WEBVTT 00:00:00.000 --> 00:00:02.000 The first idea I'd like to suggest is that we all 00:00:02.000 --> 00:00:05.000 love music a great deal. It means a lot to us. 00:00:05.000 --> 00:00:11.000 But music is even more powerful if you don't just listen to it, but you make it yourself. 00:00:11.000 --> 00:00:14.000 So, that's my first idea. And we all know about the Mozart effect -- 00:00:14.000 --> 00:00:17.000 the idea that's been around for the last five to 10 years -- 00:00:17.000 --> 00:00:21.000 that just by listening to music or by playing music to your baby [in utero], 00:00:21.000 --> 00:00:25.000 that it'll raise our IQ points 10, 20, 30 percent. NOTE Paragraph 00:00:25.000 --> 00:00:28.000 Great idea, but it doesn't work at all. 00:00:28.000 --> 00:00:31.000 So, you can't just listen to music, you have to make it somehow. 00:00:31.000 --> 00:00:35.000 And I'd add to that, that it's not just making it, 00:00:35.000 --> 00:00:37.000 but everybody, each of us, everybody in the world 00:00:37.000 --> 00:00:41.000 has the power to create and be part of music in a very dynamic way, 00:00:41.000 --> 00:00:43.000 and that's one of the main parts of my work. 00:00:43.000 --> 00:00:45.000 So, with the MIT Media Lab, for quite a while now, 00:00:45.000 --> 00:00:47.000 we've been engaged in a field called active music. 00:00:47.000 --> 00:00:49.000 What are all the possible ways that we can think of 00:00:49.000 --> 00:00:52.000 to get everybody in the middle of a musical experience, 00:00:52.000 --> 00:00:55.000 not just listening, but making music? NOTE Paragraph 00:00:55.000 --> 00:00:58.000 And we started by making instruments for some of the world's greatest performers -- 00:00:58.000 --> 00:01:01.000 we call these hyperinstruments -- for Yo-Yo Ma, Peter Gabriel, Prince, 00:01:01.000 --> 00:01:05.000 orchestras, rock bands. Instruments where they're all kinds of sensors 00:01:05.000 --> 00:01:08.000 built right into the instrument, so the instrument knows how it's being played. 00:01:08.000 --> 00:01:11.000 And just by changing the interpretation and the feeling, 00:01:11.000 --> 00:01:14.000 I can turn my cello into a voice, or into a whole orchestra, 00:01:14.000 --> 00:01:17.000 or into something that nobody has ever heard before. NOTE Paragraph 00:01:17.000 --> 00:01:19.000 When we started making these, I started thinking, why can't we make 00:01:19.000 --> 00:01:21.000 wonderful instruments like that for everybody, 00:01:21.000 --> 00:01:25.000 people who aren't fantastic Yo-Yo Mas or Princes? 00:01:25.000 --> 00:01:27.000 So, we've made a whole series of instruments. 00:01:27.000 --> 00:01:30.000 One of the largest collections is called the Brain Opera. 00:01:30.000 --> 00:01:32.000 It's a whole orchestra of about 100 instruments, 00:01:32.000 --> 00:01:35.000 all designed for anybody to play using natural skill. 00:01:35.000 --> 00:01:38.000 So, you can play a video game, drive through a piece of music, 00:01:38.000 --> 00:01:41.000 use your body gesture to control huge masses of sound, 00:01:41.000 --> 00:01:46.000 touch a special surface to make melodies, use your voice to make a whole aura. 00:01:46.000 --> 00:01:48.000 And when we make the Brain Opera, we invite the public to come in, 00:01:48.000 --> 00:01:51.000 to try these instruments and then collaborate with us 00:01:51.000 --> 00:01:52.000 to help make each performance of the Brain Opera. 