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I have a big barn that I converted to my music studio, so I go there early in the morning and the first thing I do is rowing. And that's when I listen to a lot of music.

Tod Machover

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Tod Machover
Age: 70
Born: 1953
Born: November 24
Composer
Music Pedagogue
Pianist
Mount Vernon
New York
Thing
Studios
Early
Listen
Morning
Barn
Bigs
Barns
Music
Rowing
Firsts
Converted
First
Studio

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My work on hyper instruments started with simple instruments, like the piano.
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I had grown up and gone to high school in New York, so I wanted to get out of the east coast.
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There's just an incredibly rich and interesting relationship between our listening to music and the way our minds engage.
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I love the cello, I love the physical sense of an instrument that's about the size of your body that vibrates enough that even if you play an open string, you feel it.
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Nobody talks about music as having intrinsic meaning, how it engages the mind.
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The barn where I work, it's only 15 minutes or so from Harvard square, so It's very close to the center of Boston, but it happens to be a total oasis. It's completely quiet in there.
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I went to the University of California, Santa Cruz for a year, which turned out to be a really vibrant, very intensive intellectual atmosphere where you could do a lot of aspect of music without it being a conservatory. And that's why I went there.
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I'd studied piano first and switched over to cello when I was about seven. I played mostly chamber and solo classical music. I got really involved with rock music when I was a teenager. I wired up my cello.
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I've done a lot of operas. I've probably done more different kind of operas than anybody.
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I almost never these days sit down with a CD or my laptop and just listen to a piece with a score. I probably would do that while I'm exercising.
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I never liked opera growing up. I always liked chamber music or solo music even more than orchestral music.
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Any Beatles song is perfect. It gets to you right away.
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Music seems to stimulate more parts of our mind than almost every other activity. It combines more parts of our minds. It synchronizes our minds. It allows people in groups to do a non-verbal immediate activity together.
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The English learned, in my view, how to use harmony much earlier than the French or the Italians, or the Germans.
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I love Bach, I love Beethoven, I love Mozart, I love the Beatles, I love you know, Stockhausen, I love many things. But for some reason I come back to Elizabethan music because it's a little bit like the Beatles.
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The basic idea of a hyper instrument is where the technology is built right into the instrument so that the instrument knows how its being played - literally what the expression is, what the meaning is, what the direction of the music is.
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I think in many ways, the texture of technology actually diminishes human beings. It doesn't augment them.
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I think from age 13, 14, 15, I thought, yes, this rich studio produced music is the future, but it can't be the future to go run away into the recording studio. How can we take that kind of complexity and richness and make it possible for people to touch it and play it live. That's what hyperinstruments are.
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All the music we know that's popular is actually commonly shared music that takes things that are similar about all of us.
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I like the idea of imagining a sound and feeling a sound and then having it come out through your body, through an instrument. That's an important way to make music.
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