Why do we innovate?

To Inspire the Musicians of Today and Tomorrow*

To improve learning and the chances of success,
To offer fun and accessible music programs that are less stressful and more effective,
To help make the dream to play a reality or a virtual tool for music therapy,
To break the work schedule with a personal, highly creative, and emotionally rewarding musical activity that is much less time consuming than traditional music programs,
To broaden industry protocols inclusive to ‘derivative art’ (virtual osmosis) as a creative extension of music making,
To perfect the art of string playing,
To perfect the art of violin making,
To perfect the art of wind performance,
To give artists, composers, and DJs more colors to create music with,
To make stringless instruments that can shape expanded-electronic tones/ideas in real-time,
To provide an electro-symphonic stage that complements existing orchestra,
To broaden the cultural, educational, consumer, industry, and entertainment sectors of music,
To meet the aspirations of modern society,
To potentially avert drug use, crime, and depression via new artistic mediums and routes.


The Bracket Violin
Make Music Day Performance

In terms of neuroscience, our current experiment (i.e., game-changing kinesthetic learning combined with music listening as opposed to learning through traditional music making and the self-reflective acoustic feedback loop) is designed to activate attentional networks in the brain while stimulating creativity – so that a user of stringless technology can form a better and more reliable memory of music. A non-sound generating musical platform for learning and/or kindling emotional responses via embodied cognition, furthermore, energizes the “magic synthesis” (which is further enhanced by stimulating attention). Creativity can then drive an increasingly logical experiential “flow” of music through various external or derivative stimuli, e.g., live music or playback of contrasting sound recordings.

Experiential processes have an important added benefit, that is, stringless tech and methods can potentially broaden the scope of musical participation by licensing new artists–with less or developing skill–to creatively perform varying tasks that are associated with low-to-high ceiling repertory; and therefore, in a sense, alternative artists can experience the physical and emotional responses of making music via “virtual osmosis.” This process innately alleviates the time constraint that most musicians–and especially non-artists–experience when learning to play a stringed/musical instrument, improving on their skills, reading or relearning sheet music, and/or memorizing literature. Reducing time constraints through derivative art and “mental reading” is especially attractive because more people may enjoy ‘the art of string playing’ during their free time or while away from work. Advantageously, complementary methods are readily accessible, and in a sense, are more inclusive to the general population. Stringless technology, moreover, has greater flexibility than strings to increase inclusiveness for physically disabled and/or mentally challenged populations in meaningful ways – either through non-sound generating (toy technology) or sound generating stringless iterations (apparent technology).

Electronic (sound generating) stringless musical instruments have tremendous potential to enhance popular entertainment since most modern stage performances already amplify music through speakers. Independently generating sound via a speaker system(s), or like process, transforms the art and delivery method of music making. Consequently, we can design and engineer ‘stringless’ products that remove the action requirement of strings. Eliminating the action requirement favorably relieves physical stress (including the formation of ‘painful’ callouses), reduces temporal problems that typically inhibit music making, loosens the angular approach of the left-hand, provides a visual platform for learning, stretches left-hand gestures, and augments the sonic capabilities of sound production. Thus, more challenging music is likely more reachable–no matter what the skill level–and meta-complex compositions can be written and performed. Conceptual stringless electrophones already whip the “cool factor” for both the performer and the audience. Finally, as stated above, we expect that electronic stringless musical instruments will offer more expansive and expressive options (mostly in relation to sonic output) than strings via hardware design and mathematical algorithms/software capabilities.

Bottom line, Stringless Technology is working to prospectively offer higher learning opportunities, higher musical experiences, and higher creative performance capabilities which intrinsically have the respective capacities to radically improve legacy systems that may accelerate the learning curve while improving the probability of student-to-professional successes, increase participation and attendance in ultra modern cultural activities, and reduce maintenance costs and other performance issues associated with strings and string construction while expanding artistic freedom and expression. Even still, our ultimate mission is not aimed at changing the culture, or rather, the standard performance method of the professional symphony orchestra; we do not expect our prospective shared market–in addition to the needed blue ocean market in the classical music sector–to support innovation in this particular way, except when new music is written for innovative delivery methods.

P.S. Derivative classical performances are highly creative and are ‘worth’ sharing, especially when working to familiarize players with their audience (e.g., the first performance of a middle school orchestra during an assembly) and to help players overcome stage fright!  Karaoke and lip-syncing are modern, popular cultural activities that suggest the use of virtual osmosis as a “stepping stone to the performing arts” may be generally accepted and potentially implemented by the public and public education. Still, lip-syncing is not an exercise that transfers musical skill (only theatrical); manual skills are transferred through the complex work of syncing fingerings and bowings to the artistic constructs and rhythmic engineering of classical music and classical music recordings.



* Modified mission statement borrowed from the LEGO Group. (David C. Robertson. Brick by Brick: How LEGO Rewrote the Rules of Innovation and Conquered the Global Toy Industry. 2013.)