00:01:52.000 --> 00:01:55.000 We toured that for a long time. It is now permanently in Vienna, 00:01:55.000 --> 00:01:57.000 where we built a museum around it. NOTE Paragraph 00:01:57.000 --> 00:02:00.000 And that led to something which you probably do know. 00:02:00.000 --> 00:02:01.000 Guitar Hero came out of our lab, 00:02:01.000 --> 00:02:04.000 and my two teenage daughters and most of the students at the MIT Media Lab 00:02:04.000 --> 00:02:07.000 are proof that if you make the right kind of interface, 00:02:07.000 --> 00:02:11.000 people are really interested in being in the middle of a piece of music, 00:02:11.000 --> 00:02:14.000 and playing it over and over and over again. NOTE Paragraph 00:02:14.000 --> 00:02:17.000 So, the model works, but it's only the tip of the iceberg, 00:02:17.000 --> 00:02:20.000 because my second idea is that it's not enough just to want 00:02:20.000 --> 00:02:23.000 to make music in something like Guitar Hero. 00:02:23.000 --> 00:02:26.000 And music is very fun, but it's also transformative. 00:02:26.000 --> 00:02:27.000 It's very, very important. 00:02:27.000 --> 00:02:30.000 Music can change your life, more than almost anything. 00:02:30.000 --> 00:02:32.000 It can change the way you communicate with others, 00:02:32.000 --> 00:02:35.000 it can change your body, it can change your mind. So, we're trying 00:02:35.000 --> 00:02:39.000 to go to the next step of how you build on top of something like Guitar Hero. 00:02:39.000 --> 00:02:42.000 We are very involved in education. We have a long-term project 00:02:42.000 --> 00:02:46.000 called Toy Symphony, where we make all kinds of instruments that are also addictive, 00:02:46.000 --> 00:02:50.000 but for little kids, so the kids will fall in love with making music, 00:02:50.000 --> 00:02:53.000 want to spend their time doing it, and then will demand to know how it works, 00:02:53.000 --> 00:02:56.000 how to make more, how to create. So, we make squeezy instruments, 00:02:56.000 --> 00:03:00.000 like these Music Shapers that measure the electricity in your fingers, 00:03:00.000 --> 00:03:03.000 Beatbugs that let you tap in rhythms -- they gather your rhythm, 00:03:03.000 --> 00:03:05.000 and like hot potato, you send your rhythm to your friends, 00:03:05.000 --> 00:03:08.000 who then have to imitate or respond to what your doing -- 00:03:08.000 --> 00:03:12.000 and a software package called Hyperscore, which lets anybody use lines and color 00:03:12.000 --> 00:03:16.000 to make quite sophisticated music. Extremely easy to use, but once you use it, 00:03:16.000 --> 00:03:20.000 you can go quite deep -- music in any style. And then, by pressing a button, 00:03:20.000 --> 00:03:26.000 it turns into music notation so that live musicians can play your pieces. NOTE Paragraph 00:03:26.000 --> 00:03:29.000 We've had good enough, really, very powerful effects with kids 00:03:29.000 --> 00:03:32.000 around the world, and now people of all ages, using Hyperscore. 00:03:32.000 --> 00:03:36.000 So, we've gotten more and more interested in using these kinds of creative activities 00:03:36.000 --> 00:03:38.000 in a much broader context, for all kinds of people 00:03:38.000 --> 00:03:41.000 who don't usually have the opportunity to make music. 00:03:41.000 --> 00:03:42.000 So, one of the growing fields that we're working on 00:03:42.000 --> 00:03:45.000 at the Media Lab right now is music, mind and health. 