"[...] music may, even unintentionally, contribute to the mechanisms of social exclusion" said François Matarasso, a community artist and writer, referring to the traditional and rigid western practices of music. At the same time, Isabelle Peretz, a neurologist specializing in the study of the "musical brain", emphasizes the positive impact of music on social cohesion. Through this four-person group project, we wanted to rethink the classical musical approach and its social codes by creating a modular and intuitive instrument.

 

The four of us built a substantial work of researchs. I had the opportunity to create the first prototype in foam core cardboard, then participated in the elaboration of the final model, made of polyurethane foam, wood, thermoformed plastic and imitation leather. I took part in the shape research too.

 

The result was Voluptuose, an instrument that literally becomes one with its musician, in order to strengthen the bond that the user can develop with their instrument.

It is enriched with different modules according to one's tastes and abilities. Voluptuose is adaptable according to the stoutness of a large number of people, thus drawing a wide target. Its use is intuitive, making it an inclusive instrument for which it is not necessary to have any knowledge of solfeggio or music theory.

​

Besides inclusiveness, our instrument aims to accompany its user in their physiological and cognitive evolution. Researchers W. Gruhn, N. Galley and C. Kluth have conducted a study on the links between mental acuity and music, the conclusion of which presents a strong link between cognitive development and instrumental practice. To go further, Aniruddh Patel, professor at the Institute of Neurosciences in San Diego, even speaks of instruments as a "transformational technology of the mind".

 

It is around these two axes that we have developed Voluptuose. It can accompany the user from the age of 5 and develop into a controlled adult practice, suggesting a user-friendly learning. It can be practiced alone or in a group, thus forming a rich musical ensemble that can be composed of people of all ages.

 

The variety of its materials, its surface aspects and the number of its elements allow the user to see a tangible evolution of their practice. They see the instrument they played in their early childhood grow progressively richer and richer.

 

The object takes on the principles of some instruments (a sound box, strings, metal blades) in order to mobilize in the user classical and familiar references, enriched by more atypical surface aspects and a general shape uncommon in the field of instruments, giving the object its uniqueness and its own identity.