1
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I want to talk to you about one thing

2
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and just one thing only,

3
00:00:04,864 --> 00:00:08,620
and this has to do with when people ask me,

4
00:00:08,620 --> 00:00:11,867
what do you do?

5
00:00:11,867 --> 00:00:13,767
To which I usually respond,

6
00:00:13,767 --> 00:00:16,907
I do computer music.

7
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Now, a number of people

8
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just stop talking to me right then and there,

9
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and the rest who are left usually have

10
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this blank look in their eye,

11
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as if to say, what does that mean?

12
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And I feel like I'm actually depriving them

13
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of information by telling them this,

14
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at which point I usually panic

15
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and spit out the first thing that comes to my mind,

16
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which is, I have no idea what I'm doing.

17
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Which is true.

18
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That's usually followed by a second thought,

19
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which is, whatever it is that I'm doing,

20
00:00:48,210 --> 00:00:49,902
I love it.

21
00:00:49,902 --> 00:00:53,699
And today, I want to, well,

22
00:00:53,699 --> 00:00:55,870
share with you something I love,

23
00:00:55,870 --> 00:00:57,354
and also why.

24
00:00:57,354 --> 00:01:01,283
And I think we'll begin with just this question:

25
00:01:01,283 --> 00:01:02,620
What is computer music?

26
00:01:02,620 --> 00:01:06,400
And I'm going to try to do my
best to provide a definition,

27
00:01:06,400 --> 00:01:08,131
maybe by telling you a story

28
00:01:08,131 --> 00:01:09,778
that goes through some of the stuff

29
00:01:09,778 --> 00:01:11,704
I've been working on.

30
00:01:11,704 --> 00:01:13,516
And the first thing, I think, in our story

31
00:01:13,516 --> 00:01:16,064
is going to be something called ChucK.

32
00:01:16,064 --> 00:01:21,437
Now, ChucK is a programming language for music,

33
00:01:21,437 --> 00:01:24,146
and it's open-source, it's freely available,

34
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and I like to think that it crashes equally well

35
00:01:26,066 --> 00:01:28,410
on all modern operating systems.

36
00:01:28,410 --> 00:01:31,370
And instead of telling you more about it,

37
00:01:31,370 --> 00:01:33,196
I'm just going to give you a demo.

38
00:01:33,196 --> 00:01:34,352
By the way, I'm just going to nerd out

39
00:01:34,352 --> 00:01:35,981
for just a few minutes here,

40
00:01:35,981 --> 00:01:38,779
so I would say, don't freak out.

41
00:01:38,779 --> 00:01:40,850
In fact, I would invite all of you to join me

42
00:01:40,850 --> 00:01:42,034
in just geeking out.

43
00:01:42,034 --> 00:01:45,096
If you've never written a line
of code before in your life,

44
00:01:45,096 --> 00:01:46,282
do not worry.

45
00:01:46,282 --> 00:01:49,799
I'll bet you'll be able to come along on this.

46
00:01:49,799 --> 00:01:51,218
First thing I'm going to do is to make

47
00:01:51,218 --> 00:01:53,051
a sine wave oscillator,

48
00:01:53,051 --> 00:01:56,085
and we're going to called the sine wave generator

49
00:01:56,085 --> 00:01:58,847
"Ge."

50
00:01:58,847 --> 00:02:00,937
And then we're going to connect "Ge" to the DAC.

51
00:02:00,937 --> 00:02:02,091
Now this is kind of the abstraction

52
00:02:02,091 --> 00:02:04,699
for the sound output on my computer. Okay?

53
00:02:04,699 --> 00:02:07,899
So I've connected myself into the speaker.

54
00:02:07,899 --> 00:02:09,491
Next, I'm going to say my frequency

55
00:02:09,491 --> 00:02:11,459
is 440 hertz,

56
00:02:11,459 --> 00:02:15,278
and I'm going to let time advance

57
00:02:15,278 --> 00:02:18,000
by two seconds through this operation.

