The first idea I'd like to suggest is that we all love music a great deal. It means a lot to us. But music is even more powerful if you don't just listen to it, but you make it yourself. So, that's my first idea. And we all know about the Mozart effect -- the idea that's been around for the last five to 10 years -- that just by listening to music or by playing music to your baby [in utero], that it'll raise our IQ points 10, 20, 30 percent.
音樂,大家都非常熱愛它 因為它對於我們很重要。 假如你不只是作為一名聽眾,而且還能親自參與創作,那麼音樂會對你更具影響力 所以,這是我要講的第一點。在最近5-10年裡頭 有個著名的莫札特效應, 講的是只靠聽音樂,或者是給胎兒播放音樂, 就可以使我們的智商提高10%到30%,
Great idea, but it doesn't work at all. So, you can't just listen to music, you have to make it somehow. And I'd add to that, that it's not just making it, but everybody, each of us, everybody in the world has the power to create and be part of music in a very dynamic way, and that's one of the main parts of my work. So, with the MIT Media Lab, for quite a while now, we've been engaged in a field called active music. What are all the possible ways that we can think of to get everybody in the middle of a musical experience, not just listening, but making music?
這真是個好主意,但是根本行不通。 因為只是聽是不夠的,你還必須設法創作音樂。 而且,我還要說,這不僅僅是這樣, 我們每一個人、世界上的所有的人, 都具有能力去創作,並以動態的方式讓自己和音樂融為一體, 這是我所從事的工作中非常重要的一部分。 所以,這段時間裡,我和我的同事在美國麻省理工學院媒體實驗室(MIT Media Lab)裡, 致力於發展主動音樂。 藉由任何我們可以想到的可行的途徑, 使得人人都可以融入音樂體驗, 而且不只是聽音樂,還能創造音樂。
And we started by making instruments for some of the world's greatest performers -- we call these hyperinstruments -- for Yo-Yo Ma, Peter Gabriel, Prince, orchestras, rock bands. Instruments where they're all kinds of sensors built right into the instrument, so the instrument knows how it's being played. And just by changing the interpretation and the feeling, I can turn my cello into a voice, or into a whole orchestra, or into something that nobody has ever heard before.
一開始,我們製造樂器給馬友友 Peter Gabriel,Prince等人, 而我們稱這些由管絃以及搖滾樂團製作的樂器為超級樂器(Hyper Instruments), 這種樂器具備多種感官感應器, 用來感知我們是如何演奏的。 所以,我只要稍微改變我的演奏方式以及情感 我可以把我的大提琴演奏聲轉變成和諧的人聲,一個樂團的協奏, 或者是大家從未聽過的天籟之音。
When we started making these, I started thinking, why can't we make wonderful instruments like that for everybody, people who aren't fantastic Yo-Yo Mas or Princes? So, we've made a whole series of instruments. One of the largest collections is called the Brain Opera. It's a whole orchestra of about 100 instruments, all designed for anybody to play using natural skill. So, you can play a video game, drive through a piece of music, use your body gesture to control huge masses of sound, touch a special surface to make melodies, use your voice to make a whole aura. And when we make the Brain Opera, we invite the public to come in, to try these instruments and then collaborate with us to help make each performance of the Brain Opera. We toured that for a long time. It is now permanently in Vienna, where we built a museum around it.
當我們開始製作時,我開始思考 為什麼我們不能創造出一個完美的樂器,使得平凡人 而不僅僅是馬友友或者Princes所演奏的? 所以,我們製作的一整個系列的樂器。 我們統稱它為「頭腦歌劇」。 這整個管絃樂隊大概有100個樂器 都是以平常人的自然演奏方式去設計的。 所以,你可以一邊玩遊戲,"駛"過一段音樂 用你的肢體語言去控制大量的聲音 觸碰一個特別的介面去製造旋律,用你的聲音去製造整個氛圍。 當我們製作頭腦歌劇時,我們邀情一邊大眾加入 去體驗這些樂器並且和我們合作, 舉辦了多場的頭腦歌劇。 我們巡迴持續相當長的一段時間。現在,在音樂之都維也納, 我們還建造了一個永久性的博物館。
And that led to something which you probably do know. Guitar Hero came out of our lab, and my two teenage daughters and most of the students at the MIT Media Lab are proof that if you make the right kind of interface, people are really interested in being in the middle of a piece of music, and playing it over and over and over again.
