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MICHAEL SCOTT ASATO
CUTHBERT: Hello.

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We welcome today
Michael Good, who

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is vice president of MusicXML
technologies at MakeMusic

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Incorporated, creators
of Finale, SmartMusic,

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and so many other
great things and a dear

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friend of computational
musicology and music

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theory at MIT.

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Welcome, Michael.

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MICHAEL GOOD: Hi, thanks
for the invitation.

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Great to be here.

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MICHAEL SCOTT ASATO
CUTHBERT: Great.

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MICHAEL GOOD: Virtually.

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MICHAEL SCOTT ASATO
CUTHBERT: Yeah.

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Well, there are some
great advantages

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to the way we're setting
things up right now,

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and it allows you to--

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the students to get
to meet you in a way

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that we wouldn't be able
to perhaps in the past.

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MICHAEL GOOD: Mm hmm.

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MICHAEL SCOTT ASATO CUTHBERT:
I just want to jump in there

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and just ask you're the
creator of MusicXML.

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This is incredible for me to be
able to talk to the person who

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has done so much.

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Why did you create MusicXML in
2000, and what problems existed

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that you hope to solve with it?

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MICHAEL GOOD: Yeah, in
2000, I was working at SAP,

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and I was the representative
actually to the MIT Media Lab

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at that point, which
will come in later.

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And it was just the beginning of
digital sheet music happening.

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Sheet Music Direct
was out there,

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which I didn't know at the time,
but Sun Hawk released things

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where you could download
digital sheet music

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and go, wow, this is really
cool until I figured out,

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oh, you can only play it
in the Sun Hawk player.

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Well, that's really silly.

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I want-- and Finale
and Sibelius were there

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for notation programs.

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You couldn't move
them back and forth

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and get anything reasonable out
of it, and it was like, well,

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the internet boom is
happening and people

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want to make money
on digital sheet--

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this isn't going to work
without a standard format

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to exchange sheet music
between applications.

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People aren't going to want
to be stuck in just one thing.

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We need something like midi
for musical instruments

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or HTML for the web.

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And a lot of people tried trying
to do an interchange format

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and have succeeded,
but I figured

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I could give it a good go.

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And I had some ideas for it, and
when I visited the Media Lab,

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I went to my old thesis advisor,
Barry Vercoe, Professor Barry

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Vercoe, who is at the
experimental music

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studio and then the Media Lab
and bounced this idea off him.

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You've worked in this area lot.

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Am I missing something obvious
that makes it not going to work?

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He said it sounds like
it's going to work.

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Go over to Stanford and talk
to Walter Hewlett and Eleanor

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Selfridge-Field with
MUSE Data and talk

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with David Huron of
Humdrum because they're

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doing the stuff closest
to what you're doing.

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And David Humdrum was
at Stanford that term,

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so that was great.

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I didn't have to go to
Ohio to talk with him.

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So I did that, and basically
the first version of MusicXML

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was an XML version of MUSE Data.

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Used XML because at
SAP, we were using XML

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to communicate between our
R3 system and other systems.

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So it's like, oh
gee, it seems like we

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have some standard technology
that the whole computer

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industry is behind.

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Why not use that to exchange
music notation back and forth?

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And so it was just
we've got to be

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able to exchange
between applications.

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So the format is
optimized very much

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for exchange between
applications,

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not as a native format for
any particular application.

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MICHAEL SCOTT ASATO
CUTHBERT: So how

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did you get the
initial application

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users to buy in to this format?

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MICHAEL GOOD: Yeah,
that was always

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going to be a tricky question.

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I knew that it had to work
with either Finale or Sibelius

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or nobody would care.

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And so I gave myself,
yeah, if I can't

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get it within two years
or so to do two-way,

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not just writing,
not just greeting,

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but two-way communication with
either Finale or Sibelius.

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I don't care which one.

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Then nobody was going to care.

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And it turned out that Finale
had a better plug-in development

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kit than Sibelius for that, so I
was able to build a plugin that

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did the two-way communication.

