just by chance but rather happening because of something else.

The connection continues as the book goes on to talk about music as medicine, “Illness….has been accepted as evidence of disequilibrium, where there is a disharmony between the person and nature. In the perspective taken here music is considered as part of both nature and space ad capable of acting as a healing agent by reconciling the person with nature.” (p.74) Again showing a connection between music, consciousness and nature. Pepperell’s theories in The Post-Human Condition relate strongly to this as do theories from Ancient Greek times such as Pythagoras theories of Musica Mundana and Musica Humana.

The use of drugs, mainly LSD and cannabis in music therapy is something that was addressed in the early 1970’s by Charles Eagle and Helen Bonny. (p.89) It was found that the use of drugs weakened resistance allowing for increased flow meaning that issues could be addressed with more ease. It was also reported that the feeling of intensity was also significantly changed. (p.89 & 93)

The use of polyrhythm’s is also discussed in terms of therapy and in altering consciousness. “The result of polyrhythmic stimulations could be seen in the cerebellar activation and is thereby useful in detecting hidden unconscious contents and also for creative thinking.” (P.121) This again shows the main theme, which runs throughout the book that rhythm is the key factor of music’s effectiveness is altering the state of consciousness.

The use of music in a dangerous way is also discussed, mainly focusing upon the use of music by addicts. Addicts often relate certain types of music to drugs which can be dangerous in terms of relapse, music can also be used, not only by addicts, as a way to fill a gap that has been left perhaps by drugs etc, however it is common particularly for addicts to then become reliant on music. It is important for music therapy not to ignore ‘dangerous’ music but rather work through its issues with an individual and rehabilitate listening habits so that the individual can begin to enjoy music. (P.129 & 139)

The last phase of the book focuses of Music therapy and spirituality, which comes across as another key theme, “Lucanne Magill reflects on what she believe is really the heart of what we do, music therapy and spirituality.” (p.155) It is described that a lot of what music therapy involves is beyond words, and that there are four key factors in music therapy, to build relationships, enhance remembrance, give a voice to prayer and instill peace. (P.155-156)

“My hope is that we can go someway to uniting…music therapy such that there is a reunion of thought about healing and the possibility of transcendence…This is perhaps the basis of healing and the core of hope.” (p.171) Its goes on to say that this is not a undermining of modern medicine but that music therapy could work along side modern medicine and that more time and room should be made for creative therapies within hospitals. Music therapy is not trying to replace modern medicine but rather offer something that it can not, “Offer us other forms of knowledge, not only about ourselves but also about ourselves and others, the wider performed ecology.” (p.166)

The book then goes on to finish on the subject of music therapy and the end stage of illness. A key factor of music therapy being used in the end stages of life is that it offers healing attributes beyond modern medicine & even beyond words, it can soothe, restore, refresh, and offer a sense of unity. (p.173-174) Generally there is always a time in someone’s life where modern medicine can offer no more, except to ease the pain, music therapy can offer something else.

In conclusion the key factors of Music and Altered States appears to be that rhythm plays a crucial part in how music can help to alter our state of consciousness, music and spirituality also play another key role and that perhaps this is why music therapy is in existence, because music can offer a connection to a spirituality therefore altering our consciousness. Another factor, which is highlighted through the book, is the consideration that perhaps our consciousness is always changing, no ‘normative’ consciousness exists, and music can play a part in moving our consciousness on to the next step. What is clear is that music can certainly play a key role in altering our state of consciousness but also in altering us.

The Power of Music Workshop

Posted on Saturday 7 April 2012 by howsitgoingbob

I am currently taking part in running a 10 week musical workshop at a residential home in Bristol, I am assisting my friend Laura Farage who is running the workshops as part of her course in Creative Arts Therapies.

