Music Improves Social and Participation Outcomes for Individuals With Communication Disorders: A Systematic Review

Journal of Music Therapy, thaa015, https://doi.org/10.1093/jmt/thaa015
Published:
 
26 September 2020

Abstract

There is increasing interest in exploring the benefits of music in rehabilitation settings. In the field of speech-language pathology, an ultimate goal for individuals with communication disorders is to foster participation across multiple contexts. The goal of this systematic review was to explore social and participation outcomes for individuals with communication disorders who received arts-based interventions. A systematic search of the literature yielded 86 studies, which were coded and summarized in terms of participants, arts-based intervention, social and participation variables, outcome, and quality of evidence. The majority of identified studies (N = 71) utilized music. Results indicated that music-based interventions can improve social and participation outcomes, such as frequency of responses, initiation of communication, turn-taking, joint attention, and group participation for children and adults with autism spectrum disorder and developmental and acquired communication disorders; however, future research is needed to expand the use of varied arts-based interventions targeting a larger breadth of social and participation outcomes.

A piece for sax + electronics by Patrick Housen Frag the Gods (2013) 

Page: a draft of variation l for performance 

Motivation for the musical collaboration with Lukas Huisman and Patrick Housen for the virtual residency programme

 

I have taken a great artistic interest in the work Corona-STEMS-GALAXYOMEGA by Patrick Housen (live electronics) and Lukas Huisman (Pianist) in Belgium from June 2020. Huisman’s showed his intellectual skill as a keyboard instrumentalist. The piece was created with the help of Huisman’s intuition and  Housen’s strong artistic character. It was the starting point of our collaboration on the topic of ‘Transculturality’. We used the time to get to know each other on the artistic level. I am sure about the potential of our collaboration from three different perspectives on ‘Transculturality’ for the new interpretation of Corona for pianist(s) (1962) by Takemitsu. My strong motivation for this musical collaboration with Lukas Huisman and Patrick Housen in the virtual residency programme is the challenge of a new type of musical creation. This is particularly important for the artistic connection between three independent artists, who live and work in Belgium and Germany. We would like to challenge how we implement artistic creativity into a new artistic work during the limitation of the COVID-19 pandemic.

 

It is our goal to display each artist’s identity on a common stage level. By basing the artistic and musical work on the biological DNA, we highlight the ‘embodiment’ of subjectivity in the context of the musical production. This subjective embodiment stands for the interpretation by artists. Thus, Lukas Huisman as a pianist knows his role in this project. The graphic score is space and time. Our artistic world is the same as reality and the universe. Due to the corona pandemic, we will intensively connect online for our artistic and musical collaboration during the virtual residency programme. The new subject for our artistic collaboration will be how we will be able to challenge the artistic creation online. The problem for us is the reduction of physical experience for artistic production, its quality of materiality. We need to find out what this means for us and how we can harness our creativity during this artistic work condition.

 

I will explore atonality as a sound composition which consists of space and time. My aim is to  explore the philosophical sound in everyday life in the contemporary social context. I will focus on four mono discrete sounds as the output for a stereophonic. An example of my work for this project is Variation I and the audio and site-specific installation Les coloris (2010). The link to Vimeo is as follows: https://vimeo.com/26532668. For this installation, I dealt with a Japanese poem that highlights Japanese Surrealism and a Japanese modern poem. Takemitsu had composed the music in this poem. His composition piece focuses on darkness and melancholy. I composed a version of Les coloris which opposes Takemitsu’s piece as a way of creating the harmony of yin yang. This modern poem explains the meaning of Japanese ethics.

Lukas (a pianist) will explore his new interpretation of Corona (1962) by Takemitsu, with the grand piano and the cembalo. Thereby in his research subject of interculturality, he uses the Gagaku musical mode with cembalo. That is transforming into a familiar construction (whole). However, in the open score of Corona (1962) by Takemitsu, his action as a pianist is an articulation by sounds.

Empirical research in biology as well as medicine, such as blood test, there are many norms, as well as speed, gravity, thereby Heart is the important function that is pulse against the natural movement of gravity in body. We need resistance pulse toward gravity always, without this power, we can not "stand". It is the same as the case of the "Stand up" body movement. Rather, things consist of manifoldness.

For us to live naturally on earth means to live in space and time. It requires "balance" which condition is "Earth" condition in-universe. Today, this is "common sense" in our country.

Sound file: No. 09061220_Corona without pianist_Erika Matsunami

This sound is artistic research on Subjectivity, DNA, Transversal Aesthetics

Musical expression: my Vorstellung DND and Proteins in body, alive, ... It is as much as possible to express on space and time in body musically.

This visual notation (Graphic score), the aim of the performance is for solving a Chinese character mathematically. Its image is based on a Chinese character "字".