58
00:02:18,000 --> 00:02:22,068
All right, so if I were to play this --

59
00:02:22,068 --> 00:02:24,740
(Tone) —

60
00:02:24,740 --> 00:02:27,161
you would hear a sine wave
at 440 hertz for two seconds.

61
00:02:27,161 --> 00:02:30,187
Okay, great. Now I'm going to copy and paste this,

62
00:02:30,187 --> 00:02:31,931
and then just change some of these numbers,

63
00:02:31,931 --> 00:02:35,891
220.5, 440 I shall leave it as that,

64
00:02:35,891 --> 00:02:38,331
and .5 and 880.

65
00:02:38,331 --> 00:02:39,693
By doubling the frequency,

66
00:02:39,693 --> 00:02:42,210
we're actually going up in successive octaves,

67
00:02:42,210 --> 00:02:43,547
and then we have this sequence --

68
00:02:43,547 --> 00:02:45,674
(Tones) — of tones.

69
00:02:45,674 --> 00:02:47,580
Okay, great, now I can imagine creating

70
00:02:47,580 --> 00:02:49,022
all kinds of really horrible

71
00:02:49,022 --> 00:02:51,420
single sine wave pieces of music with this,

72
00:02:51,420 --> 00:02:54,332
but I'm going to do something
that computers are really good at,

73
00:02:54,332 --> 00:02:56,156
which is repetition.

74
00:02:56,156 --> 00:02:57,860
I'm going to put this all in a while loop,

75
00:02:57,860 --> 00:02:59,156
and you actually don't need to indent,

76
00:02:59,156 --> 00:03:01,280
but this is purely for aesthetic reasons.

77
00:03:01,280 --> 00:03:02,884
It's good practice.

78
00:03:02,884 --> 00:03:04,464
And when we do this —

79
00:03:04,464 --> 00:03:08,961
(Tones) —

80
00:03:08,961 --> 00:03:10,134
that's going to go on for a while.

81
00:03:10,134 --> 00:03:11,628
In fact, it's probably not going to stop

82
00:03:11,628 --> 00:03:13,411
until this computer disintegrates.

83
00:03:13,411 --> 00:03:16,110
And I can't really empirically prove that to you,

84
00:03:16,110 --> 00:03:19,779
but I hope you'll believe me when I say that.

85
00:03:19,779 --> 00:03:21,655
Next, I'm going to replace this 220

86
00:03:21,655 --> 00:03:24,461
by math.random2f.

87
00:03:24,461 --> 00:03:25,739
I'm going to generate a random number

88
00:03:25,739 --> 00:03:28,879
between 30 and 1,000 and send that

89
00:03:28,879 --> 00:03:30,965
to the frequency of me.

90
00:03:30,965 --> 00:03:33,065
And I'm going to do this every half a second.

91
00:03:33,065 --> 00:03:36,007
(Tones)

92
00:03:36,007 --> 00:03:38,668
Let's do this every 200 milliseconds.

93
00:03:38,668 --> 00:03:43,290
(Tones)

94
00:03:43,290 --> 00:03:44,745
One hundred.

95
00:03:44,745 --> 00:03:46,357
(Tones)

96
00:03:46,357 --> 00:03:47,591
All right.

97
00:03:47,591 --> 00:03:49,535
At this point, we've reached something

98
00:03:49,535 --> 00:03:50,605
that I would like to think of as

99
00:03:50,605 --> 00:03:54,626
the canonical computer music.

100
00:03:54,626 --> 00:03:58,443
This is, to me, the sound that mainframes

101
00:03:58,443 --> 00:03:59,565
are supposed to be making

102
00:03:59,565 --> 00:04:02,807
when they're thinking really hard.

103
00:04:02,807 --> 00:04:04,900
It's this sound, it's like,

104
00:04:04,900 --> 00:04:08,471
the square root of five million.

105
00:04:10,427 --> 00:04:14,211
So is this computer music?