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And the way that
things really got

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rolling is that there
was a developer up

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in the north of Scotland, Graham
Jones, who had the SharpEye

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music reader program, which
was the best scanning program

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out there except the
differences in the scanning,

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you could only
transfer via midi.

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So you-- all the
great recognition

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that you got in
SharpEye got lost

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going into a notation program
because midi couldn't handle it.

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So I contacted Graham
and said, hey, we

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got this MusicXML format.

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If you do that, we can--

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and I got this importer
that goes into Finale.

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So if you add this,
you could really

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make things work better for
Finale and increase your sales.

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And he said, well-- because
he supported NIF at the time.

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NIF was an older attempt at a
standard notation format that

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only worked well for scanners.

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So all the scanning
programs implemented it,

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but nobody else did.

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So they said, well, you could
do a NIF to MusicXML converter

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and then I wouldn't
have to do that.

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I'm going, yeah, I'm
not going to do that.

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You can do a
MusicXML, and he did.

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He wrote a MusicXML
exporter out of SharpEye,

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and then the
MakeMusic people saw,

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geez, this scanning
thing, this is

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better than what we have
built in with Finale.

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And it's better than
what Sibelius has.

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So that's when they got
interested in MusicXML

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and started to include the
plugin as part of finale 2003

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for Windows.

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And so once Finale had it in
there, you keep marketing it.

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You keep pushing it.

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I spent 11 years really
pushing developers to marketing

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to developers to
support the format.

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And now we have over 250
applications that support it.

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So it's great.

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MICHAEL SCOTT ASATO
CUTHBERT: So you

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started with a leader in
one domain of music notation

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and a leader in a different
domain that could communicate,

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and that ended up being part
of the snowball instead of--

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MICHAEL GOOD: Right.

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MICHAEL SCOTT ASATO
CUTHBERT: Because--

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MICHAEL GOOD: That's
two useful things.

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Yeah.

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And it solves-- people
go, oh, this is useful.

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MICHAEL SCOTT ASATO
CUTHBERT: Because I

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could imagine that some
of the industry leaders

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might have liked lock
in that they had before.

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MICHAEL GOOD: Sure.

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Everybody was very skeptical
of a standard format, which

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is one of the reasons
why it's not designed

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at all to be a native format.

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Because it had to
be to a reference.

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It's modeling a musical score.

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It's not modeling how somebody
would represent a musical score

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because then you
would get, oh, you're

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favoring Finale or
favorite Sibelius,

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and you would get into
all that conflict.

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But once we had, MakeMusic had
the Finale plugin developer kit

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and we had the two way
communication, that was already

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working when I made my first
presentation to MakeMusic,

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and John Paulson, the CEO,
said, yep, it's going to happen.

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Nobody's going to stop you.

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So MakeMusic figured
they might as well

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jump on board because there
wasn't a way to stop it.

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Now that it was
out, so let's use it

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for the benefit of the
company, which turned out

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to be for the enormous benefit
of the company over the years.

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MICHAEL SCOTT ASATO
CUTHBERT: So just

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to be clear for people who
see your current position

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and things, you were not
an employee at MakeMusic.

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This was not like Music Project.

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MICHAEL GOOD: Yeah
no, I started my--

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in 2000-- at the
beginning of 2000,

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I left SAP and started my
own company called Recordare.

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Don't have me name your company.

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Can't-- nobody can spell
it or pronounce it unless

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they're choral singers.

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And I did a program
called Dolet for the--

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which everybody calls
'doo-lette' to go with

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Recordare.

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So, yeah, don't have me--

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MusicXML is OK but don't
have me do creative names

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for your products.

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I'm not very good at it, but
I can write music notation

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software pretty well.

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So I had my own company
called Recordare.

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That was through 2011, and
then the assets of the company

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were purchased by
MakeMusic in November 2011.

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And I've been a MakeMusic
employee ever since.

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MICHAEL SCOTT ASATO
CUTHBERT: So you

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mentioned 250 applications,
which from my look

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this might be an undercount, can
read or write or do something

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interesting with MusicXML.

