Inclusive Design in Action: Accessible Musical Instruments
Despite a long-standing interest in accessibility, I only recently became aware of this topic through a colleague who was collaborating with musicians and makers on accessible (sometimes called adaptive) instruments. Immediately fascinated, I was struck by how quickly the conversation moved beyond accommodations and into core design questions—interface, ergonomics, materials, and expression. The discussion – like a thunderclap of awareness - immediately expanded my understanding of inclusive design, and got me thinking about how strong (and multi-faceted) an opportunity it presented - both for design students and for programs of design.
This post draws in part on Fitzgerald and Ehsan’s 2023 ASEE conference paper, which offers an excellent overview of accessible musical instruments for musicians with physical disabilities.
Music is often described as universal—but the tools we use to make it are not
Traditional musical instrument design and construction has evolved over the centuries, assuming a narrowly-defined range of user abilities, body types, grips, reach, and breath capacity, plus fine-motor control and more. Inclusive design here asks a simple and powerful question: what changes when we treat access as a design requirement in music, and not as an afterthought?
The design of accessible musical instruments for musicians with physical disabilities is a recent field of study that challenges design students to expand their conceptions of accessibility: to go beyond the strides made in current conventions and into exciting - but largely unmined - areas related to form, ergonomics, interfaces, materials, and even sound and acoustics. Music itself is (of course) highly expressive in magical ways. Inclusive design marries nicely with music – music making, in particular - because design – like music - always involves the expressive nature of making, itself.
Why inclusive design in music matters
Music is a fundamental form of cultural expression, appreciation, enjoyment, participation and production. When instruments and music education environments are inaccessible, the barrier is not only technical—it’s social and professional, but also much more. Consider the importance in life (and to so many) of music - both its enjoyment and performance. Despite growing awareness of the disparity of opportunity, disabled musicians remain underrepresented not only in many professional music organizations, but also in school music programs where such exclusion can have long-lasting effects of many sorts, including mental and physical health and quality of life. The reason for this disparity is straightforward: access to instruments, instruction, and performance pathways is uneven.
Inclusive design in music aims to remove these barriers so that more people may participate in music-making—whether for education, recreation, or professional performance.
What makes an instrument accessible?
Accessible instruments are designed—or redesigned—to accommodate a wider range of physical abilities. They often fall into three broad categories:
Physical instruments: Acoustic or simple electronic instruments that don’t rely on software.
Hybrid instruments: A physical device paired with digital software (often via MIDI).
Digital instruments: Software-based instruments controlled through alternative input methods.
From a design perspective, what is striking in looking at the above is that accessibility is not just one isolated feature or a dashed-off add-on. It’s a fully-developed and highly sophisticated system built upon strong research and the observation of – and response to – needs. Input methods, mapping, learning curves, posture, fatigue, feedback, satisfaction, and enjoyment (and still more feedback), plus portability, durability, and aesthetics all work together. In harmony, one might say.
Real-world examples (and what they teach designers)
A few examples show the range of approaches currently available—and the design thinking behind them:
Adapted instruments using switches: These instruments use switches triggered by squeezing, head motion, blinking, or sip-and-puff controls to manipulate elements that produce sound. Often designed for children and beginners, the design elements emphasize clarity, ease of use, and the potential for immediate reward—an important reminder that successful accessibility aims at learnability, enjoyment, and user success.
One-handed woodwinds: Fully acoustic instruments designed to be played with one hand. These designs highlight the complexity of rethinking physical mechanics while still preserving the expressive expectations – and results - of experienced musicians.
Jamboxx (breath-controlled hybrid instrument): A breath-controlled device that connects to music software. This method demonstrates how alternative inputs can be fully expressive—and not merely compensatory—and how hybrid systems can broaden access across a wide range of ages and abilities.
EyeHarp (eye-controlled digital instrument): Controlled by eye movement, this remarkable approach makes music-making more possible – and satisfying - for individuals with limited motor function. It’s a strong example of the power of well-considered interface design: gaze as input, timing as expression, and results (plus feedback) as confidence-building incentives for further engagement with the instrument(s) and with music.
MiMU Gloves (gesture-controlled performance interface): Gloves that translate hand gestures into musical control and performance. MiMU Gloves allow musicians to control sound and visuals using hand gestures - a highly expressive and more natural way to perform that is similar to playing traditional instruments.
The approaches above forcefully demonstrate the power of strong design processes: identifying something that requires a resolution, laying out a resolution thesis, experimenting, producing a prototype, observing interim results, and then producing a satisfying final result – understanding that a “now” result will likely require modification over time to address new, unexpected or changed circumstances. The commonality in all of the above is that – while different in approach or application – all address (design for) the expansion of performance possibilities while considering different abilities.
Key insights for students interested in inclusive design
If you’re a student considering design study, accessible instruments offer a clear view of what inclusive design looks like in practice:
User-centered design is non-negotiable. The strongest work is always developed with disabled musicians, not merely for them. Needs vary widely, and collaboration is the only reliable way to design for real use.
Interdisciplinary skills matter. This space blends product design, interaction design, engineering, music, and an understanding of equity and inclusion. It’s a reminder that many meaningful design problems don’t fit neatly into one category or box.
There are real market gaps. Many – if not most - accessible instruments remain prototypes, are difficult to obtain, or are expensive due to their limited production. That gap is both a challenge and an opportunity for designers who care about access and scalability.
Flexibility is a form of accessibility. Instruments that support multiple input methods (breath, touch, switches, eye tracking, gesture) can serve a broader range of users—and adapt as a musician’s needs change. This flexibility of approach – of design – is a good lesson for all designers.
The design education impact is significant. Bringing accessible instrument design into design and engineering curricula doesn’t just teach technique; it trains students to think clearly about design processes, and to see and appreciate access, dignity, and participation as central design outcomes.
How students can explore this field
Beyond formal study in an inclusive design program, students can begin to immerse themselves this field in the following ways:
Collaborate with organizations and communities working in accessible music and inclusive design.
Prototype and test—even small adaptations (switch controls, alternative grips, repositioned interfaces) can change what’s possible - and make a difference.
Advocate for inclusion by encouraging schools to treat accessibility as a core design competency, not a niche topic.
Accessible musical instruments show inclusive design – and design, in general - at its best: practical, collaborative, and deeply human; expanding who gets included – who gets to participate - and providing a springboard for thoughts and actions that expand what design can and should be.
Read more:
Fitzgerald, S. R., & Ehsan, H. (2023, June). Looking into the Design of Accessible Musical Instruments for Musicians with Physical Disabilities. Paper presented at the 2023 ASEE Annual Conference & Exposition, Baltimore, Maryland. Opens in new tab: https://peer.asee.org/looking-into-the-design-of-accessible-musical-instruments-for-musicians-with-physical-disabilities
See also - in a new tab - a 2023 BBC article about the Clarion, a digital instrument that uses a motion camera to control a wireless pointing device. https://www.bbc.com/news/disability-67623196
Interested in inclusive design—and in design that expands access through research, form, materials, and making? Contact us at Solutions Globali and we’ll help you find programs worldwide that match your goals, strengths, and career plans.
