The Efficacy of the Theremin in Music Therapy

Commonalities and differences in most musical instruments There are only a few instruments that sound inherently musical in the hands of a novice, untrained person, or person with no musical background: Piano Harmonica Percussion Instruments Toy or Primitive Flutes All others – strings, brass and woodwinds require training for fingering and or mouth embouchures in order to make "musical" sounds. Guitars, banjos, etc., when tuned, can yield a pleasant sound and individual plucked notes in their open positions only. To play scales, simple melodies, etc., requires instruction in fingering and note identification. All instruments have their uses in specific therapeutic settings. Different instruments require different levels of concentration, motor skills, coordination. All of the instruments give rise to a feedback system that is either tactile, aural, visual, or any combination of the three when playing. The theremin is arguably the most sensitive instrument ever created. It responds to the slightest movement. The theremin stands alone (once it is set) as the only instrument that is played without being touched. Playing is free of all tactile reference and pitch linearity reference. It does, however, rely to a great extent on aural feedback in that the player's one reference point is the sound the instrument makes. However, the aural feedback is not a prerequisite for its use. It is an instrument possessing a unique duality. Since it will react to every movement, large or small, it can be used with total abandon, responding totally in the moment. Yet, it can also be used or played to enhance and increase the concentration, train the ear and refine motor movement and precision. Its sonic quality has, since its invention, been compared to the violin, the cello, and most frequently, the human voice, usually female. When used in certain ways, even without the playing of precise improvised or notated music, the theremin can be very expressive. The theremin's inherently vocal character almost immediately elicits positive responses from the people who try it or hear it played For spectators, it looks as if the thereminist is literally "playing" the air, a magical experience. It is precisely this magical component to the theremin that other instruments can never approach. We can marvel at the sight of a virtuoso on piano, violin, flute, etc., and we can be impressed or moved. However, to witness someone playing a theremin is at once mesmerizing, astonishing and just plain wonderful. It can be stated with complete assurance that for people of all ages trying it, seeing, and hearing it are transformational and inspiring. Regardless of age, people quickly learn that their bodies play a major role, and what begins with tentative or small hand movements, usually becomes a much broader exploration. Children are rarely concerned with playing a tune, they just love to see what sounds they can make. Adults are equally fascinated by the noises, and some, within a few minutes will instinctively begin to try playing a simple scale or melody. Students and instructors, on the other hand, can, with regular practice, use the theremin as an instrument to make very beautiful music. COST EFFECTIVE: One of the premier devices in motion sensor and music technology is SOUNDBEAM, which uses a computer, midi controller and microphone. The cost of the basic package is approximately $3,100. Although more limited in scope, the theremin provides many of the same attributes, benefits and addresses many of the same issues of the Soundbeam system at a fraction of the cost. One limitation of the theremin – but only as a standalone – is that it is highly unlikely that subjects will be able to produce what would be considered "melody," or play a song. This could prove to be a source of considerable frustration. Such ability requires systematic practice and training. For most patients or subjects, the possibilities for conventional/melodic music making would be limited due to the steep learning curve that accompanies precision playing. Its use, in the majority of cases, could better be described as creative soundmaking. The noises a theremin makes can be very expressive and revealing; they connote emotion, energy, and encourage experimentation. When using the theremin in group settings it's probably best to avoid more than one person playing one instrument at a time. In addition to the instruments interfering with one another, it can lead to a free-for-all, with people making all sorts of noises at random. The resulting cacophony can be unpleasant, and make it impossible for players to differentiate their sounds from those of others. I've been unable to find any contraindications regarding exposure to the theremin's electromagnetic fields. Nor have I found any warnings about pacemakers as related to playing the theremin. However, it may just be that nothing has been written. In the case of the latter, therefore, care should be taken. In his paper That Was Me! Tim Swingler describes the use of a motion sensing device similiar to a theremin that is used specifically for children with severe disabilities who may have missed building a foundation of early learning and for whom a first experience of enjoyable control and initiation can be a