Session 1: 8/3/12

8 attendees

Introductions go around the circle, everyone introduces themselves and the music they like, it may be an artist or genre.
Warm up – Boom boom clap. Got everyone doing 2 beats on their legs and a clap, this got everyone moving and made everyone less shy, we even had people singing along with ‘We Will Rock You’
Everyone chose a instrument to play (these varied from Djembes, bells, shakers, tambourines etc.)
Free improvisation
Got everyone to play a 4/4 beat with their instruments and then built the dynamics up and down.
I then set a beat on the djembe and everyone joined in with their instruments, we then built the dynamics up and down.
Went around the circle with the Djembe, everyone got to experiment with the different tones of the instrument. This was and improvised part of the session, as one of the participants enquired about how to make different sounds on the Djembe so I took it around the circle to let them experiment.
2 participants then began their own beat without being prompted, everyone else joined in. This was a great bit of free improvisation which was not structured by Laura or I. Was great to see everyone getting into it by themselves and getting creative.
Began the sing a long part of the session, everyone chose ‘Tie A Yellow Ribbon’ to begin with, we then went on to Amazing Grace and finished on When The Saints Come Marching in. Everyone particularly seemed to enjoy this part of the session. Group seemed energised, seemed to come alive.
Laura then went around and asked everyone what their favourite songs were, took notes for future sessions.
Tea and Coffee
A Participant who is a very accomplished piano player then played the pianofor other participants, this seemed to really give him a purpose, he really enjoyed doing this and everyone enjoyed listening.
End Session

Session 2: 22/3/12

8 Attendees

Ice Breaker – Threw soft ball to different people in the circle, person who received ball would pick a question out of the bag questions varied from, favourite song, favourite place etc.
Music Quiz – Had 12 songs on a CD played each song and participants guessed the name of song & artist. Each participant had a instrument which was their ‘buzzer’ they had to play when they knew the answer. This seemed to be particularly popular and everyone seemed to really enjoy it and get into it. It encouraged memory, everyone began reminiscing on what the songs meant to them and boosted self esteem, everyone would receive a point for each one they got right. Songs included: Abba, The Animals, Bobby Darun, Cliff Richard, The Beatles, Daniel O’Donnell, Elvis Presley, Frank Sinatra, Jackson 5, Nancy Sinatra, Petula Clark.

Pianist Participant then played, he had brought in a book of war time songs, everyone shouted out requests, everyone sang along with songs and again reminisced on war time memories.. Songs included: Goodnight Sweetheart, White Cliffs of Dover etc. Again participant seemed to really come out of his shell, it really seemed to give him a sense of purpose to play for the group, he seems to really enjoy it. Participant also mentioned that he has felt ill that morning but has come because he wanted to play the piano for us, gives him motivation. I also took photos of Participant as he requested, he wants photos he can get printed to show people.
Tea & Coffee
Laura played guitar, people joined in on their instruments again free improvisation, very creative.
To close I played the guitar as people left.
End session.

“We are like works of art in progress or better expressed as working art in progress.” – Aldridge & Fachner (2006, p.11)

Posted on Wednesday 15 February 2012 by howsitgoingbob

Literature review:

Music Technology in Music Therapy: how this may offer an altered state of consciousness.

By Nat Higgins, Copyright 2012

This article reviews the use of Music Technology in Music Therapy and how it may be able to offer an altered state of consciousness’s that could enhance the healing process. We will look into traditional methods of music therapy throughout the years and the altered state of consciousness that they have offered and how music technology is beginning to be used in music therapy and may be able to offer a new altered state of consciousness which along side traditional methods may open up new possibilities for music therapy. A total of 3 articles from journals and 2 books will be used through out this review.

Healing through music is a theory, which has existed for many hundreds of years, “From ancient times to the middle of the twentieth centaury, Adyghs performed a rite called ‘Chapsh’ for people with bullet wounds, snakebites or bone trauma….These songs, with heroic texts, help the sick person tolerate pain, where he can identify himself with the heroic images.” (ALDRIDGE. D& FACHNER, 2006, p.78), and has involved methods such as hypnotic drumming, song writing with acoustic instruments and guided imagery whilst listening to music. (ALDRIDGE. D & FACHNER. J 2006)

However it seems that music therapy has remained extremely limited within these traditional forms and has not yet explored the possibilities of what new technology may be able to offer, “As a professional discipline, music therapy has not extensively addressed the issue of educating students in technology pertinent to music therapy practice.” (CROWE. B & RIO. R, 2004, P.283) Cevasco & Hong found similar results to Crowe during a survey they carried out upon MT-BC’s (Music Therapist – Board Certified) and MTSI (Music Therapy Students and Interns) to investigate their use of music therapy during their practice, “Based on the results of this survey, MTSI have greater accessibility to technology than the MT-BC’s….however they are not using these devices as much for clinical use.” (2009, p.71)

What is particularly interesting from Cevasco & Hongs results is that MTSI are using technology a lot less than MT-BC who may have been practicing in the area for sometime and received their training many years ago, despite the fact they have more accessibility to the equipment and were under going their training at the time of the survey. This brings into question the training that MTSI are receiving in the technological area of music therapy.