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I imagine you define
that as success.

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Why-- beyond the
initial startup,

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what aspects of MusicXML have--

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or your advocacy of it have led
to this to continued success?

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MICHAEL GOOD: Well,
the continued--

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it's good technology.

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And we been continuing to
market it and improve it.

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We're now working
on MusicXML 4.0.

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And a nice thing now
is that it's part of--

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it's being maintained in the
World Wide Web Consortium

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as a community group.

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We have a music
notation community

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group, which is independent
of MakeMusic or Recordare.

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When I was at Recordare,
we were independent.

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It was just a 1 and
1/8 person company.

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I had one very part-time
person helping me.

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So we were like Switzerland,
the neutral place everybody

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could go to, but once I joined
MakeMusic, forget about it.

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And things did not
improve with MusicXML.

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So Joe Berkowitz
was very persuasive

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and worked on me for many
years to transfer MusicXML

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from MakeMusic ownership
to being maintained

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in the World Wide Web Consortium
as part of a community group.

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And my condition on that
was that Steinberg also

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transfer the SMuFL
standard music font

00:09:58.090 --> 00:10:00.980 align:middle line:84%
layout at the same time,
which they agreed to.

00:10:00.980 --> 00:10:04.450 align:middle line:84%
So we have both of those
standards in the W3C music

00:10:04.450 --> 00:10:07.030 align:middle line:84%
notation group, as well as
a next generation project

00:10:07.030 --> 00:10:12.490 align:middle line:84%
called MNX, which tries
to deal with the issue

00:10:12.490 --> 00:10:15.980 align:middle line:84%
of a native format
and take the--

00:10:15.980 --> 00:10:18.940 align:middle line:84%
we're trying to disrupt
MusicXML from inside rather than

00:10:18.940 --> 00:10:23.500 align:middle line:84%
out because if you don't keep
improving formats and improving

00:10:23.500 --> 00:10:25.760 align:middle line:84%
technologies, if you
think, yeah, we're done,

00:10:25.760 --> 00:10:30.010 align:middle line:84%
it succeeded, we can kick back
and relax, yeah, in a few years,

00:10:30.010 --> 00:10:30.980 align:middle line:90%
you're toast.

00:10:30.980 --> 00:10:35.860 align:middle line:84%
And so whether-- we-- there have
been these awkward transitions

00:10:35.860 --> 00:10:40.180 align:middle line:84%
from midi 1 to midi 2 from
Python 2 to Python 3, HTML4,

00:10:40.180 --> 00:10:41.690 align:middle line:90%
and HTML5.

00:10:41.690 --> 00:10:46.270 align:middle line:84%
So we're trying to manage
that as best we can

00:10:46.270 --> 00:10:49.540 align:middle line:84%
for what's the next step in
the evolution of notation

00:10:49.540 --> 00:10:52.390 align:middle line:84%
technologies and be ready
for that while still just

00:10:52.390 --> 00:10:56.360 align:middle line:84%
keeping on working on improving
MusicXML for the use cases

00:10:56.360 --> 00:10:57.735 align:middle line:84%
that it does
really, really well.

00:10:57.735 --> 00:10:59.235 align:middle line:84%
MICHAEL SCOTT ASATO
CUTHBERT: So you

00:10:59.235 --> 00:11:05.200 align:middle line:84%
mentioned W3C's MNX format
and also that MusicXML is soon

00:11:05.200 --> 00:11:08.470 align:middle line:84%
to release version
4.0, and we see

00:11:08.470 --> 00:11:10.780 align:middle line:84%
that there are other
notation formats that are not

00:11:10.780 --> 00:11:16.510 align:middle line:84%
part of W3C such as MEI and
other more niche formats

00:11:16.510 --> 00:11:20.140 align:middle line:84%
that are continuing
to be developed.

00:11:20.140 --> 00:11:22.900 align:middle line:84%
Why is music or music
representation formats

00:11:22.900 --> 00:11:24.160 align:middle line:90%
still being developed?