這些促使吉他英雄(Guitar Hero)的誕生, 相信大多數的人都知道這些都源於我們的實驗室。 我從我兩個小女兒和大多數在MIT實驗室裡的學生身上, 得到證實。就是,只要你提供適當的交界面, 人們就會真正的融入音樂 而且對這樣的演奏方式樂此不疲。
So, the model works, but it's only the tip of the iceberg, because my second idea is that it's not enough just to want to make music in something like Guitar Hero. And music is very fun, but it's also transformative. It's very, very important. Music can change your life, more than almost anything. It can change the way you communicate with others, it can change your body, it can change your mind. So, we're trying to go to the next step of how you build on top of something like Guitar Hero. We are very involved in education. We have a long-term project called Toy Symphony, where we make all kinds of instruments that are also addictive, but for little kids, so the kids will fall in love with making music, want to spend their time doing it, and then will demand to know how it works, how to make more, how to create. So, we make squeezy instruments, like these Music Shapers that measure the electricity in your fingers, Beatbugs that let you tap in rhythms -- they gather your rhythm, and like hot potato, you send your rhythm to your friends, who then have to imitate or respond to what your doing -- and a software package called Hyperscore, which lets anybody use lines and color to make quite sophisticated music. Extremely easy to use, but once you use it, you can go quite deep -- music in any style. And then, by pressing a button, it turns into music notation so that live musicians can play your pieces.
所以,這樣的模式是可行的,但這只是冰山一角, 我的第二觀點是, 僅用"吉他英雄"這類的東西來做音樂是不夠的。 音樂不僅非常有趣,而且也頗具變化性。 這是非常非常重要的一點。 音樂可以改變你的人生,勝過任何其他東西。 它可以改變你和其他人溝通的方式, 還能改變你的身心靈。所以我們嘗試突破 也就是想在"吉他英雄"這類東西的基礎上做些什麼。 我們深入到教育界,開展了一個長久的計畫 稱為「玩具交響樂」(Toy Symphony)。我們製作各式各樣好玩的樂器 但是是給小孩子的,期望他們會愛上演奏音樂, 想要在這方面投入時間,而且渴求學習樂理知識, 以及如何演奏,如何創造音樂。所以我們製做一個可捏的樂器, 比如說這個可以測量你指尖的電流的音樂塑型機(Music Shapers) 又如這個敲擊節奏的節拍蟲子(Beat Bugs),你可以用他們來蒐集節奏, 傳遞這個節奏就像是傳送熱洋芋給你的朋友, 他們需要模仿你,或者對你的動作做出回應 再來就是製造一個稱為"超級樂譜"(Hyperscore)的軟件。可以讓大家用線條以及顏色 去創造一個複雜的音樂。其操作容易,一旦你上了手 你可以應付任何曲風的音樂。最後只要按下按鈕, 這些音樂就會自動轉換成樂譜,以便音樂家來演奏你創作的樂曲。
We've had good enough, really, very powerful effects with kids around the world, and now people of all ages, using Hyperscore. So, we've gotten more and more interested in using these kinds of creative activities in a much broader context, for all kinds of people who don't usually have the opportunity to make music. So, one of the growing fields that we're working on at the Media Lab right now is music, mind and health. A lot of you have probably seen Oliver Sacks' wonderful new book called "Musicophilia". It's on sale in the bookstore. It's a great book. If you haven't seen it, it's worth reading. He's a pianist himself, and he details his whole career of looking at and observing incredibly powerful effects that music has had on peoples' lives in unusual situations.
這個軟件,在全世界各地的孩子以及不同年齡層的人身上, 都得到了非常良好、顯著的效果。 所以,我們樂於將這類的創意 加入到更廣泛的人群之中, 讓那些沒有機會進行音樂創作的人也能積極參與。 其中,我們的實驗室正在著手一個領域 叫做音樂、心靈、健康。 相信很多人都讀過奧利佛 薩克斯(Oliver Sacks')的新書 《腦袋裝了兩千部歌劇的人》,這是一本正在熱賣的好書。 如果你還沒看過,那我推薦你讀一讀。書的作者是一個鋼琴家, 他在書中詳細地記錄了自己職業生涯中所觀察到的事實, 那就是音樂在非常狀態下的人身上(殘疾 /重症病人),所能發生的不可思議的效應。
So we know, for instance, that music is almost always the last thing that people with advanced Alzheimer's can still respond to. Maybe many of you have noticed this with loved ones, you can find somebody who can't recognize their face in the mirror, or can't tell anyone in their family, but you can still find a shard of music that that person will jump out of the chair and start singing. And with that you can bring back parts of people's memories and personalities. Music is the best way to restore speech to people who have lost it through strokes, movement to people with Parkinson's disease. It's very powerful for depression, schizophrenia, many, many things.