00:03:45.000 --> 00:03:48.000 A lot of you have probably seen Oliver Sacks' wonderful new book called 00:03:48.000 --> 00:03:52.000 "Musicophilia". It's on sale in the bookstore. It's a great book. 00:03:52.000 --> 00:03:54.000 If you haven't seen it, it's worth reading. He's a pianist himself, 00:03:54.000 --> 00:03:58.000 and he details his whole career of looking at and observing 00:03:58.000 --> 00:04:03.000 incredibly powerful effects that music has had on peoples' lives in unusual situations. NOTE Paragraph 00:04:03.000 --> 00:04:06.000 So we know, for instance, that music is almost always the last thing 00:04:06.000 --> 00:04:10.000 that people with advanced Alzheimer's can still respond to. 00:04:10.000 --> 00:04:12.000 Maybe many of you have noticed this with loved ones, 00:04:12.000 --> 00:04:14.000 you can find somebody who can't recognize their face in the mirror, 00:04:14.000 --> 00:04:17.000 or can't tell anyone in their family, but you can still find a shard of music 00:04:17.000 --> 00:04:21.000 that that person will jump out of the chair and start singing. And with that 00:04:21.000 --> 00:04:23.000 you can bring back parts of people's memories and personalities. 00:04:23.000 --> 00:04:27.000 Music is the best way to restore speech to people who have lost it through strokes, 00:04:27.000 --> 00:04:29.000 movement to people with Parkinson's disease. 00:04:29.000 --> 00:04:33.000 It's very powerful for depression, schizophrenia, many, many things. NOTE Paragraph 00:04:33.000 --> 00:04:35.000 So, we're working on understanding those underlying principles 00:04:35.000 --> 00:04:39.000 and then building activities which will let music really improve people's health. 00:04:39.000 --> 00:04:42.000 And we do this in many ways. We work with many different hospitals. 00:04:42.000 --> 00:04:45.000 One of them is right near Boston, called Tewksbury Hospital. 00:04:45.000 --> 00:04:47.000 It's a long-term state hospital, where several years ago 00:04:47.000 --> 00:04:51.000 we started working with Hyperscore and patients with physical and mental disabilities. 00:04:51.000 --> 00:04:55.000 This has become a central part of the treatment at Tewksbury hospital, 00:04:55.000 --> 00:04:59.000 so everybody there clamors to work on musical activities. 00:04:59.000 --> 00:05:03.000 It's the activity that seems to accelerate people's treatment the most 00:05:03.000 --> 00:05:07.000 and it also brings the entire hospital together as a kind of musical community. 00:05:07.000 --> 00:05:11.000 I wanted to show you a quick video of some of this work before I go on. 00:05:52.000 --> 00:05:54.000 Video: They're manipulating each other's rhythms. 00:05:54.000 --> 00:05:58.000 It's a real experience, not only to learn how to play and listen to rhythms, 00:05:58.000 --> 00:06:03.000 but to train your musical memory and playing music in a group. 00:06:03.000 --> 00:06:07.000 To get their hands on music, to shape it themselves, change it, 00:06:07.000 --> 00:06:09.000 to experiment with it, to make their own music. 00:06:09.000 --> 00:06:13.000 So Hyperscore lets you start from scratch very quickly. 00:06:20.000 --> 00:06:22.000 Everybody can experience music in a profound way, 00:06:22.000 --> 00:06:24.000 we just have to make different tools. NOTE Paragraph 00:06:41.000 --> 00:06:47.000 The third idea I want to share with you is that music, paradoxically, 00:06:47.000 --> 00:06:50.000 I think even more than words, is one of the very best ways we have 00:06:50.000 --> 00:06:54.000 of showing who we really are. I love giving talks, although 00:06:54.000 --> 00:06:56.000 strangely I feel more nervous giving talks than playing music. 00:06:56.000 --> 00:06:59.000 If I were here playing cello, or playing on a synth, or sharing my music with you, 00:06:59.000 --> 00:07:04.000 I'd be able to show things about myself that I can't tell you in words, 00:07:04.000 --> 00:07:07.000 more personal things, perhaps deeper things. NOTE Paragraph 00:07:07.000 --> 00:07:10.000 I think that's true for many of us, and I want to give you two examples 00:07:10.000 --> 00:07:13.000 of how music is one of the most powerful interfaces we have, 00:07:13.000 --> 00:07:15.000 from ourselves to the outside world. 