00:11:24.160 --> 00:11:27.300 align:middle line:84%
What are the things that are
that are not totally solved yet?

00:11:27.300 --> 00:11:28.900 align:middle line:84%
MICHAEL GOOD: Well,
it's not so much

00:11:28.900 --> 00:11:30.890 align:middle line:84%
that they're whether
they're totally solved,

00:11:30.890 --> 00:11:34.000 align:middle line:84%
it's having the right
tool for the right job.

00:11:34.000 --> 00:11:39.080 align:middle line:84%
MusicXML is optimized for the
exchange between documents.

00:11:39.080 --> 00:11:42.130 align:middle line:84%
It's not optimized
for doing editing

00:11:42.130 --> 00:11:46.250 align:middle line:84%
as in finale or
musicology as in music21,

00:11:46.250 --> 00:11:48.770 align:middle line:90%
or assessment as in SmartMusic.

00:11:48.770 --> 00:11:52.900 align:middle line:84%
It's designed for exchange,
and MNX is designed more

00:11:52.900 --> 00:11:53.960 align:middle line:90%
for a native format.

00:11:53.960 --> 00:11:58.670 align:middle line:84%
But that's still going to
be more simple applications,

00:11:58.670 --> 00:12:00.110 align:middle line:90%
web-based applications.

00:12:00.110 --> 00:12:01.750 align:middle line:84%
It's probably not
something where

00:12:01.750 --> 00:12:04.750 align:middle line:84%
if you wanted to build the next
competitor to Finale, Sibelius,

00:12:04.750 --> 00:12:06.650 align:middle line:90%
or Dorico, you would use MNX.

00:12:06.650 --> 00:12:10.930 align:middle line:84%
Maybe you would, but it's
not intended for that level.

00:12:10.930 --> 00:12:13.270 align:middle line:84%
As you get more and
more sophisticated

00:12:13.270 --> 00:12:15.440 align:middle line:84%
problems and more
specialized problems,

00:12:15.440 --> 00:12:19.970 align:middle line:90%
you want your own abilities to--

00:12:19.970 --> 00:12:22.520 align:middle line:84%
you want to optimize
things for those problems.

00:12:22.520 --> 00:12:26.110 align:middle line:84%
So MEI is optimized
for they think

00:12:26.110 --> 00:12:28.790 align:middle line:90%
for the issues of musicology.

00:12:28.790 --> 00:12:32.290 align:middle line:84%
I have issues with how
they have done that

00:12:32.290 --> 00:12:35.660 align:middle line:84%
and whether it really
serves the community or not,

00:12:35.660 --> 00:12:39.610 align:middle line:84%
but it's a specialized
format for a particular type

00:12:39.610 --> 00:12:40.760 align:middle line:90%
of application.

00:12:40.760 --> 00:12:43.000 align:middle line:84%
But nearly anybody
who's developing

00:12:43.000 --> 00:12:46.760 align:middle line:84%
their own new application, it
might be MusicXML influenced,

00:12:46.760 --> 00:12:48.530 align:middle line:90%
and a lot of them are now.

00:12:48.530 --> 00:12:50.200 align:middle line:90%
They, oh, OK, I can take--

00:12:50.200 --> 00:12:52.400 align:middle line:84%
if I cover all these
concepts from MusicXML,

00:12:52.400 --> 00:12:55.090 align:middle line:84%
I'm probably doing pretty
good, but it's not going

00:12:55.090 --> 00:12:57.350 align:middle line:90%
to look exactly like MusicXML.

00:12:57.350 --> 00:12:59.410 align:middle line:90%
SmartMusic is that way.

00:12:59.410 --> 00:13:03.440 align:middle line:84%
The format is very much
influenced by MusicXML,

00:13:03.440 --> 00:13:07.370 align:middle line:90%
but it's not MusicXML inside.

00:13:07.370 --> 00:13:08.980 align:middle line:84%
It's a lot closer
to MusicXML inside

00:13:08.980 --> 00:13:11.510 align:middle line:84%
than finale is, but
it's still not--

00:13:11.510 --> 00:13:12.688 align:middle line:90%
it's a different format.

