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Portable music technology has changed the way we make music in the 21st century. Tablets and smartphones are considered powerful computational assets in music production; they are being used to record, edit, and process sound, and they contribute in the creation of musical artifacts, primarily in the popular music business. Moreover, the extensive, worldwide use of smartphones as personal computers, and the range of apps offered from all sorts of companies, organizations, and institutions, make this technology both highly accessible and highly comprehensive considering the diverse tools that are available. This development deeply impacts our daily lives.
In this paper, I present foundational theory explaining the possible therapeutic dynamics that can occur when engaged in digital technology. To exemplify this, I present two case vignettes that illustrate how adolescents interact with digital music technology to promote mental health and wellbeing. I also present the iPad as a co-agent working with music and wellbeing, and I discuss how the iPad can become a co-creator of mental health.
Moreover, the development in computer technology towards artificial intelligence (AI) has enabled deep learning technology that interacts and co-creates on a whole new level. In music production, computer-generated music-making, randomizers, generative or adaptive music generators, and automated audio mastering services are examples of how digital technology is more than just a passive tool. Whether the aim is to make a musical artifact or to use music-making as a means to obtain other objectives, computers can be co-agents in these processes. The iPad, being a versatile computer with numerous possibilities for musical interaction within the various apps available, is consequently a potential co-agent, both in making music and in turning the creative music-making process into a resource for recovery and treatment in mental health care.
This hybrid cognitive system is part human, part artificial, integrating the cognitive functions of the two parts to cooperate in performing cognitive tasks. From this perspective, the computer is considered both autonomous and part of an agency network, capable of engaging in creative, co-creational relationship with humans.
This relational agency within HCI, described by Brown, offers a perspective on technology that embraces the ability for machines to be co-creative. This perspective resembles the symbiotic relationship described by Moorefield (2005) and the hybrid cognitive system described by Brey (2005), in that they all acknowledge technology as an autonomous and integrated co-agent. In music production, this means that machines can act and participate in a creative relation with other agents to co-create music. The consequence is a virtual world where everything is possible, as Moorefield (2005, p. xiii) implies. If we adopt this idea in a therapeutic setting, as suggested by Stensth (2018), then the concept of co-agency opens additional possibilities. The virtual world enables dialogue between users and technology that could lead to meaningful experiences detached from the basic human relationship (for instance between patient and therapist). By offering new ways in which to communicate and interact, the technological co-agent facilitates new perspectives on music-making and emotional expression that are potentially health-promoting. Used as a therapeutic tool, technology might become a co-agent for mental health and wellbeing: a therapist-in-a-box. Before I discuss this any further, I present two case vignettes that illustrate this co-agency.
Karen was a shy, introverted, socially anxious, 17-year-old girl who struggled with identity issues due to a demanding family situation. According to her therapist, she expressed fear of losing track of who she was. This uncertainty and instability led to lack of confidence and fear of trying new things. However, to challenge herself, she agreed to participate in the project. When we first met, she was acting nervous and restless and avoided eye contact. Moreover, when I introduced her to some of the apps, she barely touched the iPad, afraid of doing something wrong. She had low self-esteem and said she was afraid not to perform well enough, having no prior experience of electronic music making. Based on these observations, the therapeutic goal for our sessions was to build confidence and strengthen her identity.
Moreover, it gave her confidence. She experienced an enormous development in her engagement with the iPad and the mobile technology. In the beginning she barely looked at the iPad, almost afraid to touch it. After four months, she took full control in the final mixing session, doing all the editing, volume and panning, automation, effect processing and use of plugins, and the final arranging of the song. She owned it. The process empowered her and gave her courage to show it to friends and family. In the research interview following the project, she said:
Daniel had a long history of complicated mental health problems, including depression, anxiety, aggression, anger management, and suicidal thoughts. His short temper, mood swings, and destructive mind-rush resulted in social maladjustment and destructive behavior, such as self-cutting, drug abuse, and criminal behavior. In addition to regular sessions with his psychotherapist, he had a history of short-time hospitalizations due to his unstable condition.
Daniel was able to make music because of the affordances of the apps. He did not know how to play a keyboard or make a drumbeat. However, he made a personal piece of music using a sequencer and organizing samples into a musical structure of his choice. Moreover, he had ideas and suggestions about the musical expression, mood, and feeling of the music that I could help realize by introducing him to relevant apps. One example was when he played me a rap song from one of his Spotify playlists, featuring a male artist screaming phrases in Russian. Daniel liked the raw energy and the distorted sound. We included this element in our music by using a vocal sound generator app called VoxSyn to add spectral changes and sound modifications to a recording of a male voice, screaming the song title. The recording was made directly into the VoxSyn app, and the sound manipulations were triggered by placing fingers on virtual pads, spread out on the iPad screen. The outcome was an intense and distorted sound, adding personality and identity to the music.
Several of the participants reported a strong feeling of agency and control, especially at the end of the project. This was confirmed by my observations, because all participants demonstrated an increased belief in their own ability to influence their actions and to exercise control over those actions when working with music on the iPad. A prime example would be the way Karen took control of the mixing process, making artistic choices, executing technical changes and sound editing, and reflecting on the aesthetic result. I suggest that the ease of use and the multitude of possibilities and choices offered by the apps are major advantages in turning the iPad into a powerful tool for strengthening agency and experiencing empowerment.
To strengthen personal agency, one must be exposed to opportunities for goal-directed action. Activities that promote creativity and interaction, such as music-making with tablets or smartphones, are carriers of musical affordance that provide such opportunities. One perspective that examines this relationship between music and humans is the theory of affordance.
On the iPad, each app can be considered a framework of its own, with a spectrum of affordances. Some apps are organized as sequencers, playing rhythmic patterns and musical loops organized around a metric beat and a pre-selected number of bars, while others offer more expressive and improvisational ways of making soundscapes free from the metric system. A third group of apps take the form of virtual music instruments or synthesizer emulations, with piano keys, strings, or drumheads, while others are virtual effect-units or sound-processing devices with knobs, buttons, and faders. The design of the apps, the sounds, and the possibilities for interaction provide the spectrum of affordance.
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