For example, I use for thinking in space and time musically, which is based on the organic form that is constructed by human pores on the skin, and for musical articulation, transposition, and so on. Thereby I transformed the organic aggregation of human pores on the skin into the shaping by the mathematical expression.

Because of the sound composition, there are no rules of the musical sheet score in this sound composition that is a rather improvisational and individual solution.

 

In sense, I worked with Phi in the human body which relates to the Universe.
We are living in the Universe. The universe is not "Jenseits" in German, which word means in English is 'Beyond'.
The universe is in our reality and it is the real space.

 

This Graphic score is for a kind of my creative brain training, such as cognition, mathematical solution, modulation, expression, and so on. The subject of emotion is 'pain', 'memory', and so on.

 

 

I release Chinese ideology Confucius, which is the same as "Corona" (1962) by Takemitsu, and therefore I create a 'something', which was a part of our cultural identity. Nevertheless, it is not the way of excluding. That is just the creation of a 'something' mathematically.

 

Who can play with this visual notation (Graphic score)?
One knows well mathematics and 'Klänge', its sound phenomenon musically. There is no definitive answer, its mathematical expression is musical or auditive designing.

Artistic project to design

How we wrote this Text without using AI for artistic collaboration:

The most important phase 1.

To know each other on artistic level, but via the internat.

 

How we can know each other for our artistic potentiality of 'Free Will', but via the internet?

 

The challenging of after the Corona-Pandemic.

 



1. Lukas sent me their materials (Sound file and the Graphic score "Corona" by Takemitsu.), in June 2020.
2. During the online meeting with me, Lukas showed me the video (Their work), in July 2020.
3. I sent Lukas a short draft (sound file) by me in July 2020.
4. I questioned Patrick, his motivation for the "Corona" by Takemitsu, and our collaboration, in August 2020.
5. I summarized in a text roughly in August 2020.
6. Lukas part in this text from me was worked and edited by him additionally, in August 2020.
7. This text from Lukas, I edited it, in September 2020.
8. We will discuss our collaboration for the next step, in September/October 2020.

Now I am clear about my part of artistic research and its connection with Lukas and Patrick. (Sound file and its Graphic Score, in September/October 2020.)

Work methods of "share and care" with keeping each artistic identity.

It is our approach to collective artistic research.

Three layers of new interpretation on Corona (1962) by Takemitsu.

- On the level  (Auf der Ebene) of (different) sounds (from tonality to atonality)

- Auditive subjectivity and objectivity

- On the level of (Auf der Ebene)  musical semiotic and semantic 

Anti-COVID-19 vaccine

Patrick (a composer) wrote to me that his interest in Corona (1962) by Takemitsu and Takemitsu work briefly. 

"The piece Corona (1952) only came to my attention due to my collaborating with Lukas as a duo. It relit my enthusiasm for Takemitsu’s sonorisation. "

I agree with Patrick's interest in Takemitsu, particularly in his sonorisation. I think that Takemitsu has endeavored to describe the indescribable tones and its intervals. I call it "time and space" of literacy. Because original Japanese music was based on Japanese Hiragana, "vowel". The fundamental of musical ethics is Poem, Waka (和歌), which relates to Sense of Takemitsu's composition. (Due to His main language is Japanese, in this context, I call his 'mother language' (Lullaby). The native laguage can study in the society, as common language.)

 

Patrick's interest in live electronics is the juxtaposition of “live electronics” and “Keyboards” for using as a musical instrument.

DNA sequencing

Proteins

"Variation l"

A new interpretations of the graphic score Corona for pianist(s) (1962) by Toru Takemitsu: Corona with pianist by Lukas Huisman (keyboard instruments) and Patrick Housen (live electronics), and Corona without pianist by Erika Matsunami (live electronics).

This project is a collective musical project, in which Erika Matsunami, takes part as a visual artist, living and working in Germany. She works together with pianist Lukas Huisman, and composer Patrick Housen, both based in Belgium. Each artist will first explore Corona for pianist(s) (1962) by Toru Takemitsu independently, after which we will start our online collaboration.

 

Lukas Huisman and Patrick Housen will prepare a version as a duo, thereby exploring the juxtaposition of the new medium that is live electronics, with the classic medium of acoustic piano and cembalo. In Huisman's research on interculturality, he uses traditional Japanese music as an inspiration, further transforming his interpretation of the graphic score Corona that he will develop with Housen. This cyclic and multi-layered graphic score describes, in an almost poetic way, events in time, at the same time leaving much room for experimenting with sounds. 

Patrick Housen's role is to interpret a layer of the score using live electronics. Through this new medium, he will join this collective artwork – our collaborative performance. We will develop our own creative approach, discuss online, and exchange information and views from each participant's artistic background.

To quote Patrick: "Co-creation builds a shared sound world that makes me shift my focus to the broader picture. It’s always interesting to see who takes on what role and how everything evolves." Hence, openness and liberality are important foundations of our collaboration.