106
00:04:14,211 --> 00:04:16,190
Yeah, I guess by definition,

107
00:04:16,190 --> 00:04:17,395
it's kind of computer music.

108
00:04:17,395 --> 00:04:20,403
It's probably not the kind of music you would listen to

109
00:04:20,403 --> 00:04:21,891
cruising down the highway,

110
00:04:21,891 --> 00:04:26,907
but it's a foundation of computer-generated music,

111
00:04:26,907 --> 00:04:29,110
and using ChucK,

112
00:04:29,110 --> 00:04:30,803
we've actually been building instruments

113
00:04:30,803 --> 00:04:32,699
in the Stanford Laptop Orchestra,

114
00:04:32,699 --> 00:04:36,900
based right here at Stanford Center for
Computer Research in Music and Acoustics.

115
00:04:36,900 --> 00:04:39,683
Now the Laptop Orchestra is an ensemble of laptops,

116
00:04:39,683 --> 00:04:42,312
humans and special hemispherical speaker arrays.

117
00:04:42,312 --> 00:04:43,909
Now the reason we have these

118
00:04:43,909 --> 00:04:46,379
is so that for the instruments that we create

119
00:04:46,379 --> 00:04:48,603
out of the laptop, we want the sound to come

120
00:04:48,603 --> 00:04:51,123
out of somewhere near the instrument

121
00:04:51,123 --> 00:04:52,491
and the performer,

122
00:04:52,491 --> 00:04:55,193
kind of much like a traditional, acoustic instrument.

123
00:04:55,193 --> 00:04:57,079
Like, if I were to play a violin here,

124
00:04:57,079 --> 00:04:59,190
the sound would naturally not come out of

125
00:04:59,190 --> 00:05:01,964
the P.A. system, but from the artifact itself.

126
00:05:01,964 --> 00:05:05,171
So these speakers are meant to emulate that.

127
00:05:05,171 --> 00:05:06,500
In fact, I'm going to show you

128
00:05:06,500 --> 00:05:09,243
how we actually built them.

129
00:05:09,243 --> 00:05:11,307
The first step is to go to IKEA

130
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and buy a salad bowl.

131
00:05:12,687 --> 00:05:15,917
This is an 11-inch Blanda Matt.

132
00:05:15,917 --> 00:05:17,415
That's the actual name,

133
00:05:17,415 --> 00:05:18,837
and I actually use one of these

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00:05:18,837 --> 00:05:21,065
to make salad at home as well, I kid you not.

135
00:05:21,065 --> 00:05:24,236
And the first step is you turn it upside down,

136
00:05:24,236 --> 00:05:26,711
and then you drill holes in them,

137
00:05:26,711 --> 00:05:29,220
six holes per hemi,

138
00:05:29,220 --> 00:05:30,934
and then make a base plate,

139
00:05:30,934 --> 00:05:33,614
put car speaker drivers in them

140
00:05:33,614 --> 00:05:36,205
along with amplifiers in the enclosure,

141
00:05:36,205 --> 00:05:37,559
and you put that all together and you have

142
00:05:37,559 --> 00:05:39,333
these hemispherical speaker arrays.

143
00:05:39,333 --> 00:05:40,896
Add people, add laptops,

144
00:05:40,896 --> 00:05:43,584
you have a laptop orchestra.

145
00:05:43,584 --> 00:05:47,114
And what might a laptop orchestra sound like?

146
00:05:47,114 --> 00:05:49,033
Well, let me give you a demonstration

147
00:05:49,033 --> 00:05:52,268
of about 200 instruments we've created so far

148
00:05:52,268 --> 00:05:55,511
for the Laptop Orchestra.

149
00:05:55,511 --> 00:05:57,938
And what I'm going to do is
actually come over to this thing.

150
00:05:57,938 --> 00:06:00,143
This thing I have in front of me

151
00:06:00,143 --> 00:06:03,355
actually used to be a commodity gaming controller

152
00:06:03,355 --> 00:06:05,145
called a Gametrak.