00:07:15.000 --> 00:07:19.000 The first is a really crazy project that we're building right now, called 00:07:19.000 --> 00:07:21.000 Death and the Powers. And it's a big opera, 00:07:21.000 --> 00:07:25.000 one of the larger opera projects going on in the world right now. 00:07:25.000 --> 00:07:30.000 And it's about a man, rich, successful, powerful, who wants to live forever. 00:07:30.000 --> 00:07:32.000 So, he figures out a way to download himself into his environment, 00:07:32.000 --> 00:07:35.000 actually into a series of books. 00:07:35.000 --> 00:07:38.000 So this guy wants to live forever, he downloads himself into his environment. 00:07:38.000 --> 00:07:42.000 The main singer disappears at the beginning of the opera 00:07:42.000 --> 00:07:46.000 and the entire stage becomes the main character. It becomes his legacy. NOTE Paragraph 00:07:46.000 --> 00:07:49.000 And the opera is about what we can share, what we can pass on to others, 00:07:49.000 --> 00:07:51.000 to the people we love, and what we can't. 00:07:51.000 --> 00:07:55.000 Every object in the opera comes alive and is a gigantic music instrument, 00:07:55.000 --> 00:07:58.000 like this chandelier. It takes up the whole stage. It looks like a chandelier, 00:07:58.000 --> 00:08:00.000 but it's actually a robotic music instrument. 00:08:00.000 --> 00:08:04.000 So, as you can see in this prototype, gigantic piano strings, 00:08:04.000 --> 00:08:07.000 each string is controlled with a little robotic element -- 00:08:07.000 --> 00:08:12.000 either little bows that stroke the strings, propellers that tickle the strings, 00:08:12.000 --> 00:08:17.000 acoustic signals that vibrate the strings. We also have an army of robots on stage. 00:08:17.000 --> 00:08:21.000 These robots are the kind of the intermediary between the main character, Simon Powers, 00:08:21.000 --> 00:08:25.000 and his family. There are a whole series of them, kind of like a Greek chorus. 00:08:25.000 --> 00:08:30.000 They observe the action. We've designed these square robots that we're testing right now 00:08:30.000 --> 00:08:33.000 at MIT called OperaBots. These OperaBots follow my music. 00:08:33.000 --> 00:08:36.000 They follow the characters. They're smart enough, we hope, 00:08:36.000 --> 00:08:39.000 not to bump into each other. They go off on their own. 00:08:39.000 --> 00:08:45.000 And then they can also, when you snap, line up exactly the way you'd like to. 00:08:45.000 --> 00:08:47.000 Even though they're cubes, they actually have a lot of personality. NOTE Paragraph 00:08:54.000 --> 00:08:58.000 The largest set piece in the opera is called The System. It's a series of books. 00:08:58.000 --> 00:09:02.000 Every single book is robotic, so they all move, they all make sound, 00:09:02.000 --> 00:09:06.000 and when you put them all together, they turn into these walls, 00:09:06.000 --> 00:09:11.000 which have the gesture and the personality of Simon Powers. So he's disappeared, 00:09:11.000 --> 00:09:14.000 but the whole physical environment becomes this person. 00:09:14.000 --> 00:09:17.000 This is how he's chosen to represent himself. 00:09:17.000 --> 00:09:24.000 The books also have high-packed LEDs on the spines. So it's all display. 00:09:24.000 --> 00:09:28.000 And here's the great baritone James Maddalena as he enters The System. 00:09:28.000 --> 00:09:29.000 This is a sneak preview. 