The fact is that by using a mechanical contrivance, a violinist or an organist can express something poignantly human that cannot be expressed without the mechanical contrivance. To achieve such expression of course the violinist or organist has to have interiorized the technology, made the tool or machine a second nature, a psychological part of himself or herself. This calls for years of 'practice,' learning how to make the tool do what it can do. Such shaping of a tool to oneself is hardly dehumanizing.