ABSTRACT
A multi-phase investigation was conducted to question potentials within music therapy of a new electrorganic frame drum musical instrument from Japan titled the ‘aFrame'. Two professional music therapists collaborated in this third phase of testing under the work in progress. One of the two music therapists tested the aFrame within numerous sessions with two profoundly disabled clients across generations i.e., an adolescent male and an adult woman. Observations including video recordings as baseline analysis. A goal of the study was to identify strengths and weaknesses of the new instrument in the field of (re)habilitation, especially across spectrums of those with profound dysfunction, special needs situations, and across ages. A goal of the overall work of some four decades, titled SoundScapes, is to achieve an ultimate compendium of tools for human performance to create specific interactive environments to support therapists, caregivers, and for own self-training through engaged and motivated creativity, self-expression, and play. Such environments as created by the first author have been used in his stage performances and installations (e.g., at Museums of Modern Art). The tools are thus considered transdisciplinarity forming a new holistic approach aligned to his six patents. Results from the investigation question the contextual potential of the aFrame due to a typical lack of motoric control aligned to the fragility and expense of the instrument – challenges were evident for those with diminished or lack of physical limb control. To optimize use, add-on footswitches and pedals are recommended with the aFrame instrument. These give added options including remote switching and an audio streaming interface mixer for optimal Online streaming of instrument (and voice) that would have been especially useful during the Coronavirus pandemic so that the music therapists could have continued their interactions with clients remotely (i.e., beyond video conferencing quality). Alternatives to the aFrame are posit and selected from the new generation of instruments and pedals controlling digital media as presented at the end of the text. © 2023, ICST Institute for Computer Sciences, Social Informatics and Telecommunications Engineering.