153
00:06:05,145 --> 00:06:07,021
This thing actually has a glove
you can put on your hands.

154
00:06:07,021 --> 00:06:08,581
It's tethered to the base,

155
00:06:08,581 --> 00:06:11,110
and this will track the position of your hands

156
00:06:11,110 --> 00:06:12,163
in real time.

157
00:06:12,163 --> 00:06:15,537
It was originally designed as a golfing controller

158
00:06:15,537 --> 00:06:17,453
to detect the motion of your swing.

159
00:06:17,453 --> 00:06:19,984
That turned out to be a rather large

160
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commercial non-success,

161
00:06:21,688 --> 00:06:25,442
at which point they slashed prices to 10 dollars,

162
00:06:25,442 --> 00:06:27,450
at which point computer music researchers

163
00:06:27,450 --> 00:06:29,508
said, "This is awesome!

164
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We can prototype instruments out of this."

165
00:06:32,257 --> 00:06:35,201
So let me show you one instrument we've created,

166
00:06:35,201 --> 00:06:37,113
one of many, and this instrument

167
00:06:37,113 --> 00:06:38,682
is called "Twilight,"

168
00:06:38,682 --> 00:06:41,368
and it's meant to go with this metaphor

169
00:06:41,368 --> 00:06:44,401
of pulling a sound out of the ground.

170
00:06:44,401 --> 00:06:47,752
So let me see if this will work.

171
00:06:47,752 --> 00:06:54,188
(Music)

172
00:06:56,968 --> 00:06:58,791
And put it back.

173
00:06:58,791 --> 00:07:02,886
And then if you go to the left,

174
00:07:02,886 --> 00:07:05,381
right,

175
00:07:09,427 --> 00:07:13,231
it sounds like an elephant in pain.

176
00:07:13,231 --> 00:07:16,259
This is a slightly metallic sound.

177
00:07:16,259 --> 00:07:19,613
Turn it just a bit.

178
00:07:19,613 --> 00:07:22,569
(Music)

179
00:07:25,211 --> 00:07:28,785
It's like a hovering car.

180
00:07:32,406 --> 00:07:33,799
Okay.

181
00:07:33,799 --> 00:07:37,965
This third one is a ratchet-like interaction, so

182
00:07:39,360 --> 00:07:41,911
let me turn it up.

183
00:07:44,915 --> 00:07:49,710
(Music)

184
00:07:50,068 --> 00:07:51,948
So it's a slightly different interaction.

185
00:07:51,948 --> 00:07:54,902
The fourth one is a drone.

186
00:07:55,583 --> 00:08:00,760
(Music)

187
00:08:08,613 --> 00:08:11,319
And finally, let's see,

188
00:08:11,319 --> 00:08:13,130
this is a totally different interaction,

189
00:08:13,130 --> 00:08:14,940
and I think you have to imagine that there's

190
00:08:14,940 --> 00:08:17,872
this giant invisible drum sitting right here on stage,

191
00:08:17,872 --> 00:08:20,315
and I'm going to bang it.

192
00:08:22,255 --> 00:08:24,902
(Drum)

193
00:08:24,902 --> 00:08:27,689
(Laughter)

194
00:08:28,241 --> 00:08:30,685
So there we go, so that's one of many instruments

195
00:08:30,685 --> 00:08:32,455
in the Laptop Orchestra.

196
00:08:32,455 --> 00:08:36,009
(Applause)

197
00:08:36,009 --> 00:08:38,290
Thank you.

198
00:08:38,290 --> 00:08:40,396
And when you put that together,

199
00:08:40,396 --> 00:08:44,464
you get something that sounds like this.

