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The first idea I'd like to suggest is that we all

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love music a great deal. It means a lot to us.

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But music is even more powerful if you don't just listen to it, but you make it yourself.

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So, that's my first idea. And we all know about the Mozart effect --

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the idea that's been around for the last five to 10 years --

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that just by listening to music or by playing music to your baby [in utero],

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that it'll raise our IQ points 10, 20, 30 percent.

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Great idea, but it doesn't work at all.

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So, you can't just listen to music, you have to make it somehow.

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And I'd add to that, that it's not just making it,

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but everybody, each of us, everybody in the world

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has the power to create and be part of music in a very dynamic way,

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and that's one of the main parts of my work.

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So, with the MIT Media Lab, for quite a while now,

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we've been engaged in a field called active music.

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What are all the possible ways that we can think of

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to get everybody in the middle of a musical experience,

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not just listening, but making music?

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And we started by making instruments for some of the world's greatest performers --

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we call these hyperinstruments -- for Yo-Yo Ma, Peter Gabriel, Prince,

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orchestras, rock bands. Instruments where they're all kinds of sensors

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built right into the instrument, so the instrument knows how it's being played.

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And just by changing the interpretation and the feeling,

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I can turn my cello into a voice, or into a whole orchestra,

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or into something that nobody has ever heard before.

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When we started making these, I started thinking, why can't we make

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wonderful instruments like that for everybody,

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people who aren't fantastic Yo-Yo Mas or Princes?

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So, we've made a whole series of instruments.

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One of the largest collections is called the Brain Opera.

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It's a whole orchestra of about 100 instruments,

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all designed for anybody to play using natural skill.

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So, you can play a video game, drive through a piece of music,

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use your body gesture to control huge masses of sound,

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touch a special surface to make melodies, use your voice to make a whole aura.

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And when we make the Brain Opera, we invite the public to come in,

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to try these instruments and then collaborate with us

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to help make each performance of the Brain Opera.

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We toured that for a long time. It is now permanently in Vienna,

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where we built a museum around it.

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And that led to something which you probably do know.

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Guitar Hero came out of our lab,

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and my two teenage daughters and most of the students at the MIT Media Lab

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are proof that if you make the right kind of interface,

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people are really interested in being in the middle of a piece of music,

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and playing it over and over and over again.

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So, the model works, but it's only the tip of the iceberg,

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because my second idea is that it's not enough just to want

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to make music in something like Guitar Hero.

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And music is very fun, but it's also transformative.

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It's very, very important.

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Music can change your life, more than almost anything.

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It can change the way you communicate with others,

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it can change your body, it can change your mind. So, we're trying

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to go to the next step of how you build on top of something like Guitar Hero.

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We are very involved in education. We have a long-term project

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called Toy Symphony, where we make all kinds of instruments that are also addictive,

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but for little kids, so the kids will fall in love with making music,

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want to spend their time doing it, and then will demand to know how it works,

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how to make more, how to create. So, we make squeezy instruments,

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like these Music Shapers that measure the electricity in your fingers,

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Beatbugs that let you tap in rhythms -- they gather your rhythm,

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and like hot potato, you send your rhythm to your friends,

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who then have to imitate or respond to what your doing --

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and a software package called Hyperscore, which lets anybody use lines and color

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to make quite sophisticated music. Extremely easy to use, but once you use it,

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you can go quite deep -- music in any style. And then, by pressing a button,

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it turns into music notation so that live musicians can play your pieces.

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We've had good enough, really, very powerful effects with kids

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around the world, and now people of all ages, using Hyperscore.

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So, we've gotten more and more interested in using these kinds of creative activities

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in a much broader context, for all kinds of people

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who don't usually have the opportunity to make music.

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So, one of the growing fields that we're working on

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at the Media Lab right now is music, mind and health.

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A lot of you have probably seen Oliver Sacks' wonderful new book called

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"Musicophilia". It's on sale in the bookstore. It's a great book.

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If you haven't seen it, it's worth reading. He's a pianist himself,

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and he details his whole career of looking at and observing

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incredibly powerful effects that music has had on peoples' lives in unusual situations.

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So we know, for instance, that music is almost always the last thing

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that people with advanced Alzheimer's can still respond to.

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Maybe many of you have noticed this with loved ones,

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you can find somebody who can't recognize their face in the mirror,

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or can't tell anyone in their family, but you can still find a shard of music

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that that person will jump out of the chair and start singing. And with that

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you can bring back parts of people's memories and personalities.

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Music is the best way to restore speech to people who have lost it through strokes,

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movement to people with Parkinson's disease.

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It's very powerful for depression, schizophrenia, many, many things.

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So, we're working on understanding those underlying principles

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and then building activities which will let music really improve people's health.