00:13:12.688 --> 00:13:14.230 align:middle line:84%
MICHAEL SCOTT ASATO
CUTHBERT: Now you

00:13:14.230 --> 00:13:16.310 align:middle line:84%
mentioned your
advisor, Barry Vercoe.

00:13:16.310 --> 00:13:17.900 align:middle line:90%
You're an MIT grad.

00:13:17.900 --> 00:13:18.430 align:middle line:90%
You're a--

00:13:18.430 --> 00:13:20.950 align:middle line:84%
MICHAEL GOOD: Brass
Rat, Brass Rat!

00:13:20.950 --> 00:13:22.598 align:middle line:90%
Yeah, there we go.

00:13:22.598 --> 00:13:24.640 align:middle line:84%
MICHAEL SCOTT ASATO
CUTHBERT: You're an MIT grad,

00:13:24.640 --> 00:13:28.670 align:middle line:84%
and you're a supporter of the
MIT music theater arts section,

00:13:28.670 --> 00:13:31.760 align:middle line:84%
the Lewis Music Library, and
especially jazz programs.

00:13:31.760 --> 00:13:35.320 align:middle line:84%
So I just want to ask
you what advice would you

00:13:35.320 --> 00:13:39.160 align:middle line:84%
give to MIT students or I
suppose students anywhere

00:13:39.160 --> 00:13:41.703 align:middle line:84%
who want to combine
their love for computer

00:13:41.703 --> 00:13:43.620 align:middle line:84%
and their love for music
throughout their life

00:13:43.620 --> 00:13:44.830 align:middle line:90%
like you have.

00:13:44.830 --> 00:13:47.080 align:middle line:84%
MICHAEL GOOD: Yeah, that's
an interesting question

00:13:47.080 --> 00:13:49.010 align:middle line:84%
because everybody
has their own path.

00:13:49.010 --> 00:13:49.760 align:middle line:90%
It's not just me.

00:13:49.760 --> 00:13:52.480 align:middle line:84%
I met my wife in the
MIT concert band, so--

00:13:52.480 --> 00:13:55.700 align:middle line:84%
and we're both
lifelong performers.

00:13:55.700 --> 00:14:00.170 align:middle line:84%
So one thing that we
found out as an adult,

00:14:00.170 --> 00:14:02.620 align:middle line:84%
it's a lot easier to have
high-quality performance

00:14:02.620 --> 00:14:05.710 align:middle line:84%
opportunities if you're a
singer or a string player than

00:14:05.710 --> 00:14:08.890 align:middle line:84%
if you're a brass or a
wind player like we were

00:14:08.890 --> 00:14:12.100 align:middle line:84%
because there are a lot of
really good community orchestras

00:14:12.100 --> 00:14:14.780 align:middle line:84%
and choruses but
not so many good--

00:14:14.780 --> 00:14:16.640 align:middle line:90%
really good community bands.

00:14:16.640 --> 00:14:18.680 align:middle line:90%
So we switched to singing.

00:14:18.680 --> 00:14:21.830 align:middle line:84%
I switched when I was 30, and my
wife followed a few years later.

00:14:21.830 --> 00:14:23.900 align:middle line:84%
And now we sing together
in opera choruses.

00:14:23.900 --> 00:14:28.030 align:middle line:84%
So being able to maintain
high-quality performance

00:14:28.030 --> 00:14:30.310 align:middle line:90%
opportunities is one thing.

00:14:30.310 --> 00:14:33.320 align:middle line:84%
If you want to do
it for your day job,

00:14:33.320 --> 00:14:36.110 align:middle line:84%
that's harder because
it's a small industry.

00:14:36.110 --> 00:14:39.880 align:middle line:84%
I spent the first 20 years
of my work-- working--

00:14:39.880 --> 00:14:41.860 align:middle line:84%
well, when I graduated
from MIT, there

00:14:41.860 --> 00:14:43.640 align:middle line:90%
was-- this was before midi.

