WEBVTT 00:00:00.927 --> 00:00:03.108 I want to talk to you about one thing 00:00:03.108 --> 00:00:04.864 and just one thing only, 00:00:04.864 --> 00:00:08.620 and this has to do with when people ask me, 00:00:08.620 --> 00:00:11.867 what do you do? 00:00:11.867 --> 00:00:13.767 To which I usually respond, 00:00:13.767 --> 00:00:16.907 I do computer music. NOTE Paragraph 00:00:16.907 --> 00:00:18.852 Now, a number of people 00:00:18.852 --> 00:00:21.089 just stop talking to me right then and there, 00:00:21.089 --> 00:00:23.502 and the rest who are left usually have 00:00:23.502 --> 00:00:25.750 this blank look in their eye, 00:00:25.750 --> 00:00:27.919 as if to say, what does that mean? 00:00:27.919 --> 00:00:30.137 And I feel like I'm actually depriving them 00:00:30.137 --> 00:00:33.342 of information by telling them this, 00:00:33.342 --> 00:00:35.070 at which point I usually panic 00:00:35.070 --> 00:00:36.660 and spit out the first thing that comes to my mind, 00:00:36.660 --> 00:00:40.442 which is, I have no idea what I'm doing. 00:00:40.442 --> 00:00:42.054 Which is true. 00:00:42.054 --> 00:00:44.910 That's usually followed by a second thought, 00:00:44.910 --> 00:00:48.210 which is, whatever it is that I'm doing, 00:00:48.210 --> 00:00:49.902 I love it. 00:00:49.902 --> 00:00:53.699 And today, I want to, well, 00:00:53.699 --> 00:00:55.870 share with you something I love, 00:00:55.870 --> 00:00:57.354 and also why. NOTE Paragraph 00:00:57.354 --> 00:01:01.283 And I think we'll begin with just this question: 00:01:01.283 --> 00:01:02.620 What is computer music? 00:01:02.620 --> 00:01:06.400 And I'm going to try to do my best to provide a definition, 00:01:06.400 --> 00:01:08.131 maybe by telling you a story 00:01:08.131 --> 00:01:09.778 that goes through some of the stuff 00:01:09.778 --> 00:01:11.704 I've been working on. NOTE Paragraph 00:01:11.704 --> 00:01:13.516 And the first thing, I think, in our story 00:01:13.516 --> 00:01:16.064 is going to be something called ChucK. 00:01:16.064 --> 00:01:21.437 Now, ChucK is a programming language for music, 00:01:21.437 --> 00:01:24.146 and it's open-source, it's freely available, 00:01:24.146 --> 00:01:26.066 and I like to think that it crashes equally well 00:01:26.066 --> 00:01:28.410 on all modern operating systems. 00:01:28.410 --> 00:01:31.370 And instead of telling you more about it, 00:01:31.370 --> 00:01:33.196 I'm just going to give you a demo. 00:01:33.196 --> 00:01:34.352 By the way, I'm just going to nerd out 00:01:34.352 --> 00:01:35.981 for just a few minutes here, 00:01:35.981 --> 00:01:38.779 so I would say, don't freak out. 00:01:38.779 --> 00:01:40.850 In fact, I would invite all of you to join me 00:01:40.850 --> 00:01:42.034 in just geeking out. 00:01:42.034 --> 00:01:45.096 If you've never written a line of code before in your life, 00:01:45.096 --> 00:01:46.282 do not worry. 00:01:46.282 --> 00:01:49.799 I'll bet you'll be able to come along on this. NOTE Paragraph 00:01:49.799 --> 00:01:51.218 First thing I'm going to do is to make 00:01:51.218 --> 00:01:53.051 a sine wave oscillator, 00:01:53.051 --> 00:01:56.085 and we're going to called the sine wave generator 00:01:56.085 --> 00:01:58.847 "Ge." 00:01:58.847 --> 00:02:00.937 And then we're going to connect "Ge" to the DAC. 00:02:00.937 --> 00:02:02.091 Now this is kind of the abstraction 00:02:02.091 --> 00:02:04.699 for the sound output on my computer. Okay? 00:02:04.699 --> 00:02:07.899 So I've connected myself into the speaker. 