200
00:08:44,464 --> 00:08:51,123
(Music)

201
00:09:33,470 --> 00:09:35,820
Okay, and so, I think from the experience

202
00:09:35,820 --> 00:09:38,343
of building a lot of instruments
for the Laptop Orchestra,

203
00:09:38,343 --> 00:09:40,847
and I think from the curiosity of wondering,

204
00:09:40,847 --> 00:09:42,350
what if we took these

205
00:09:42,350 --> 00:09:43,942
hopefully expressive instruments

206
00:09:43,942 --> 00:09:46,575
and we brought it to a lot of people,

207
00:09:46,575 --> 00:09:48,982
plus then a healthy bout of insanity —

208
00:09:48,982 --> 00:09:50,471
put those three things together —

209
00:09:50,471 --> 00:09:53,987
led to me actually co-founding a startup company

210
00:09:53,987 --> 00:09:56,446
in 2008 called Smule.

211
00:09:56,446 --> 00:09:58,366
Now Smule's mission is to create

212
00:09:58,366 --> 00:10:02,223
expressive, mobile music things,

213
00:10:02,223 --> 00:10:06,985
and one of the first musical instruments

214
00:10:06,985 --> 00:10:08,845
we created is called Ocarina.

215
00:10:08,845 --> 00:10:11,610
And I'm going to just demo this for you real quick.

216
00:10:15,234 --> 00:10:17,650
So Ocarina —

217
00:10:17,650 --> 00:10:21,248
(Music) —

218
00:10:21,248 --> 00:10:24,371
is based on this ancient flute-like instrument

219
00:10:24,371 --> 00:10:25,780
called the ocarina,

220
00:10:25,780 --> 00:10:29,163
and this one is the four-hole
English pendant configuration,

221
00:10:29,163 --> 00:10:32,566
and you're literally blowing into the microphone

222
00:10:32,566 --> 00:10:35,492
to make the sound.

223
00:10:35,492 --> 00:10:37,125
And there's actually a little ChucK script

224
00:10:37,125 --> 00:10:38,293
running in here that's detecting

225
00:10:38,293 --> 00:10:39,775
the strength of your blowing

226
00:10:39,775 --> 00:10:41,893
and also synthesizing the sound.

227
00:10:41,893 --> 00:10:45,478
(Music)

228
00:10:45,478 --> 00:10:48,808
And vibrato is mapped to the accelerometer,

229
00:10:48,808 --> 00:10:50,461
so you can get —

230
00:10:50,461 --> 00:10:53,790
(Music)

231
00:10:53,790 --> 00:10:57,500
All right. So let me play a little ditty for you,

232
00:10:59,533 --> 00:11:01,349
a little Bach.

233
00:11:01,349 --> 00:11:03,941
And here, you'll hear a little
accompaniment with the melody.

234
00:11:03,941 --> 00:11:06,509
The accompaniment actually follows the melody,

235
00:11:06,509 --> 00:11:10,290
not the other way around.

236
00:11:10,290 --> 00:11:15,625
(Music)

237
00:11:23,132 --> 00:11:24,789
And this was designed

238
00:11:24,789 --> 00:11:26,065
to let you take your time

239
00:11:26,065 --> 00:11:29,270
and figure out where your expressive space is,

240
00:11:29,270 --> 00:11:31,077
and you can just hang out here

241
00:11:31,077 --> 00:11:34,139
for a while, for a really
dramatic effect, if you want,

242
00:11:34,139 --> 00:11:37,205
and whenever you're ready —

243
00:11:37,205 --> 00:11:41,857
(Music)

244
00:11:52,981 --> 00:11:54,089
And on these longer notes,

245
00:11:54,089 --> 00:11:56,190
I'm going to use more vibrato

246
00:11:56,190 --> 00:11:57,082
towards the end of the notes

247
00:11:57,082 --> 00:12:00,134
to give it a little bit more of an expressive quality.

248
00:12:00,134 --> 00:12:03,750
(Music)

249
00:12:07,473 --> 00:12:11,160
Huh, that's a nice chord to end this excerpt on.

250
00:12:11,160 --> 00:12:14,581
(Applause)

251
00:12:14,581 --> 00:12:17,841
Thank you.