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And we do this in many ways. We work with many different hospitals.

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One of them is right near Boston, called Tewksbury Hospital.

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It's a long-term state hospital, where several years ago

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we started working with Hyperscore and patients with physical and mental disabilities.

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This has become a central part of the treatment at Tewksbury hospital,

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so everybody there clamors to work on musical activities.

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It's the activity that seems to accelerate people's treatment the most

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and it also brings the entire hospital together as a kind of musical community.

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I wanted to show you a quick video of some of this work before I go on.

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Video: They're manipulating each other's rhythms.

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It's a real experience, not only to learn how to play and listen to rhythms,

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but to train your musical memory and playing music in a group.

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To get their hands on music, to shape it themselves, change it,

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to experiment with it, to make their own music.

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So Hyperscore lets you start from scratch very quickly.

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Everybody can experience music in a profound way,

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we just have to make different tools.

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The third idea I want to share with you is that music, paradoxically,

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I think even more than words, is one of the very best ways we have

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of showing who we really are. I love giving talks, although

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strangely I feel more nervous giving talks than playing music.

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If I were here playing cello, or playing on a synth, or sharing my music with you,

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I'd be able to show things about myself that I can't tell you in words,

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more personal things, perhaps deeper things.

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I think that's true for many of us, and I want to give you two examples

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of how music is one of the most powerful interfaces we have,

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from ourselves to the outside world.

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The first is a really crazy project that we're building right now, called

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Death and the Powers. And it's a big opera,

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one of the larger opera projects going on in the world right now.

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And it's about a man, rich, successful, powerful, who wants to live forever.

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So, he figures out a way to download himself into his environment,

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actually into a series of books.

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So this guy wants to live forever, he downloads himself into his environment.

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The main singer disappears at the beginning of the opera

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and the entire stage becomes the main character. It becomes his legacy.

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And the opera is about what we can share, what we can pass on to others,

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to the people we love, and what we can't.

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Every object in the opera comes alive and is a gigantic music instrument,

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like this chandelier. It takes up the whole stage. It looks like a chandelier,

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but it's actually a robotic music instrument.

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So, as you can see in this prototype, gigantic piano strings,

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each string is controlled with a little robotic element --

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either little bows that stroke the strings, propellers that tickle the strings,

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acoustic signals that vibrate the strings. We also have an army of robots on stage.

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These robots are the kind of the intermediary between the main character, Simon Powers,

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and his family. There are a whole series of them, kind of like a Greek chorus.

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They observe the action. We've designed these square robots that we're testing right now

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at MIT called OperaBots. These OperaBots follow my music.

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They follow the characters. They're smart enough, we hope,

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not to bump into each other. They go off on their own.

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And then they can also, when you snap, line up exactly the way you'd like to.

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Even though they're cubes, they actually have a lot of personality.

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The largest set piece in the opera is called The System. It's a series of books.

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Every single book is robotic, so they all move, they all make sound,

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and when you put them all together, they turn into these walls,

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which have the gesture and the personality of Simon Powers. So he's disappeared,

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but the whole physical environment becomes this person.

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This is how he's chosen to represent himself.

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The books also have high-packed LEDs on the spines. So it's all display.

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And here's the great baritone James Maddalena as he enters The System.

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This is a sneak preview.

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This premieres in Monaco -- it's in September 2009. If by any chance you can't make it,

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another idea with this project -- here's this guy building his legacy

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through this very unusual form, through music and through the environment.

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But we're also making this available both online and in public spaces,

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as a way of each of us to use music and images from our lives

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to make our own legacy or to make a legacy of someone we love.

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So instead of being grand opera, this opera will turn into what we're

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thinking of as personal opera.

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And, if you're going to make a personal opera, what about a personal instrument?

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Everything I've shown you so far -- whether it's a hyper-cello for Yo-Yo Ma

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or squeezy toy for a child -- the instruments stayed the same and are valuable

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for a certain class of person: a virtuoso, a child.

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But what if I could make an instrument that could be adapted

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to the way I personally behave, to the way my hands work,

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to what I do very skillfully, perhaps, to what I don't do so skillfully?

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I think that this is the future of interface, it's the future of music, the future of instruments.

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And I'd like now to invite two very special people on the stage,

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so that I can give you an example of what personal instruments might be like.

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So, can you give a hand to Adam Boulanger, Ph.D. student from

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the MIT Media Lab, and Dan Ellsey. Dan,

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thanks to TED and to Bombardier Flexjet, Dan is here with us today

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all the way from Tewksbury. He's a resident at Tewksbury Hospital.

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This is by far the farthest he's strayed from Tewksbury Hospital, I can tell you that,

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because he's motivated to meet with you today and show you his own music.

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So, first of all, Dan, do you want to say hi to everyone and tell everyone who you are?