00:02:07.899 --> 00:02:09.491 Next, I'm going to say my frequency 00:02:09.491 --> 00:02:11.459 is 440 hertz, 00:02:11.459 --> 00:02:15.278 and I'm going to let time advance 00:02:15.278 --> 00:02:18.000 by two seconds through this operation. 00:02:18.000 --> 00:02:22.068 All right, so if I were to play this -- 00:02:22.068 --> 00:02:24.740 (Tone) — 00:02:24.740 --> 00:02:27.161 you would hear a sine wave at 440 hertz for two seconds. 00:02:27.161 --> 00:02:30.187 Okay, great. Now I'm going to copy and paste this, 00:02:30.187 --> 00:02:31.931 and then just change some of these numbers, 00:02:31.931 --> 00:02:35.891 220.5, 440 I shall leave it as that, 00:02:35.891 --> 00:02:38.331 and .5 and 880. 00:02:38.331 --> 00:02:39.693 By doubling the frequency, 00:02:39.693 --> 00:02:42.210 we're actually going up in successive octaves, 00:02:42.210 --> 00:02:43.547 and then we have this sequence -- 00:02:43.547 --> 00:02:45.674 (Tones) — of tones. 00:02:45.674 --> 00:02:47.580 Okay, great, now I can imagine creating 00:02:47.580 --> 00:02:49.022 all kinds of really horrible 00:02:49.022 --> 00:02:51.420 single sine wave pieces of music with this, 00:02:51.420 --> 00:02:54.332 but I'm going to do something that computers are really good at, 00:02:54.332 --> 00:02:56.156 which is repetition. 00:02:56.156 --> 00:02:57.860 I'm going to put this all in a while loop, 00:02:57.860 --> 00:02:59.156 and you actually don't need to indent, 00:02:59.156 --> 00:03:01.280 but this is purely for aesthetic reasons. 00:03:01.280 --> 00:03:02.884 It's good practice. 00:03:02.884 --> 00:03:04.464 And when we do this — 00:03:04.464 --> 00:03:08.961 (Tones) — 00:03:08.961 --> 00:03:10.134 that's going to go on for a while. 00:03:10.134 --> 00:03:11.628 In fact, it's probably not going to stop 00:03:11.628 --> 00:03:13.411 until this computer disintegrates. 00:03:13.411 --> 00:03:16.110 And I can't really empirically prove that to you, 00:03:16.110 --> 00:03:19.779 but I hope you'll believe me when I say that. 00:03:19.779 --> 00:03:21.655 Next, I'm going to replace this 220 00:03:21.655 --> 00:03:24.461 by math.random2f. 00:03:24.461 --> 00:03:25.739 I'm going to generate a random number 00:03:25.739 --> 00:03:28.879 between 30 and 1,000 and send that 00:03:28.879 --> 00:03:30.965 to the frequency of me. 00:03:30.965 --> 00:03:33.065 And I'm going to do this every half a second. 00:03:33.065 --> 00:03:36.007 (Tones) 00:03:36.007 --> 00:03:38.668 Let's do this every 200 milliseconds. 00:03:38.668 --> 00:03:43.290 (Tones) 00:03:43.290 --> 00:03:44.745 One hundred. 00:03:44.745 --> 00:03:46.357 (Tones) 00:03:46.357 --> 00:03:47.591 All right. 00:03:47.591 --> 00:03:49.535 At this point, we've reached something 00:03:49.535 --> 00:03:50.605 that I would like to think of as 00:03:50.605 --> 00:03:54.626 the canonical computer music. 00:03:54.626 --> 00:03:58.443 This is, to me, the sound that mainframes 00:03:58.443 --> 00:03:59.565 are supposed to be making 00:03:59.565 --> 00:04:02.807 when they're thinking really hard. 00:04:02.807 --> 00:04:04.900 It's this sound, it's like, 00:04:04.900 --> 00:04:08.471 the square root of five million. NOTE Paragraph 00:04:10.427 --> 00:04:14.211 So is this computer music? 00:04:14.211 --> 00:04:16.190 Yeah, I guess by definition, 00:04:16.190 --> 00:04:17.395 it's kind of computer music. 