00:14:43.640 --> 00:14:45.655 align:middle line:84%
There was no computer
music industry.

00:14:45.655 --> 00:14:47.530 align:middle line:84%
There was-- OK, there
was New England Digital

00:14:47.530 --> 00:14:48.610 align:middle line:90%
Doing Synclavier.

00:14:48.610 --> 00:14:51.070 align:middle line:84%
But outside of that,
there was, again, no one--

00:14:51.070 --> 00:14:54.550 align:middle line:84%
a few other synthesizer things,
but there was no computer music

00:14:54.550 --> 00:14:55.940 align:middle line:90%
industry at the time.

00:14:55.940 --> 00:14:59.380 align:middle line:84%
So I did usability work for
the first 20 years of my career

00:14:59.380 --> 00:15:03.530 align:middle line:84%
and then moved into
music software.

00:15:03.530 --> 00:15:05.360 align:middle line:84%
But when I worked,
I worked at DEC,

00:15:05.360 --> 00:15:08.680 align:middle line:84%
and then I worked at SAP with
a virtual reality startup

00:15:08.680 --> 00:15:09.560 align:middle line:90%
in between there.

00:15:09.560 --> 00:15:12.400 align:middle line:84%
But DEC and SAP, those
companies by themselves

00:15:12.400 --> 00:15:16.550 align:middle line:84%
were way bigger than the entire
music technology industry.

00:15:16.550 --> 00:15:19.550 align:middle line:84%
So it's hard, but
you're from MIT.

00:15:19.550 --> 00:15:24.153 align:middle line:84%
You do hard things so
connect with people.

00:15:24.153 --> 00:15:27.050 align:middle line:90%


00:15:27.050 --> 00:15:28.030 align:middle line:90%
Do projects.

00:15:28.030 --> 00:15:29.180 align:middle line:90%
Make your projects visible.

00:15:29.180 --> 00:15:31.120 align:middle line:84%
Contribute to open
source projects.

00:15:31.120 --> 00:15:33.040 align:middle line:90%
Network.

00:15:33.040 --> 00:15:36.820 align:middle line:84%
You can't go to an NAM
show now because NAM isn't

00:15:36.820 --> 00:15:38.120 align:middle line:90%
going to happen next year.

00:15:38.120 --> 00:15:41.050 align:middle line:84%
But, yeah, when
NAMs come back, you

00:15:41.050 --> 00:15:45.520 align:middle line:84%
could the NAM show and visit all
the different companies doing

00:15:45.520 --> 00:15:49.360 align:middle line:84%
things that you want to do,
show folks what you're doing.

00:15:49.360 --> 00:15:52.220 align:middle line:84%
Most companies, you
see the NAM thing.

00:15:52.220 --> 00:15:54.357 align:middle line:84%
It says it's only open
to members of the trade,

00:15:54.357 --> 00:15:55.190 align:middle line:90%
and you go I'm not--

00:15:55.190 --> 00:15:55.670 align:middle line:90%
I'm a student.

00:15:55.670 --> 00:15:56.990 align:middle line:90%
I'm not a member of the trade.

00:15:56.990 --> 00:15:59.710 align:middle line:84%
Well, sometimes they have
student programs for access,

00:15:59.710 --> 00:16:03.610 align:middle line:84%
and most companies have a very
large guest list that they

00:16:03.610 --> 00:16:05.030 align:middle line:90%
can use to invite people.

00:16:05.030 --> 00:16:09.370 align:middle line:84%
So go to one of the companies
that you're-- that you are

00:16:09.370 --> 00:16:12.310 align:middle line:84%
a customer of something where
you've bought something from

00:16:12.310 --> 00:16:14.602 align:middle line:84%
them and see if they're if
they're exhibiting that they

00:16:14.602 --> 00:16:17.920 align:middle line:84%
have-- see if they can get you
in or something to exhibit.