252
00:12:19,750 --> 00:12:23,746
So I think a good question to ask about Ocarina is,

253
00:12:23,746 --> 00:12:28,493
is this a toy or it an instrument? Maybe it's both,

254
00:12:28,493 --> 00:12:30,502
but for me, I think the more important question is,

255
00:12:30,502 --> 00:12:32,043
is it expressive?

256
00:12:32,043 --> 00:12:34,117
And at the same time, I think

257
00:12:34,117 --> 00:12:35,421
creating these types of instruments

258
00:12:35,421 --> 00:12:38,783
asks a question about the role of technology,

259
00:12:38,783 --> 00:12:40,477
and its place for how we make music.

260
00:12:40,477 --> 00:12:42,214
Apparently, for example,

261
00:12:42,214 --> 00:12:44,120
not that long ago, like only a hundred years ago —

262
00:12:44,120 --> 00:12:45,640
that's not that long in the course of human history —

263
00:12:45,640 --> 00:12:47,621
families back then

264
00:12:47,621 --> 00:12:49,509
used to make music together

265
00:12:49,509 --> 00:12:52,557
as a common form of entertainment.

266
00:12:52,557 --> 00:12:53,802
I don't think that's really happening

267
00:12:53,802 --> 00:12:55,337
that much anymore.

268
00:12:55,337 --> 00:12:57,007
You know, this is before radio, before recording.

269
00:12:57,007 --> 00:12:59,214
In the last hundred years, with all this technology,

270
00:12:59,214 --> 00:13:01,388
we now have more access to music

271
00:13:01,388 --> 00:13:03,021
as listeners and consumers,

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but somehow, I think we're making less music

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than ever before.

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I'm not sure why that would be.

275
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Maybe it's because it's too easy just to hit play.

276
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And while listening to music is wonderful,

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there's a special joy to making music

278
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that's all its own.

279
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And I think that's one part

280
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of the goal of why I do what I do

281
00:13:22,926 --> 00:13:27,682
is kind of to take us back to the past a little bit. Right?

282
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Now, if that's one goal, the other goal

283
00:13:29,462 --> 00:13:30,892
is to look to the future and think about

284
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what kind of new musical things can we make

285
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that we don't perhaps yet have names for

286
00:13:35,822 --> 00:13:38,685
that's enabled by technology, but ultimately

287
00:13:38,685 --> 00:13:41,126
might change the way that humans make music.

288
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And I'll just give you one example here,

289
00:13:43,498 --> 00:13:49,723
and this is Ocarina's other feature.

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This is a globe,

291
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and here you're actually listening

292
00:13:54,683 --> 00:13:56,735
to other users of Ocarina

293
00:13:56,735 --> 00:14:00,715
blow into their iPhones to play something.

294
00:14:00,715 --> 00:14:05,568
This is "G.I.R." from Texas,

295
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"R.I.K." I don't know why it's these
three-letter names today, Los Angeles.

296
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They're all playing pretty,

297
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somewhat minimal music here.

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(Music)

299
00:14:25,327 --> 00:14:27,933
And the idea with this is that, well,

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technology should not be foregrounded here,

301
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and — (Laughter) —

302
00:14:33,933 --> 00:14:36,646
we've actually opened this up.

303
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The first thought is that, hey, you know

304
00:14:38,153 --> 00:14:41,343
there's somebody somewhere out there

305
00:14:41,343 --> 00:14:42,613
playing some music,

306
00:14:42,613 --> 00:14:44,393
and this is a small but I think important

307
00:14:44,393 --> 00:14:45,613
human connection to make

308
00:14:45,613 --> 00:14:48,611
that perhaps the technology affords.

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As a final example,

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and perhaps my favorite example,

311
00:14:52,790 --> 00:14:55,941
is that in the wake of the 2011 earthquake

312
00:14:55,941 --> 00:14:58,427
and tsunami disaster in Japan,

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a woman reached out in one of our singing apps

314
00:15:01,270 --> 00:15:04,157
to try to get people to join in to sing with her

315
00:15:04,157 --> 00:15:05,762
on a version of "Lean on Me."

