It was very interesting because they, from the outset, had said they don't want it to feel like a human language because he's supposed to be really more musically communicating.

He's supposed to be using multiple airways or air paths.

We refer to them as instruments, but that's just sort of an easy way to think of it, sort of internal instruments inside his body more than humans can do all at once.

David's interest in the theoretical possibility of musical language goes back decades.

This is something that I've been thinking about since, I want to say 2004 in grad school.

I was talking about with a guy about creating a musical language with a guitar because it's like the first thing that comes up is there's a series of questions that you ask if you're creating a musical language, or there are a series of constraints.

So one is the ability for a human to understand it.

So in other words, like, do you have to have perfect pitch to be able to understand it, or is this something that the average person can understand?

The next is how much of the language can you convey?

How robust is the lexicon going to be, or is it gonna be reduced set?