00:09:53.000 --> 00:09:58.000 This premieres in Monaco -- it's in September 2009. If by any chance you can't make it, 00:09:58.000 --> 00:10:01.000 another idea with this project -- here's this guy building his legacy 00:10:01.000 --> 00:10:05.000 through this very unusual form, through music and through the environment. 00:10:05.000 --> 00:10:09.000 But we're also making this available both online and in public spaces, 00:10:09.000 --> 00:10:13.000 as a way of each of us to use music and images from our lives 00:10:13.000 --> 00:10:16.000 to make our own legacy or to make a legacy of someone we love. 00:10:16.000 --> 00:10:19.000 So instead of being grand opera, this opera will turn into what we're 00:10:19.000 --> 00:10:21.000 thinking of as personal opera. NOTE Paragraph 00:10:21.000 --> 00:10:23.000 And, if you're going to make a personal opera, what about a personal instrument? 00:10:23.000 --> 00:10:26.000 Everything I've shown you so far -- whether it's a hyper-cello for Yo-Yo Ma 00:10:26.000 --> 00:10:31.000 or squeezy toy for a child -- the instruments stayed the same and are valuable 00:10:31.000 --> 00:10:34.000 for a certain class of person: a virtuoso, a child. 00:10:34.000 --> 00:10:37.000 But what if I could make an instrument that could be adapted 00:10:37.000 --> 00:10:41.000 to the way I personally behave, to the way my hands work, 00:10:41.000 --> 00:10:44.000 to what I do very skillfully, perhaps, to what I don't do so skillfully? 00:10:44.000 --> 00:10:49.000 I think that this is the future of interface, it's the future of music, the future of instruments. NOTE Paragraph 00:10:49.000 --> 00:10:52.000 And I'd like now to invite two very special people on the stage, 00:10:52.000 --> 00:10:58.000 so that I can give you an example of what personal instruments might be like. 00:10:58.000 --> 00:11:03.000 So, can you give a hand to Adam Boulanger, Ph.D. student from 00:11:03.000 --> 00:11:10.000 the MIT Media Lab, and Dan Ellsey. Dan, 00:11:10.000 --> 00:11:17.000 thanks to TED and to Bombardier Flexjet, Dan is here with us today 00:11:17.000 --> 00:11:21.000 all the way from Tewksbury. He's a resident at Tewksbury Hospital. 00:11:21.000 --> 00:11:25.000 This is by far the farthest he's strayed from Tewksbury Hospital, I can tell you that, 00:11:25.000 --> 00:11:30.000 because he's motivated to meet with you today and show you his own music. 00:11:30.000 --> 00:11:34.000 So, first of all, Dan, do you want to say hi to everyone and tell everyone who you are? NOTE Paragraph 00:11:39.000 --> 00:11:47.000 Dan Ellsey: Hello. My name is Dan Ellsey. I am 34 years old and I have cerebral palsy. 00:11:47.000 --> 00:11:53.000 I have always loved music and I am excited to be able to conduct 00:11:53.000 --> 00:11:55.000 my own music with this new software. NOTE Paragraph 00:11:57.000 --> 00:12:08.000 Tod Machover: And we're really excited to have you here, really Dan. (Applause) NOTE Paragraph 00:12:08.000 --> 00:12:11.000 So we met Dan about three years ago, three and a half years ago, 00:12:11.000 --> 00:12:16.000 when we started working at Tewksbury. Everybody we met there was fantastic, 00:12:16.000 --> 00:12:21.000 did fantastic music. Dan had never made music before, and it turned out 00:12:21.000 --> 00:12:28.000 he was really fantastic at it. He's a born composer. 00:12:28.000 --> 00:12:31.000 He's very shy, too. 00:12:31.000 --> 00:12:35.000 So, turned out he's a fantastic composer, and over the last few years has been 00:12:35.000 --> 00:12:38.000 a constant collaborator of ours. He has made many, many pieces. 