Erika Matsunami will explore sound compositions, guided by the space and time described in the graphic score of Corona. The piece of sound art Corona without pianist will be realized for 4 channel mono discrete sound. She will join the performance by Lukas Huisman and Patrick Housen in Gent, Belgium with my part via the internet from Berlin, Germany. 

She will add three layers of interpretation to Corona; on the level of different sounds from tonality to atonality, auditory subjectivity and objectivity, and musical semiotic and semantic. Her interest in this collaboration is the exploration of new musical and visual ethics from the aspect of art and science. Before starting the virtual artist residence, She will make an electroacoustic sound series. In the rehearsals of our virtual artist residence, these electroacoustic sound series will be de-constructed and molded, using live electronics. 

 

The goal of this project is the new interpretation of  Corona for pianist(s) (1962) by Toru Takemitsu, which we will perform at the end of this virtual artist residence via the internet for the audience. This lecture-performance will be hosted in Belgium for practical reasons. The final work will be streamed on YouTube.

 

Project title:

 

Variation l

 

Short description:

 

During the four weeks of our virtual artist residence, we will rehearse and discuss intensely via the internet from our workplaces in Belgium and Germany, collectively developing and trying out new concepts. We want to develop new interpretations of the graphic score Corona for pianist(s) (1962) by Toru Takemitsu: Corona with pianist by Lukas Huisman (keyboard instruments) and Patrick Housen (live electronics), and Corona without pianist by Erika Matsunami (live electronics).

Erika (a visual artist) will explore atonality and freely as a sound composition which consists of space and time.

My attempt is thereby the exploration of philosophical sound in the contemporary social context, that is in everyday life.

4 ch mono discrete sounds, output for a stereophonic, an example of my work is audio and site-specific installation  "Les coloris" (2010). (Link to Vimeo ->)

Project title:

 

Variation l (Working title)

 

Short description:

 

During the four weeks of our virtual artist residence, we will rehearse and discuss virtually from our workplaces in Belgium and Germany, collectively developing, testing out and exploring new concepts. We want to develop new interpretations of the graphic score Corona for pianist(s) (1962) by Toru Takemitsu: Corona with pianist by Lukas Huisman (keyboard instruments) and Patrick Housen (live electronics), and Corona without pianist by Erika Matsunami (live electronics).

 

Project description:

 

This project is a collective musical project, in which Erika Matsunami, takes part as a visual and sound artist, living and working in Germany. She works together with pianist Lukas Huisman, and composer Patrick Housen, both based in Belgium. Each artist will first explore Corona for pianist(s) (1962) by Toru Takemitsu independently, after which we will start our online collaboration.

 

Lukas Huisman and Patrick Housen will prepare a version as a duo, thereby exploring the juxtaposition of the new medium that is live electronics with the classic medium of acoustic piano and cembalo. In Huisman's research on interculturality, he uses traditional Japanese music as an inspiration, further transforming his interpretation of the graphic score Corona that he will develop with Housen. This cyclic and multi-layered graphic score describes, in an almost poetic way, events in time, at the same time leaving much room for experimenting with sounds. 

Patrick Housen's role is to interpret a layer of the score using live electronics. Through this new medium, he will join this collective artwork – our collaborative performance. We will develop our own creative approach, discuss online, and exchange information and views from each participant's artistic background.

To quote Patrick: "Co-creation builds a shared sound world that makes me shift my focus to the broader picture. It’s always interesting to see who takes on what role and how everything evolves." Hence, openness and liberality are important foundations of our collaboration.

Erika Matsunami will explore sound compositions, guided by the space and time described in the graphic score of Corona. The piece of sound art Corona without pianist will be realized for 4 channel mono discrete sound. Erika Matsunami will join the performance by Lukas Huisman and Patrick Housen in Ghent, Belgium via the internet from Berlin, Germany. 

Erika Matsunami will add three layers of wide-ranging interpretation to Corona; on the level of different sounds from tonality to atonality, auditory subjectivity and objectivity, and musical semiotic and semantic. Matsunami's interest in this collaboration is the exploration of new musical and visual ethics from the aspect of art and science. Before starting the virtual artist residence, Matsunami will make an electroacoustic sound series. In the rehearsals of our virtual artist residence, these electroacoustic sound series will be de-constructed and molded, using live electronics. 

 

The goal of this project is the new interpretation of Corona for pianist(s) (1962) by Toru Takemitsu, which we will perform at the end of this virtual artist residence via the internet for the audience. This streaming-performance will be hosted in Belgium for practical reasons. The final work will be streamed on YouTube. Furthermore, we will conceptualize our streaming-performance for the attending of the international art festivals in 2021.