316
00:15:05,762 --> 00:15:08,810
Now, in these apps, there's this thing that allows

317
00:15:08,810 --> 00:15:10,511
any user to add their voice

318
00:15:10,511 --> 00:15:13,309
to an existing performance by any other user

319
00:15:13,309 --> 00:15:14,363
or group of users,

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so in some sense, she's created this kind of

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00:15:16,388 --> 00:15:19,772
global ad hoc corral of strangers,

322
00:15:19,772 --> 00:15:21,980
and within weeks, thousands of people

323
00:15:21,980 --> 00:15:23,612
joined in on this,

324
00:15:23,612 --> 00:15:25,991
and you can kind of see people
coming from all around the world

325
00:15:25,991 --> 00:15:28,272
and all these lines converging on the origin

326
00:15:28,272 --> 00:15:30,620
where the first rendition of the song was sung,

327
00:15:30,620 --> 00:15:32,254
and that's in Tokyo.

328
00:15:32,254 --> 00:15:35,686
And this is what it sounds like 
when there's 1,000 people.

329
00:15:35,686 --> 00:15:37,663
This is 1,000 voices.

330
00:15:37,663 --> 00:15:41,940
(Recording) ♪ Sometimes in our lives ♪

331
00:15:41,940 --> 00:15:49,260
♪ We all have pain, we all have sorrow ♪

332
00:15:49,260 --> 00:15:53,100
♪ But if we are wise ♪

333
00:15:53,100 --> 00:15:58,990
♪ We know that there's always tomorrow ♪

334
00:15:58,990 --> 00:16:01,497
♪ Lean on me ♪

335
00:16:01,497 --> 00:16:04,310
♪ When you're not strong ♪

336
00:16:04,310 --> 00:16:06,950
♪ And I'll be your friend ♪

337
00:16:06,950 --> 00:16:11,235
♪ I'll help you carry on ♪

338
00:16:11,235 --> 00:16:15,248
♪ For it won't be long ♪

339
00:16:15,248 --> 00:16:17,976
♪ Till I'm gonna need ♪

340
00:16:17,976 --> 00:16:21,372
♪ Somebody to lean on ♪

341
00:16:21,372 --> 00:16:23,726
♪ Just lean on — ♪

342
00:16:23,726 --> 00:16:25,296
Is this computer music?

343
00:16:25,296 --> 00:16:28,884
(Applause)

344
00:16:30,728 --> 00:16:32,696
Was that computer music?

345
00:16:32,696 --> 00:16:34,743
Yeah, I guess so; it's something that you really

346
00:16:34,743 --> 00:16:37,028
couldn't have done without computers.

347
00:16:37,028 --> 00:16:41,264
But at the same time, it's also just human,

348
00:16:41,264 --> 00:16:44,353
and I think what I've essentially answered so far

349
00:16:44,353 --> 00:16:47,744
is maybe why I do the stuff that I do,

350
00:16:47,744 --> 00:16:50,136
and let's just finally return to the first question:

351
00:16:50,136 --> 00:16:52,248
What is computer music?

352
00:16:52,248 --> 00:16:54,552
And I think that the catch here is that,

353
00:16:54,552 --> 00:16:55,808
at least to me, computer music

354
00:16:55,808 --> 00:16:57,656
isn't really about computers.

355
00:16:57,656 --> 00:16:59,182
It is about people.

356
00:16:59,182 --> 00:17:00,816
It's about how we can use technology

357
00:17:00,816 --> 00:17:02,862
to change the way we think

358
00:17:02,862 --> 00:17:04,306
and do and make music,

359
00:17:04,306 --> 00:17:07,992
and maybe even add to how we can

360
00:17:07,992 --> 00:17:10,502
connect with each other through music.

361
00:17:10,502 --> 00:17:12,655
And with that, I want to say,

362
00:17:12,655 --> 00:17:15,752
this is computer music, and thank you for listening.

363
00:17:15,752 --> 00:17:19,752
(Applause)