00:04:17.395 --> 00:04:20.403 It's probably not the kind of music you would listen to 00:04:20.403 --> 00:04:21.891 cruising down the highway, 00:04:21.891 --> 00:04:26.907 but it's a foundation of computer-generated music, 00:04:26.907 --> 00:04:29.110 and using ChucK, 00:04:29.110 --> 00:04:30.803 we've actually been building instruments 00:04:30.803 --> 00:04:32.699 in the Stanford Laptop Orchestra, 00:04:32.699 --> 00:04:36.900 based right here at Stanford Center for Computer Research in Music and Acoustics. NOTE Paragraph 00:04:36.900 --> 00:04:39.683 Now the Laptop Orchestra is an ensemble of laptops, 00:04:39.683 --> 00:04:42.312 humans and special hemispherical speaker arrays. 00:04:42.312 --> 00:04:43.909 Now the reason we have these 00:04:43.909 --> 00:04:46.379 is so that for the instruments that we create 00:04:46.379 --> 00:04:48.603 out of the laptop, we want the sound to come 00:04:48.603 --> 00:04:51.123 out of somewhere near the instrument 00:04:51.123 --> 00:04:52.491 and the performer, 00:04:52.491 --> 00:04:55.193 kind of much like a traditional, acoustic instrument. 00:04:55.193 --> 00:04:57.079 Like, if I were to play a violin here, 00:04:57.079 --> 00:04:59.190 the sound would naturally not come out of 00:04:59.190 --> 00:05:01.964 the P.A. system, but from the artifact itself. 00:05:01.964 --> 00:05:05.171 So these speakers are meant to emulate that. 00:05:05.171 --> 00:05:06.500 In fact, I'm going to show you 00:05:06.500 --> 00:05:09.243 how we actually built them. 00:05:09.243 --> 00:05:11.307 The first step is to go to IKEA 00:05:11.307 --> 00:05:12.687 and buy a salad bowl. 00:05:12.687 --> 00:05:15.917 This is an 11-inch Blanda Matt. 00:05:15.917 --> 00:05:17.415 That's the actual name, 00:05:17.415 --> 00:05:18.837 and I actually use one of these 00:05:18.837 --> 00:05:21.065 to make salad at home as well, I kid you not. 00:05:21.065 --> 00:05:24.236 And the first step is you turn it upside down, 00:05:24.236 --> 00:05:26.711 and then you drill holes in them, 00:05:26.711 --> 00:05:29.220 six holes per hemi, 00:05:29.220 --> 00:05:30.934 and then make a base plate, 00:05:30.934 --> 00:05:33.614 put car speaker drivers in them 00:05:33.614 --> 00:05:36.205 along with amplifiers in the enclosure, 00:05:36.205 --> 00:05:37.559 and you put that all together and you have 00:05:37.559 --> 00:05:39.333 these hemispherical speaker arrays. 00:05:39.333 --> 00:05:40.896 Add people, add laptops, 00:05:40.896 --> 00:05:43.584 you have a laptop orchestra. NOTE Paragraph 00:05:43.584 --> 00:05:47.114 And what might a laptop orchestra sound like? 00:05:47.114 --> 00:05:49.033 Well, let me give you a demonstration 00:05:49.033 --> 00:05:52.268 of about 200 instruments we've created so far 00:05:52.268 --> 00:05:55.511 for the Laptop Orchestra. 00:05:55.511 --> 00:05:57.938 And what I'm going to do is actually come over to this thing. 00:05:57.938 --> 00:06:00.143 This thing I have in front of me 00:06:00.143 --> 00:06:03.355 actually used to be a commodity gaming controller 00:06:03.355 --> 00:06:05.145 called a Gametrak. 00:06:05.145 --> 00:06:07.021 This thing actually has a glove you can put on your hands. 00:06:07.021 --> 00:06:08.581 It's tethered to the base, 00:06:08.581 --> 00:06:11.110 and this will track the position of your hands 00:06:11.110 --> 00:06:12.163 in real time. 00:06:12.163 --> 00:06:15.537 It was originally designed as a golfing controller 00:06:15.537 --> 00:06:17.453 to detect the motion of your swing. 