In Crowes article published in 2004 she states the American Music Therapy Associations technological knowledge requirements are an understanding of a midi keyboard and listed under advance competency is ‘ability of modern tech in music therapy assessment treatment and evaluation, the only reference computers in research methods, Crowe & Rio go on to state “Given the amount of technological support now available to practicing music therapists these standards constitute a minimal requirement.” (2004, p.284)

It seems from the above that the requirements to gain a music therapist title should be revised and re-assessed to ensure that training music therapists gain a qualification that properly equips them in the possible future of music therapy and technology. Perhaps then we would begin to see an increase in innovative ideas using technology within music therapy which could lead to a greater understanding in the area and a increased benefit for music therapy clients.

There are some developments taking place within music therapy using technology presently which should be acknowledge, Krout, Baker & Muhlberger piloted a music therapy, telehealth project, which involved the delivery of a music therapy song writing session over Skype, at the time of the pilot they did find some connection problems including auditory and visual which was reported to prohibit the session somewhat however it is stated at the end of the article that “This low cost technology may allow students & perhaps one day therapists & clients to write songs together via Skype.” (2010 p.84) Crowe also states in her article various technological developments, which have been used successfully within music therapy such as, Electronic ear, Wave Rider, Visi-Patch, Finale & Fractunes. (2004)

It is clear that the use of music technology within music therapy allows increased ability for many clients, “Generally all forms of technology utilized in a music therapy increase the ability of the client to perform and produce music.” (CROWE. B RIO. R, 2004, P.301) and as Cevasco & Hong state “It seems that technology is a worthy investment & a valuable asset to music therapists in their clinical practice, especially due to the accessability of tech and the increasing number of adult clients who are utilizing various forms of tech to enhance their quality of life.” (2009, p.71)

However what the use of technology within music therapy may also be able to offer is a new experience of consciousness, Aldridge & Fachner state that “Making music together is an active way of changing consciousness that is embodied.” ( 2006, P.11) and as Pepperell quotes, “Consciousness is a property which emerges from a given set of conditions.” (1995, p.182)This confirms that music does alter our state of consciousness and perhaps with the added benefits that technology can offer it, it can offer us a completely new altered state of consciousness.

Aldridge and Fachner also talk about how music connects everything and how this could be the reason why it has healing qualitys, “Illness…has been accepted as evidence of disequilibrium between the person and nature. In the perspective taken here music is considered as part of both nature and space and capable of acting as a healing agent by reconciling the person with nature.” (2006, p.74) Pepperrell makes a similar conclusion in The Post Human Condition, about connectivity, “No finite division can be drawn between the enviroment, the body and the brain. The human is identifiable but not definable.” (1995, P.16)

What can be concluded from the above is a distinctive lack of development in the area of music technology within music therapy, however what can be seen from the developments that have taken place so far is a definite benefit and enhancement that technology can offer the therapy. It is clear that more, time, research and training need to go into the area as the benefits could be vast. “As electronic technologys continue to emerge music therapists need to keep abreast of how new developments and applications might be incorporated into their work.” (KROUT, BAKER, MUHLBERGER, 2010, P.84)

Bibliography

CROWE B. 2004. Implications of technology in music therapy practice and research for music therapy education: A review of Literature. Journal of Music Therapy, Volume 41, Winter 2004.

CEVASCO. A & HONG. A. 2009. Utilizing technology in clinical practice: A comparison of board certified music therapists and music therapy students. Music Therapy Perspectives. Volume 29.

KROUT. R. E. BAKER. F.A. MUHLBERGER. R. 2010. Information Sharing: Designing, piloting and evaluating an online collaborative song writing environment and protocol using Skype technology. Music Therapy Perspectives. Volume. 28.