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Dan Ellsey: Hello. My name is Dan Ellsey. I am 34 years old and I have cerebral palsy.

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I have always loved music and I am excited to be able to conduct

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my own music with this new software.

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Tod Machover: And we're really excited to have you here, really Dan. (Applause)

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So we met Dan about three years ago, three and a half years ago,

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when we started working at Tewksbury. Everybody we met there was fantastic,

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did fantastic music. Dan had never made music before, and it turned out

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he was really fantastic at it. He's a born composer.

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He's very shy, too.

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So, turned out he's a fantastic composer, and over the last few years has been

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a constant collaborator of ours. He has made many, many pieces.

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He makes his own CDs. Actually, he is quite well known in the Boston area --

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mentors people at the hospital and children, locally, in how to make their own music.

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And I'll let Adam tell you. So, Adam is a Ph.D. student at MIT, an expert in music

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technology and medicine. And Adam and Dan have become close collaborators.

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What Adam's been working on for this last period is not only how to have Dan

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be able easily to make his own pieces,

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but how he can perform his piece using this kind of personal instrument.

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So, you want to say a little bit about how you guys work?

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Adam Boulanger: Yes. So, Tod and I entered into a discussion

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following the Tewksbury work and it was really about how Dan is an expressive

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person, and he's an intelligent and creative person. And it's in his face,

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it's in his breathing, it's in his eyes. How come he can't perform

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one of his pieces of music? That's our responsibility, and it doesn't make sense.

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So we started developing a technology that will allow him with nuance,

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with precision, with control, and despite his physical disability, to be able to do that,

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to be able to perform his piece of music.

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So, the process and the technology --

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basically, first we needed an engineering solution. So, you know,

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we have a FireWire camera, it looked at an infrared pointer.

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We went with the type of gesture metaphor that Dan was already used to

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with his speaking controller.

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And this was actually the least interesting part of the work, you know,

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the design process. We needed an input; we needed continuous tracking;

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in the software, we look at the types of shapes he's making.

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But, then was the really interesting aspect of the work, following the engineering part,

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where, basically, we're coding over Dan's shoulder at the hospital

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extensively to figure out, you know, how does Dan move?

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What's useful to him as an expressive motion?

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You know, what's his metaphor for performance?

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What types of things does he find

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important to control and convey in a piece of music?

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So all the parameter fitting, and really the technology

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was stretched at that point to fit just Dan.

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And, you know, I think this is a perspective shift. It's not that our technologies --

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they provide access, they allow us to create pieces of creative work.

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But what about expression? What about that moment when an artist delivers

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that piece of work? You know, do our technologies allow us to express?

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Do they provide structure for us to do that? And, you know, that's a personal relationship

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to expression that is lacking in the technological sphere. So, you know,

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with Dan, we needed a new design process, a new engineering process

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to sort of discover his movement and his path to expression that allow him to perform.

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And so that's what we'll do today.

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TM: So let's do it. So Dan do you want to tell everyone

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about what you're going to play now?

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DE: This is "My Eagle Song."

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TM: So Dan is going to play a piece of his, called "My Eagle Song".

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In fact, this is the score for Dan's piece,

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completely composed by Dan in Hyperscore.

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So he can use his infrared tracker to go directly into Hyperscore.

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He's incredibly fast at it, too, faster than I am, in fact.

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(Laughter)

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TM: He's really modest, too.

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So he can go in Hyperscore. You start out by making melodies and rhythms.

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He can place those exactly where he wants.

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Each one gets a color. He goes back into the composition window,

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draws the lines, places everything the way he wants to. Looking at the Hyperscore,

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you can see it also, you can see where the sections are,

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something might continue for a while, change, get really crazy and then end

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up with a big bang at the end.

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So that's the way he made his piece, and as Adam says,

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we then figured out the best way to have him perform his piece.

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It's going to be looked at by this camera, analyze his movements,

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it's going to let Dan bring out all the different aspects of his music that he wants to.

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And you're also going to notice a visual on the screen.

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We asked one of our students to look at what the camera is measuring.

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But instead of making it very literal, showing you exactly

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the camera tracing, we turned it into a graphic that shows you the basic

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movement, and shows the way it's being analyzed.

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I think it gives an understanding of how we're picking out movement from what

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Dan's doing, but I think it will also show you, if you look at that movement,

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that when Dan makes music, his motions are very purposeful, very precise,

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very disciplined and they're also very beautiful.

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So, in hearing this piece, as I mentioned before, the most important thing is

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the music's great, and it'll show you who Dan is.

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So, are we ready Adam?

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AB: Yeah.

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TM: OK, now Dan will play his piece "My Eagle Song" for you.

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(Applause)

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TM: Bravo.

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(Applause)