crucial educational motivator. Even with profound levels of impairment the most minimal movements in front of a theremin can instigate and shape interesting sound effects. Individuals especially difficult to stimulate can benefit from what may, for them, be a first experience of initiation and control. Swingler traces the idea of the human interacting with a motion sensor directly back to Leon Theremin. He suggests a more complex setup – the midi controller as a trigger for a variety of sounds. In fact, the theremin can be used for just such a purpose. There are many musicians who use a theremin connected to other apparatus, and when moving within the filed, the artist can trigger entire soundscapes. However, the instrument itself can stand alone. In fact, it could be argued that the more complex motion sensor array for triggering sound combinations is somewhat abstract as compared to the very direct sight-to-motion-to-sound relationship of a single theremin. The eyes, ears and body are directed at a very specific target and the resulting sounds clearly register as a one-to-one relationship between player and instrument, as perceptually concrete as striking a piano key. Dr Phil Ellis at England's University of Sunderland has advocated the use of sound therapy for years with children elderly patients who have suffered strokes, have depression or dementia. Again this is having dramatic effect, he says. Swingler identifies nine criteria of progression and development: 1. from involuntary to voluntary 2. from accidental to intended 3. from indifference to interest 4. from confined to expressive 5. from random to purposeful 6. from gross to fine 7. from exploratory to preconceived 8. from isolated to integrated 9. from solitary to individual LISTENING SKILLS - listening to the effects of moving or standing still. CHOICE-MAKING SKILLS - Do I want to make a sound? Which part of my body will I move? Where will I move? CONCEPTUAL SKILLS - How will I begin? What will I do then? How will I make an ending? Also specific concepts such as high, low, fast, slow, variation; movement, feeling with tone colour.. MOTOR PLANNING SKILLS - Which movement will I make now to produce...? REFLECTIVE COGNITION - How did I feel about the piece I just invented? What could I have done differently? What did it remind me of? MEMORY SKILLS - Can I remember the sound I made? Can I make it again? If I move this way, that sound happens. If I move the same way, will I get the same sound? SPATIAL ORIENTATION - Where in space is the high sound? - the low sound? etc. LANGUAGE SKILLS - Describing what I did and how I felt. CONFIDENCE - This is something that I can do. According to Kathryn Russell in Australia, Bearing in mind the extremely short attention span of many children and adults with special needs, students have demonstrated a remarkable capacity to focus on their improvisations for long periods of time, thought previously to be beyond their abilities. Theremin Use and Applications for Instructors and Patient/Subjects Freedom of Movement -- movement relative to expression Demonstrate: Move your hands and arms in a happy way Move your hands and arms in a sad way Make a happy sound Make a sad sound Freedom of Movement -- movement relative to coordination volition: Demonstrate: Set distance way out, a very wide control zone Move into and out of sound Find the threshold of silence and sound with one finger Go softer softer softer softer Go louder louder louder louder Make a noise with your head Make a noise with your elbow Make a noise with your toe Cognition, Cause and Effect Demonstrate: What Happens If - You move your arm in a circle You walk very close You walk far away You move one finger You wave You wiggle your fingers You jump up and down You walk around the theremin Development of Complex Skills – listening, attention, focus, conceptual thinking Demonstrate: Match pitches: Instructor plays a pitch, students finds the same pitch. Imitation: Perhaps too sophisticated except in special cases - Can you sound like a bird singing? Can you sound like a whale? A crying dog? A creaky door? A ghost? A siren? An owl? A cat? A cow? A motorcycle? A ray gun? A dolphin? Theremin and Stress Reduction For use as a direct conduit for stress release Demo - Instructor closes eyes and moves. Subjects can follow suit. For use as catalyst for inspiration/imagination Demo - Instructor plays soothing aimbient music during art class, meditation,. etc. movement class, etc. Requires training for instructor. Theremin and the Healing Environment Ambience Applications - requires training for instructor of thereminist. Possibly the easiest way to actually play music Prerequisite is a good ear. Play along with an ambient CD Precision Playing Long term goal for instructors/students. Requires steady practice and lessons can speed the process. Not something for a patient/subject to attempt unless a very special case. If precision playing is the goal, and is achieved, the next step is: Practitioner and Performance Environment Applications Musical expression Sheer entertainment in the hands of a precision player. Requires a calm, attentive audience. Bringing the theremin into a therapeutic setting as described above will undoubtedly engender other applications. As a tool, it certainly has vast potential.