00:06:17.453 --> 00:06:19.984 That turned out to be a rather large 00:06:19.984 --> 00:06:21.688 commercial non-success, 00:06:21.688 --> 00:06:25.442 at which point they slashed prices to 10 dollars, 00:06:25.442 --> 00:06:27.450 at which point computer music researchers 00:06:27.450 --> 00:06:29.508 said, "This is awesome! 00:06:29.508 --> 00:06:32.257 We can prototype instruments out of this." NOTE Paragraph 00:06:32.257 --> 00:06:35.201 So let me show you one instrument we've created, 00:06:35.201 --> 00:06:37.113 one of many, and this instrument 00:06:37.113 --> 00:06:38.682 is called "Twilight," 00:06:38.682 --> 00:06:41.368 and it's meant to go with this metaphor 00:06:41.368 --> 00:06:44.401 of pulling a sound out of the ground. 00:06:44.401 --> 00:06:47.752 So let me see if this will work. NOTE Paragraph 00:06:47.752 --> 00:06:54.188 (Music) NOTE Paragraph 00:06:56.968 --> 00:06:58.791 And put it back. 00:06:58.791 --> 00:07:02.886 And then if you go to the left, 00:07:02.886 --> 00:07:05.381 right, 00:07:09.427 --> 00:07:13.231 it sounds like an elephant in pain. NOTE Paragraph 00:07:13.231 --> 00:07:16.259 This is a slightly metallic sound. 00:07:16.259 --> 00:07:19.613 Turn it just a bit. NOTE Paragraph 00:07:19.613 --> 00:07:22.569 (Music) 00:07:25.211 --> 00:07:28.785 It's like a hovering car. NOTE Paragraph 00:07:32.406 --> 00:07:33.799 Okay. NOTE Paragraph 00:07:33.799 --> 00:07:37.965 This third one is a ratchet-like interaction, so 00:07:39.360 --> 00:07:41.911 let me turn it up. NOTE Paragraph 00:07:44.915 --> 00:07:49.710 (Music) NOTE Paragraph 00:07:50.068 --> 00:07:51.948 So it's a slightly different interaction. NOTE Paragraph 00:07:51.948 --> 00:07:54.902 The fourth one is a drone. NOTE Paragraph 00:07:55.583 --> 00:08:00.760 (Music) 00:08:08.613 --> 00:08:11.319 And finally, let's see, 00:08:11.319 --> 00:08:13.130 this is a totally different interaction, 00:08:13.130 --> 00:08:14.940 and I think you have to imagine that there's 00:08:14.940 --> 00:08:17.872 this giant invisible drum sitting right here on stage, 00:08:17.872 --> 00:08:20.315 and I'm going to bang it. 00:08:22.255 --> 00:08:24.902 (Drum) 00:08:24.902 --> 00:08:27.689 (Laughter) 00:08:28.241 --> 00:08:30.685 So there we go, so that's one of many instruments 00:08:30.685 --> 00:08:32.455 in the Laptop Orchestra. NOTE Paragraph 00:08:32.455 --> 00:08:36.009 (Applause) NOTE Paragraph 00:08:36.009 --> 00:08:38.290 Thank you. NOTE Paragraph 00:08:38.290 --> 00:08:40.396 And when you put that together, 00:08:40.396 --> 00:08:44.464 you get something that sounds like this. NOTE Paragraph 00:08:44.464 --> 00:08:51.123 (Music) NOTE Paragraph 00:09:33.470 --> 00:09:35.820 Okay, and so, I think from the experience 00:09:35.820 --> 00:09:38.343 of building a lot of instruments for the Laptop Orchestra, 00:09:38.343 --> 00:09:40.847 and I think from the curiosity of wondering, 00:09:40.847 --> 00:09:42.350 what if we took these 00:09:42.350 --> 00:09:43.942 hopefully expressive instruments 00:09:43.942 --> 00:09:46.575 and we brought it to a lot of people, 00:09:46.575 --> 00:09:48.982 plus then a healthy bout of insanity — 00:09:48.982 --> 00:09:50.471 put those three things together — 00:09:50.471 --> 00:09:53.987 led to me actually co-founding a startup company 00:09:53.987 --> 00:09:56.446 in 2008 called Smule. NOTE Paragraph 00:09:56.446 --> 00:09:58.366 Now Smule's mission is to create 00:09:58.366 --> 00:10:02.223 expressive, mobile music things, 00:10:02.223 --> 00:10:06.985 and one of the first musical instruments 00:10:06.985 --> 00:10:08.845 we created is called Ocarina. 