ALDRIDGE. D & FACHNER. J. 2006. Music and Altered States. London: Jessica Kingsley Publishers.

PEPPERELL. R. 1997. The Post Human Condition. Second Edition. Exeter: EFAE.

“It is this experience of control and emersion in sound, which can be such a powerful tool.” – Welcome to Soundbeam Video

Posted on Saturday 4 February 2012 by howsitgoingbob

Soundbeam

The most amazing thing about Soundbeam is that is over 20 years old. It was first created in 1989 and has continued to be developed and improved since.

The Facts…

Soundbeam is a interactive Midi system, which picks up movement and translates it to sound. It use’s a sensor to pick up movement and also has the option of foot-pedals to add extra sounds. The current version of Soundbeam offers, an in built sampler, inbuilt synth, inbuilt amplifier and inbuilt mini keyboard and offers a variety of samples.

Soundbeam was originally created to be used in dance as it would pick up on the movements taking place and translate them into the appropriate sounds and tempo. However it has since been developed to be used in schools and music and dance therapies.

The Implications…

What remains fascinating to me is that Soundbeam has existed for 23 years, granted it has not been used in music therapy for that amount of time but is has been in the area for some substantial time, and yet the further development of technology in Music Therapy still seems relatively unexplored.

For me this is extremely surprising, I’m not knocking Music Therapy as it stands, it is a powerful and life changing thing and theres no denying that the traditional techniques used work extremely well, however using technology’s available to us today we may be able to develop those techniques further or even create new techniques.

It almost seems to be that Music Therapy is afraid to move forward with technology incase these old techniques are replaced, well yes perhaps these techniques may be more effective or perhaps they will not, we will not know until we try them, and surely the main priority should be the development of Music Therapy to help people more, and if technology can help us to do that then great!

I will restate i am not disregarding Music Therapy as it stands, we have needed these traditional techniques and research to get to where are today, however now i think is the time to move forward. Think of it this way, Electronic music is now seen as the future of the Music Business however no one is say that to get to this conclusion we didn’t need The Beatles, The Beatles were crucial to this development. It is important to remember although music has been seen to have the power to heal since Ancient Greek times, however it has only been a recognised profession for the past 50 years.

To go back to my initial point, Soundbeam shows the start of a exciting future for Music Therapy, Community Music and in fact any type of Interactive Music. With the inbuilt sampler people are now able to record their own sounds, whether it be their voice or them tapping on a table and then manipulate it using the sensors and foot pedals. The enables people who may have never been able to consider making music, the chance to be a music maker. Going back again to one of my favourite points, anyone can be a musician, and it is developments such as this which are helping this to become true.

Some things that interest me is whether programs such as Logic and Ableton Live could be used with The Soundbeam to enable more manipulation of sounds and perhaps usage of more samples.

I hope that the development of Soundbeam will help to further the use of technology within Music Therapy, but it is clear that it is a step in the right direction!

For more information on Soundbeam visit their website: Soundbeam.co.uk

“Anyone who is planning to listen to music from shiny pieces of plastic in the future will be in for a big shock.” – Dave Goldberg, SVP and GM, Music, Yahoo!

Posted on Thursday 8 December 2011 by howsitgoingbob

The Alphasphere

Change the way you play

The Alphasphere is a new musical instrument which is designed as a new way to play and experience electronic music, using open sound control. This instrument is a departure from linear instruments and entering into the new age of musical experience. The Alphasphere makes digital music more expressive, no longer will audience be watching a person on a laptop make sounds using a program they may not understand but they will be watching a person move around and play the Alphasphere or even play it themselves!

“The future of music is ‘paying for the experience'” – The Future of Music – Gerd Leonhard – P.146

I particularly liked the way the guys from Nu desine who have created the Alphasphere are still very open to new ideas and ways in which to use and play the Alphasphere, it is still in its testing stages and wont be on shelves for some time but the possibilities that this new instrument and many like it create for the music industry and the future of music is wonderful.

They also mentioned how they have tried out the Alphasphere in a music therapy environment and how they were pleasantly surprised at how well it worked. A severely disabled child played the instrument and according to the music therapist it was the most expressive they had ever seen them. So could this be the future for music therapy?

