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The one obvious thing is that the devices are so good now that you can also see their limitations extremely well.

Tod Machover

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Tod Machover
Age: 70
Born: 1953
Born: November 24
Composer
Music Pedagogue
Pianist
Mount Vernon
New York
Also
Wells
Well
Thing
Limitations
Good
Devices
Limitation
Extremely
Obvious

More quotes by Tod Machover

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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 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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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 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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Nobody talks about music as having intrinsic meaning, how it engages the mind.
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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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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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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 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 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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One of my interests in music has always been what it means, why it affects us the way it does.
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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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I've done a lot of operas. I've probably done more different kind of operas than anybody.
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One of the big mysteries of music is, if you take music without words, it means something to us because we know it's about something. It's about something important humanly, but since there are no words, nobody knows what it's about.
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I started thinking, my gosh, all this sophisticated software for measuring how Yo-Yo plays, and how he moves and this technique of the bow, I should be able to use similar techniques for measuring the way anybody moves, and so somebody who is not a professional or a trained musician, I should be able to make a musical environment for them.
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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.
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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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My work on hyper instruments started with simple instruments, like the piano.
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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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