00:10:08.845 --> 00:10:11.610 And I'm going to just demo this for you real quick. 00:10:15.234 --> 00:10:17.650 So Ocarina — 00:10:17.650 --> 00:10:21.248 (Music) — 00:10:21.248 --> 00:10:24.371 is based on this ancient flute-like instrument 00:10:24.371 --> 00:10:25.780 called the ocarina, 00:10:25.780 --> 00:10:29.163 and this one is the four-hole English pendant configuration, 00:10:29.163 --> 00:10:32.566 and you're literally blowing into the microphone 00:10:32.566 --> 00:10:35.492 to make the sound. 00:10:35.492 --> 00:10:37.125 And there's actually a little ChucK script 00:10:37.125 --> 00:10:38.293 running in here that's detecting 00:10:38.293 --> 00:10:39.775 the strength of your blowing 00:10:39.775 --> 00:10:41.893 and also synthesizing the sound. 00:10:41.893 --> 00:10:45.478 (Music) 00:10:45.478 --> 00:10:48.808 And vibrato is mapped to the accelerometer, 00:10:48.808 --> 00:10:50.461 so you can get — 00:10:50.461 --> 00:10:53.790 (Music) 00:10:53.790 --> 00:10:57.500 All right. So let me play a little ditty for you, 00:10:59.533 --> 00:11:01.349 a little Bach. 00:11:01.349 --> 00:11:03.941 And here, you'll hear a little accompaniment with the melody. 00:11:03.941 --> 00:11:06.509 The accompaniment actually follows the melody, 00:11:06.509 --> 00:11:10.290 not the other way around. NOTE Paragraph 00:11:10.290 --> 00:11:15.625 (Music) NOTE Paragraph 00:11:23.132 --> 00:11:24.789 And this was designed 00:11:24.789 --> 00:11:26.065 to let you take your time 00:11:26.065 --> 00:11:29.270 and figure out where your expressive space is, 00:11:29.270 --> 00:11:31.077 and you can just hang out here 00:11:31.077 --> 00:11:34.139 for a while, for a really dramatic effect, if you want, 00:11:34.139 --> 00:11:37.205 and whenever you're ready — NOTE Paragraph 00:11:37.205 --> 00:11:41.857 (Music) NOTE Paragraph 00:11:52.981 --> 00:11:54.089 And on these longer notes, 00:11:54.089 --> 00:11:56.190 I'm going to use more vibrato 00:11:56.190 --> 00:11:57.082 towards the end of the notes 00:11:57.082 --> 00:12:00.134 to give it a little bit more of an expressive quality. NOTE Paragraph 00:12:00.134 --> 00:12:03.750 (Music) NOTE Paragraph 00:12:07.473 --> 00:12:11.160 Huh, that's a nice chord to end this excerpt on. NOTE Paragraph 00:12:11.160 --> 00:12:14.581 (Applause) NOTE Paragraph 00:12:14.581 --> 00:12:17.841 Thank you. NOTE Paragraph 00:12:19.750 --> 00:12:23.746 So I think a good question to ask about Ocarina is, 00:12:23.746 --> 00:12:28.493 is this a toy or it an instrument? Maybe it's both, 00:12:28.493 --> 00:12:30.502 but for me, I think the more important question is, 00:12:30.502 --> 00:12:32.043 is it expressive? 00:12:32.043 --> 00:12:34.117 And at the same time, I think 00:12:34.117 --> 00:12:35.421 creating these types of instruments 00:12:35.421 --> 00:12:38.783 asks a question about the role of technology, 00:12:38.783 --> 00:12:40.477 and its place for how we make music. 