What i am particularly interested in, within music therapy is the possibilities that incorporating these new technologies could open up many new ways and scientific evidence of music therapy. What i would like to go on to specialise in is being a technical music therapist using Max MSP, Ableton, Logic etc as i feel that this is unexplored territory within music therapy and it is crucial that it is developed and explored to ensure the future and development of music therapy .

Other new and exciting instruments:

New instruments for therapy:

“A good groove releases adrenaline in your body. You feel uplifted, you feel centered, you feel calm, you feel powerful. You feel that energy. That’s what good drumming is all about.” – Mickey Hart

Posted on Tuesday 8 November 2011 by howsitgoingbob

Taiko Drumming

Today i experienced my first Taiko lesson, it was extremely powerful in many ways and amazing fun!

We didn’t quite sounds like those guys however we did learn several different sequences. It was quite amazing just how powerful Taiko drums are. When we were all play the vibrations the drums were putting out when hit was incredible i could feel it building up in my chest like thunder about to sound.

The movement involved in the whole performance was very interesting also. It made me very aware of my body and how i was moving around which is actually great practice for any performer looking to develop there on stage presence. It was also a great release to be able to hit the drum with such force and move your whole body into the hit.

We also shouted phrases during different parts of the piece which again was a release as we had to really get into shouting them loudly almost with anger.

It is of course incredible how Taiko works so well and so powerfully when played in such numbers as you can see from above. It really is a great group activity also encouraging group activity and dynamics and discipline.

Dave from The Gwent Music Service who took the lesson also teaches in school’s around Newport and he was sharing his experiences whilst he was there and he said how it really did seem to have a calming effect on the children that played and also helped them to really develop there skills to focus.

Taiko used to be used during war as a communication tool but also to motivate the troops and help to set a marching pace. And i imagine it was rather off putting for the other side to hear this mass of powerful drums coming towards you.

I have looked into Taiko being used for Music Therapy however i haven’t been able to find any information on it being used at all. I feel that with the right group of people Taiko drumming could be very beneficial in a music therapy environment, as it engages the whole body, voice to shout, body to move with actions and brain to think about the drumming patterns so it really is very motivational. It is also a great release after that session although i didn’t feel particularly angry or emotional before going in a really felt better then i did before i went in, it felt as if a weight had been lifted! Taiko being a group activity could really benefit also as it could teach social skills or help to build on them.

Drumming is the musical expression of this primal power. Rhythm is a means of organizing sound into specific energy formulas to harmonize the mind and body. Chanting, rhythmic breathing and drumming form an ancient technology for directly synchronizing the mind/body complex, creating conditions for psychological and physical healing”. – Layne Redmond

Posted on Tuesday 4 October 2011 by howsitgoingbob

Global Perspectives

Our first Global Perspective workshop involved us taking part in a Samba lesson which was not only great fun but allowed us to use many different rhythms and work together with them. It certainly got my brain working!

What i’ve got from watching some videos online of Samba drumming from all over the world is the energy and vibrance that comes with it.

There are many different ways that i could take this module and i’m beginning to see this now.

Rhythm is a part of each and everyone of us that are living from our heart beats alone.

However i think its important to remember that in our Western Society we are brought up to believe that some of us are musicians and some of us are listeners. We are not led to believe that we can all play music. Like it or not the hierarchy of musician and listener still exists today in Western society. It is however less present is other cultures in which people are brought up to sing/drum/dance from a extremely early age. (The Singing Neanderthals – Steven Mithen)

And this is very true, i saw this particularly whilst volunteering at the Prospect Hospice over summer. Some people wanted to sing along other wanted to be purely a listener nothing more.

It’s no secret that drumming can be a great release physically and mentally and it can definitely be used in many different and interesting ways from therapy, education, relaxation through repetition, team building etc.

I really enjoyed putting my written Samba piece into practice today. Despite it not sounding like what i thought it might (as i expected banging on a table just doesn’t give the same effect) it was a lot of fun and a good learning curve. Controlling a drumming session is not as hard as i’d first thought however getting the drums sounding how you want is!

I’m gonna have lots of fun with this:)

The only universal tongue – Samuel Rogers