 

 

This project is a collective musical project, in which Erika Matsunami takes part as a visual artist, who lives and works in Germany. She works together with pianist Lukas Huisman, and composer Patrick Housen, both based in Belgium. Each artist will explore Corona for pianist(s) (1962) by Toru Takemitsu independently.

Pianist Lukas Huisman (acoustic piano, cembalo) and composer Patrick Housen (live electronics) will prepare a version as a duo, thereby exploring the juxtaposition of the new medium that is live electronics, which is interconnected with the classic medium of acoustic piano and cembalo, are played by the pianist Huisman. In Huisman's research on interculturality, he uses the Gagaku-mode for an inspiration, which is articulated with other sounds of layers. In doing so, he transforms his interpretation of the graphic score "Corona" into the Duo play with Housen. This cyclic and multi-layered graphic score describes a poetic way of space and time that is an experiment of sounds, at the same time, it is for determining basic musical expression. Patrick Housen's interest as a composer is a collective artistic work, which is the foundation of this collaborative musical piece. Therefore we will develop own creative approach, in the process of this project, we will discuss and exchange from the aspect of each profession of art.

 

Erika Matsunami explores thereby atonality and freely as a sound composition, which consists of space and time by advanced of the graphic score "Corona". This sound piece “Corona without pianist” is for 4 channel mono discrete sound. I will join in the performance by Lukas Huisman and Patrick Housen in Belgium with this sound piece via the internet from Berlin. There are three layers of new interpretation on Corona; on the level of different sounds from tonality to atonality, auditory subjectivity and objectivity, and musical semiotic and semantic. My great interest in this collaboration with Lukas Huisman and Patrick Housen is the exploration of the new musical and visual ethics from the aspect of art and science. Before starting the virtual artist residence, I will compose the electroacoustic sound series. At the rehearsal during the virtual artist residence, the electroacoustic sound series will be de-constructed by live electronics. Thus the programming will be developed for this piece during the virtual artist residence with Lukas Huisman and Patrick Housen.

Draft_Variation I_03 by Erika Matsunami

„Corona“ (1962), Toru Takemitsu :

- Roger Woodward

- From John Cage „Shock Vol. 1“

- Corona 1 by Jim O'rourke

- Dirección by Antonio Pérez Díaz


- Corona, Study for vibration

 

Joint Artistic Research with Patrick Housen and Lukas Huisman:

 

On Abstraction

Our dynamic in Artistic research is musical, auditory and visual compositional dynamics in space, time and body.


To explore visual abstraction on auditory and visual level by Erika Matsunami.

To explore musical abstraction on embodiment level by Lukas Huisman.

To explore musical abstraction on juxtaposition in real-time composition by Patrick Housen.

Our exchange focuses on visual abstraction and musical abstraction, from both sides, artists attempt to create something new.


On transculturality:

We work on the creation of a new code through transformation (Abstraction).

Therefore, we explore the topic from three different aspects in this context of "Corona" (1962) by Takemitsu.

For example, my current exploration of Cornona (1962) by Takemitsu, which is advanced my artistic research "N.N -Zwischenliegend" part 3, on "Territory" for visual and auditory site-specific Installation.

In Christian culture, the direction is from the perspective of God. By power, it is from the perspective of the headquarters. In our project, it is from biological and physical perspectives that refer to the question of  “existence and its coexistence”. There are various ideas on "Territory" from different aspects, such as in faith, in political, governance and economic strategies, in life, and so on, from an individual via organisational to the national level.

"Where is the north?"

This question is suitable for Corona (1962) for pianist(s) by Toru Takemitsu. In Le feng shui, the center is in a space such as in a room, in a house, in a city,  but in the center of the space in Corona (1962) for pianist(s) by Takemitsu is "Emptiness" – a dynamic of "Emptiness" that is functioned with free will by pianist(s). I call this event "Fortune", that is the fate of the pianist, how the pianist reads this open score. This multi-layered open score is a poetic artwork that was a starting point of his Œuvre, how Takemitsu transformed the traditional way of human culture habit (classical wisdom) into the modern musical graphic score. Thus, these ideas of him on Corona (1962) will be dealt with the theme of "Silence" in the context of our project.

We explore this theme with the various artistic components through musical and visual elements and also the fragment of the element.

Thereby the keyboard "piano" has an important role, therefore, Huisman attempts to find new inspiration in his research on the embodiment. In this context, his main topic is "transculturality", which is the same as in my research. Currently, I am researching Corona (1962) by Takemitsu in my research context. For us, the research context is the most important for exchanging.  

The Ph.D. degree in arts is not important in this research topic "abstraction", the most important is how each artist has been knowing about "abstraction". There is no fixed way, no ideal idea, and no regulated method for "abstraction" in arts.

AI is doing it already, but we are exploring from the aspect of humanities. In the future, we would like to take in part the artist residency program physically. At this beginning phase, we are trying with this distance (in this limited condition of the COVID-19 Pandemic measure to create something.)