00:12:40.477 --> 00:12:42.214 Apparently, for example, 00:12:42.214 --> 00:12:44.120 not that long ago, like only a hundred years ago — 00:12:44.120 --> 00:12:45.640 that's not that long in the course of human history — 00:12:45.640 --> 00:12:47.621 families back then 00:12:47.621 --> 00:12:49.509 used to make music together 00:12:49.509 --> 00:12:52.557 as a common form of entertainment. 00:12:52.557 --> 00:12:53.802 I don't think that's really happening 00:12:53.802 --> 00:12:55.337 that much anymore. 00:12:55.337 --> 00:12:57.007 You know, this is before radio, before recording. 00:12:57.007 --> 00:12:59.214 In the last hundred years, with all this technology, 00:12:59.214 --> 00:13:01.388 we now have more access to music 00:13:01.388 --> 00:13:03.021 as listeners and consumers, 00:13:03.021 --> 00:13:06.084 but somehow, I think we're making less music 00:13:06.084 --> 00:13:07.770 than ever before. 00:13:07.770 --> 00:13:09.401 I'm not sure why that would be. 00:13:09.401 --> 00:13:12.050 Maybe it's because it's too easy just to hit play. 00:13:12.050 --> 00:13:14.509 And while listening to music is wonderful, 00:13:14.509 --> 00:13:17.918 there's a special joy to making music 00:13:17.918 --> 00:13:19.573 that's all its own. 00:13:19.573 --> 00:13:20.836 And I think that's one part 00:13:20.836 --> 00:13:22.926 of the goal of why I do what I do 00:13:22.926 --> 00:13:27.682 is kind of to take us back to the past a little bit. Right? NOTE Paragraph 00:13:27.682 --> 00:13:29.462 Now, if that's one goal, the other goal 00:13:29.462 --> 00:13:30.892 is to look to the future and think about 00:13:30.892 --> 00:13:33.229 what kind of new musical things can we make 00:13:33.229 --> 00:13:35.822 that we don't perhaps yet have names for 00:13:35.822 --> 00:13:38.685 that's enabled by technology, but ultimately 00:13:38.685 --> 00:13:41.126 might change the way that humans make music. 00:13:41.126 --> 00:13:43.498 And I'll just give you one example here, 00:13:43.498 --> 00:13:49.723 and this is Ocarina's other feature. 00:13:49.723 --> 00:13:51.910 This is a globe, 00:13:51.910 --> 00:13:54.683 and here you're actually listening 00:13:54.683 --> 00:13:56.735 to other users of Ocarina 00:13:56.735 --> 00:14:00.715 blow into their iPhones to play something. 00:14:00.715 --> 00:14:05.568 This is "G.I.R." from Texas, 00:14:05.568 --> 00:14:11.501 "R.I.K." I don't know why it's these three-letter names today, Los Angeles. 00:14:11.501 --> 00:14:16.519 They're all playing pretty, 00:14:16.519 --> 00:14:19.879 somewhat minimal music here. NOTE Paragraph 00:14:19.879 --> 00:14:25.327 (Music) NOTE Paragraph 00:14:25.327 --> 00:14:27.933 And the idea with this is that, well, 00:14:27.933 --> 00:14:31.850 technology should not be foregrounded here, 00:14:31.850 --> 00:14:33.933 and — (Laughter) — 00:14:33.933 --> 00:14:36.646 we've actually opened this up. 00:14:36.646 --> 00:14:38.153 The first thought is that, hey, you know 00:14:38.153 --> 00:14:41.343 there's somebody somewhere out there 00:14:41.343 --> 00:14:42.613 playing some music, 00:14:42.613 --> 00:14:44.393 and this is a small but I think important 00:14:44.393 --> 00:14:45.613 human connection to make 00:14:45.613 --> 00:14:48.611 that perhaps the technology affords. NOTE Paragraph 00:14:48.611 --> 00:14:51.435 As a final example, 00:14:51.435 --> 00:14:52.790 and perhaps my favorite example, 00:14:52.790 --> 00:14:55.941 is that in the wake of the 2011 earthquake 00:14:55.941 --> 00:14:58.427 and tsunami disaster in Japan, 00:14:58.427 --> 00:15:01.270 a woman reached out in one of our singing apps 00:15:01.270 --> 00:15:04.157 to try to get people to join in to sing with her 00:15:04.157 --> 00:15:05.762 on a version of "Lean on Me." 00:15:05.762 --> 00:15:08.810 Now, in these apps, there's this thing that allows 00:15:08.810 --> 00:15:10.511 any user to add their voice 00:15:10.511 --> 00:15:13.309 to an existing performance by any other user 00:15:13.309 --> 00:15:14.363 or group of users, 00:15:14.363 --> 00:15:16.388 so in some sense, she's created this kind of 00:15:16.388 --> 00:15:19.772 global ad hoc corral of strangers, 00:15:19.772 --> 00:15:21.980 and within weeks, thousands of people 00:15:21.980 --> 00:15:23.612 joined in on this, 00:15:23.612 --> 00:15:25.991 and you can kind of see people coming from all around the world 00:15:25.991 --> 00:15:28.272 and all these lines converging on the origin 00:15:28.272 --> 00:15:30.620 where the first rendition of the song was sung, 00:15:30.620 --> 00:15:32.254 and that's in Tokyo. 00:15:32.254 --> 00:15:35.686 And this is what it sounds like when there's 1,000 people. 00:15:35.686 --> 00:15:37.663 This is 1,000 voices. NOTE Paragraph 00:15:37.663 --> 00:15:41.940 (Recording) ♪ Sometimes in our lives ♪ NOTE Paragraph 00:15:41.940 --> 00:15:49.260 ♪ We all have pain, we all have sorrow ♪ NOTE Paragraph 00:15:49.260 --> 00:15:53.100 ♪ But if we are wise ♪ NOTE Paragraph 00:15:53.100 --> 00:15:58.990 ♪ We know that there's always tomorrow ♪ NOTE Paragraph 00:15:58.990 --> 00:16:01.497 ♪ Lean on me ♪ NOTE Paragraph 00:16:01.497 --> 00:16:04.310 ♪ When you're not strong ♪ NOTE Paragraph 00:16:04.310 --> 00:16:06.950 ♪ And I'll be your friend ♪ NOTE Paragraph 00:16:06.950 --> 00:16:11.235 ♪ I'll help you carry on ♪ NOTE Paragraph 00:16:11.235 --> 00:16:15.248 ♪ For it won't be long ♪ NOTE Paragraph 00:16:15.248 --> 00:16:17.976 ♪ Till I'm gonna need ♪ NOTE Paragraph 00:16:17.976 --> 00:16:21.372 ♪ Somebody to lean on ♪ NOTE Paragraph 00:16:21.372 --> 00:16:23.726 ♪ Just lean on — ♪ NOTE Paragraph 00:16:23.726 --> 00:16:25.296 Is this computer music? NOTE Paragraph 00:16:25.296 --> 00:16:28.884 (Applause) NOTE Paragraph 00:16:30.728 --> 00:16:32.696 Was that computer music? 00:16:32.696 --> 00:16:34.743 Yeah, I guess so; it's something that you really 00:16:34.743 --> 00:16:37.028 couldn't have done without computers. 00:16:37.028 --> 00:16:41.264 But at the same time, it's also just human, 00:16:41.264 --> 00:16:44.353 and I think what I've essentially answered so far 00:16:44.353 --> 00:16:47.744 is maybe why I do the stuff that I do, 00:16:47.744 --> 00:16:50.136 and let's just finally return to the first question: 00:16:50.136 --> 00:16:52.248 What is computer music? 00:16:52.248 --> 00:16:54.552 And I think that the catch here is that, 00:16:54.552 --> 00:16:55.808 at least to me, computer music 00:16:55.808 --> 00:16:57.656 isn't really about computers. 00:16:57.656 --> 00:16:59.182 It is about people. 00:16:59.182 --> 00:17:00.816 It's about how we can use technology 00:17:00.816 --> 00:17:02.862 to change the way we think 00:17:02.862 --> 00:17:04.306 and do and make music, 00:17:04.306 --> 00:17:07.992 and maybe even add to how we can 00:17:07.992 --> 00:17:10.502 connect with each other through music. NOTE Paragraph 00:17:10.502 --> 00:17:12.655 And with that, I want to say, 00:17:12.655 --> 00:17:15.752 this is computer music, and thank you for listening. NOTE Paragraph 00:17:15.752 --> 00:17:19.752 (Applause)