We think of music as this substance that flows - you turn on the tap, and there it is, streaming off your computer - but that's not how we evolved as a species. We evolved to listen to each other, and the reason we're able to listen to music in the terms is talking about is because we're really good at listening to each other. But this kind of technology has allowed us to forget that music is the sound of each other.

When I give a concert, I know they're not going to hear everything; there might be a lot going on. My individual perceptual and cognitive path through the music is just that: one path through music. My experience will be probably at some level different from other people's, and that multiplicity of experience has to be supported by the music. I might just focus on the cowbell the whole time - maybe I have a fever for more cowbell!

The thing about physicists is that they tend to think that everything is physics. I don't. That's not what music is to me. You can explain aspects of it in physical terms, including the physics of anatomy: how our bodies move, the torsional moment of inertia, the way you move your body to a beat, the inherent periodicities of the heartbeat, the gait. That's physics, too, I guess - maybe they'd call it biophysics.

I like the idea of the objecthood of music being destabilized by process and things like improvisation. That's what empowers us; that's how we make each day new as players, as people.

Electronic technology has been a part of music making and music listening for a century. We always treat it like it's new, and cutting edge, but it's actually omnipresent, so we should just treat it as part of the arsenal today.

This is the last sentence of my dissertation: "What is soul in music if not powerfully embodied human presence?"

Resonance is a physical process through which similarities are highlighted.