00:12:38.000 --> 00:12:41.000 He makes his own CDs. Actually, he is quite well known in the Boston area -- 00:12:41.000 --> 00:12:45.000 mentors people at the hospital and children, locally, in how to make their own music. 00:12:45.000 --> 00:12:50.000 And I'll let Adam tell you. So, Adam is a Ph.D. student at MIT, an expert in music 00:12:50.000 --> 00:12:55.000 technology and medicine. And Adam and Dan have become close collaborators. 00:12:55.000 --> 00:12:59.000 What Adam's been working on for this last period is not only how to have Dan 00:12:59.000 --> 00:13:02.000 be able easily to make his own pieces, 00:13:02.000 --> 00:13:05.000 but how he can perform his piece using this kind of personal instrument. 00:13:05.000 --> 00:13:07.000 So, you want to say a little bit about how you guys work? NOTE Paragraph 00:13:07.000 --> 00:13:10.000 Adam Boulanger: Yes. So, Tod and I entered into a discussion 00:13:10.000 --> 00:13:14.000 following the Tewksbury work and it was really about how Dan is an expressive 00:13:14.000 --> 00:13:19.000 person, and he's an intelligent and creative person. And it's in his face, 00:13:19.000 --> 00:13:22.000 it's in his breathing, it's in his eyes. How come he can't perform 00:13:22.000 --> 00:13:26.000 one of his pieces of music? That's our responsibility, and it doesn't make sense. NOTE Paragraph 00:13:26.000 --> 00:13:29.000 So we started developing a technology that will allow him with nuance, 00:13:29.000 --> 00:13:34.000 with precision, with control, and despite his physical disability, to be able to do that, 00:13:34.000 --> 00:13:37.000 to be able to perform his piece of music. 00:13:37.000 --> 00:13:39.000 So, the process and the technology -- 00:13:39.000 --> 00:13:42.000 basically, first we needed an engineering solution. So, you know, 00:13:42.000 --> 00:13:45.000 we have a FireWire camera, it looked at an infrared pointer. 00:13:45.000 --> 00:13:49.000 We went with the type of gesture metaphor that Dan was already used to 00:13:49.000 --> 00:13:53.000 with his speaking controller. 00:13:53.000 --> 00:13:56.000 And this was actually the least interesting part of the work, you know, 00:13:56.000 --> 00:13:59.000 the design process. We needed an input; we needed continuous tracking; 00:13:59.000 --> 00:14:02.000 in the software, we look at the types of shapes he's making. NOTE Paragraph 00:14:02.000 --> 00:14:06.000 But, then was the really interesting aspect of the work, following the engineering part, 00:14:06.000 --> 00:14:09.000 where, basically, we're coding over Dan's shoulder at the hospital 00:14:09.000 --> 00:14:12.000 extensively to figure out, you know, how does Dan move? 00:14:12.000 --> 00:14:14.000 What's useful to him as an expressive motion? 00:14:14.000 --> 00:14:17.000 You know, what's his metaphor for performance? 00:14:17.000 --> 00:14:19.000 What types of things does he find 00:14:19.000 --> 00:14:21.000 important to control and convey in a piece of music? 00:14:21.000 --> 00:14:25.000 So all the parameter fitting, and really the technology 00:14:25.000 --> 00:14:28.000 was stretched at that point to fit just Dan. 00:14:28.000 --> 00:14:34.000 And, you know, I think this is a perspective shift. It's not that our technologies -- 00:14:34.000 --> 00:14:38.000 they provide access, they allow us to create pieces of creative work. 00:14:38.000 --> 00:14:41.000 But what about expression? What about that moment when an artist delivers 00:14:41.000 --> 00:14:45.000 that piece of work? You know, do our technologies allow us to express? 