00:16:17.920 --> 00:16:22.120 align:middle line:84%
But just it's like
anything else in a--

00:16:22.120 --> 00:16:24.190 align:middle line:84%
when you have a
niche market, you

00:16:24.190 --> 00:16:27.190 align:middle line:84%
got to do a lot of networking
and make your stuff--

00:16:27.190 --> 00:16:30.050 align:middle line:84%
self-promotion, make
yourself visible.

00:16:30.050 --> 00:16:32.030 align:middle line:84%
Look for the job
openings that are there.

00:16:32.030 --> 00:16:35.270 align:middle line:84%
If you're specifically
interested in music technology,

00:16:35.270 --> 00:16:37.630 align:middle line:84%
I've got a list of
the 250 programs

00:16:37.630 --> 00:16:41.895 align:middle line:84%
that support MusicXML on
the MusicXML.com websites

00:16:41.895 --> 00:16:44.020 align:middle line:84%
with links to all of them,
so you can say, oh, here

00:16:44.020 --> 00:16:47.990 align:middle line:84%
are all the folks who are doing
at least MusicXML-related stuff.

00:16:47.990 --> 00:16:50.893 align:middle line:90%
So there's a handy list of--

00:16:50.893 --> 00:16:53.060 align:middle line:84%
most of those are like one-
or two-person companies,

00:16:53.060 --> 00:16:56.650 align:middle line:84%
but some of them are
quite a bit bigger.

00:16:56.650 --> 00:16:59.000 align:middle line:90%
Everybody has their own path.

00:16:59.000 --> 00:17:00.980 align:middle line:84%
My path was start
my own company.

00:17:00.980 --> 00:17:02.460 align:middle line:90%
That's another way to do it.

00:17:02.460 --> 00:17:05.180 align:middle line:84%
But I could do start my own
company because I married well,

00:17:05.180 --> 00:17:07.849 align:middle line:84%
and I married an analog
integrated circuit

00:17:07.849 --> 00:17:12.420 align:middle line:84%
designer, of course, one who
did very well at her company.

00:17:12.420 --> 00:17:16.109 align:middle line:84%
And so we were able to
take the financial hit of,

00:17:16.109 --> 00:17:19.190 align:middle line:84%
yeah, let's start this
totally speculative thing,

00:17:19.190 --> 00:17:21.480 align:middle line:84%
which may not have any
income for a couple of years.

00:17:21.480 --> 00:17:23.869 align:middle line:84%
Most people are not in
such a lucky position

00:17:23.869 --> 00:17:25.188 align:middle line:90%
to be able to do that.

00:17:25.188 --> 00:17:27.480 align:middle line:84%
MICHAEL SCOTT ASATO CUTHBERT:
Well, thank you, Michael.

00:17:27.480 --> 00:17:31.290 align:middle line:84%
Your path has certainly been
inspirational to so many

00:17:31.290 --> 00:17:32.430 align:middle line:90%
including myself.

00:17:32.430 --> 00:17:36.530 align:middle line:84%
So I really want to thank you
for taking the time to speak

00:17:36.530 --> 00:17:40.610 align:middle line:84%
to me and to speak to
the students in 21M.383

00:17:40.610 --> 00:17:42.962 align:middle line:84%
Computational Music
Theory and analysis.

00:17:42.962 --> 00:17:45.170 align:middle line:84%
MICHAEL GOOD: Well, thanks
so much for the invitation

00:17:45.170 --> 00:17:47.570 align:middle line:84%
and everything that you've
done with music21, which

00:17:47.570 --> 00:17:52.280 align:middle line:84%
has been a big contributor for
MusicXML and for musicology

00:17:52.280 --> 00:17:56.150 align:middle line:84%
and just the whole general
area of computer music

00:17:56.150 --> 00:17:59.650 align:middle line:84%
technology and everything
that you do at MIT.

00:17:59.650 --> 00:18:01.970 align:middle line:84%
MICHAEL SCOTT ASATO
CUTHBERT: Thank you, Michael.

00:18:01.970 --> 00:18:03.000 align:middle line:90%