00:14:45.000 --> 00:14:49.000 Do they provide structure for us to do that? And, you know, that's a personal relationship 00:14:49.000 --> 00:14:53.000 to expression that is lacking in the technological sphere. So, you know, 00:14:53.000 --> 00:14:56.000 with Dan, we needed a new design process, a new engineering process 00:14:56.000 --> 00:15:01.000 to sort of discover his movement and his path to expression that allow him to perform. 00:15:01.000 --> 00:15:03.000 And so that's what we'll do today. NOTE Paragraph 00:15:03.000 --> 00:15:05.000 TM: So let's do it. So Dan do you want to tell everyone 00:15:05.000 --> 00:15:07.000 about what you're going to play now? NOTE Paragraph 00:15:13.000 --> 00:15:15.000 DE: This is "My Eagle Song." 00:15:17.000 --> 00:15:20.000 TM: So Dan is going to play a piece of his, called "My Eagle Song". 00:15:20.000 --> 00:15:22.000 In fact, this is the score for Dan's piece, 00:15:22.000 --> 00:15:25.000 completely composed by Dan in Hyperscore. 00:15:25.000 --> 00:15:30.000 So he can use his infrared tracker to go directly into Hyperscore. 00:15:30.000 --> 00:15:33.000 He's incredibly fast at it, too, faster than I am, in fact. NOTE Paragraph 00:15:33.000 --> 00:15:35.000 (Laughter) NOTE Paragraph 00:15:37.000 --> 00:15:39.000 TM: He's really modest, too. 00:15:40.000 --> 00:15:46.000 So he can go in Hyperscore. You start out by making melodies and rhythms. 00:15:46.000 --> 00:15:48.000 He can place those exactly where he wants. 00:15:48.000 --> 00:15:51.000 Each one gets a color. He goes back into the composition window, 00:15:51.000 --> 00:15:56.000 draws the lines, places everything the way he wants to. Looking at the Hyperscore, 00:15:56.000 --> 00:15:59.000 you can see it also, you can see where the sections are, 00:15:59.000 --> 00:16:04.000 something might continue for a while, change, get really crazy and then end 00:16:04.000 --> 00:16:07.000 up with a big bang at the end. NOTE Paragraph 00:16:07.000 --> 00:16:10.000 So that's the way he made his piece, and as Adam says, 00:16:10.000 --> 00:16:17.000 we then figured out the best way to have him perform his piece. 00:16:17.000 --> 00:16:20.000 It's going to be looked at by this camera, analyze his movements, 00:16:20.000 --> 00:16:24.000 it's going to let Dan bring out all the different aspects of his music that he wants to. 00:16:24.000 --> 00:16:27.000 And you're also going to notice a visual on the screen. 00:16:27.000 --> 00:16:33.000 We asked one of our students to look at what the camera is measuring. 00:16:33.000 --> 00:16:36.000 But instead of making it very literal, showing you exactly 00:16:36.000 --> 00:16:41.000 the camera tracing, we turned it into a graphic that shows you the basic 00:16:41.000 --> 00:16:45.000 movement, and shows the way it's being analyzed. NOTE Paragraph 00:16:45.000 --> 00:16:49.000 I think it gives an understanding of how we're picking out movement from what 00:16:49.000 --> 00:16:53.000 Dan's doing, but I think it will also show you, if you look at that movement, 00:16:53.000 --> 00:17:00.000 that when Dan makes music, his motions are very purposeful, very precise, 00:17:00.000 --> 00:17:03.000 very disciplined and they're also very beautiful. 00:17:03.000 --> 00:17:08.000 So, in hearing this piece, as I mentioned before, the most important thing is 00:17:08.000 --> 00:17:11.000 the music's great, and it'll show you who Dan is. 00:17:11.000 --> 00:17:13.000 So, are we ready Adam? NOTE Paragraph 00:17:13.000 --> 00:17:15.000 AB: Yeah. NOTE Paragraph 00:17:15.000 --> 00:17:19.000 TM: OK, now Dan will play his piece "My Eagle Song" for you. 00:19:43.000 --> 00:20:07.000 (Applause) NOTE Paragraph 00:20:07.000 --> 00:20:09.000 TM: Bravo. 00:20:09.000 --> 00:20:18.000 (Applause)