正如大家所知道的那樣, 音樂是老年癡呆症病患晚期能做出回應的最後一件事情。 也許不少人在摯愛身上發現這點, 他們無法在鏡子中認出自己、分辨自己的家人, 但你仍然能找到一段音樂, 讓他們從病床上驚醒,並且輕聲唱和。正是藉由這種方式, 你可以喚回一些他們的記憶以及自我意識。 對於中風所導致的失語症,以及帕金森氏症所導致的運動功能喪失, 音樂是最好的治療方法。 它對抑鬱症、精神分裂症以及其他許許多多的病症都頗具療效。
So, we're working on understanding those underlying principles and then building activities which will let music really improve people's health. And we do this in many ways. We work with many different hospitals. One of them is right near Boston, called Tewksbury Hospital. It's a long-term state hospital, where several years ago we started working with Hyperscore and patients with physical and mental disabilities. This has become a central part of the treatment at Tewksbury hospital, so everybody there clamors to work on musical activities. It's the activity that seems to accelerate people's treatment the most and it also brings the entire hospital together as a kind of musical community. I wanted to show you a quick video of some of this work before I go on. Video: They're manipulating each other's rhythms. It's a real experience, not only to learn how to play and listen to rhythms, but to train your musical memory and playing music in a group. To get their hands on music, to shape it themselves, change it, to experiment with it, to make their own music. So Hyperscore lets you start from scratch very quickly. Everybody can experience music in a profound way, we just have to make different tools.
所以我們正在探索其背後的原理, 並展開一系列的活動,用音樂來改善人類的健康。 我們採取了很多方式,和各類醫院有著合作。 其中有一家就是離美國波士頓不遠的圖斯伯里醫院。 這是一家歷史悠久的州立醫院。許多年前, 我們在那裡就開始將“超級樂譜” (Hyperscore) 介紹給生理和精神殘疾病人。 這已成為圖斯伯里醫院核心治療項目, 每個接受治療的人都要求參與音樂活動。 這一活動似乎大大加速了治療的過程, 在某種程度上也把醫院變成音樂社區。 繼續下一個話題之前,我想先給大家看些以上內容的相關短片。 (這些玩具交響樂的)參與者在操控音樂節奏。 通過親身體驗,孩子們不但學會了怎樣演奏和聽節奏, 而且鍛煉了音樂記憶,練習了合奏。 他們“拿”著音樂,捏一捏, 改變和體驗它,並創作自己的音樂。 “超級樂譜”從塗塗畫畫開始,很便捷。 每個人都可以深刻地體驗音樂, 我們所必須做的就是創造各種各樣的工具(來幫助大家)。
The third idea I want to share with you is that music, paradoxically, I think even more than words, is one of the very best ways we have of showing who we really are. I love giving talks, although strangely I feel more nervous giving talks than playing music. If I were here playing cello, or playing on a synth, or sharing my music with you, I'd be able to show things about myself that I can't tell you in words, more personal things, perhaps deeper things.
第三點想法是:我覺得音樂,異乎尋常地, 是比語言更好的展示自我的方式。 我也喜歡做演講, 但是奇怪的是,我在演講時,比演奏音樂感覺要更緊張些。 當在演奏大提琴,控制電子音響合成器,或者和你們共同分享我的音樂時, 我就能展現無法用語言描述的一面, 更多的是個人的東西,也許更深層的東西。
I think that's true for many of us, and I want to give you two examples of how music is one of the most powerful interfaces we have, from ourselves to the outside world. The first is a really crazy project that we're building right now, called Death and the Powers. And it's a big opera, one of the larger opera projects going on in the world right now. And it's about a man, rich, successful, powerful, who wants to live forever. So, he figures out a way to download himself into his environment, actually into a series of books. So this guy wants to live forever, he downloads himself into his environment. The main singer disappears at the beginning of the opera and the entire stage becomes the main character. It becomes his legacy.
對於我們中許多人來講,我想的確是這樣。我想舉兩個例子, 來說明音樂是我們與外界交流的 最有效的媒介之一。 首先是我們現在正在進行的一個非常瘋狂的項目,名字叫作“死亡和鮑威爾一家”(Death and Powers)。 它是一部大型歌劇, 是目前全球在運作中的大型歌劇項目之一。 它是關於一位富有、成功、有權勢並期望永生的人的歌劇。 他找到了把自己下載到他所建立的環境中 事實上是把自己放在一系列的書籍中。 於是,他想長生不老,就把自己放進了系統中。 主唱在歌劇開始後便消失了, 整個舞台變成了主角,變成了他的遺贈。
And the opera is about what we can share, what we can pass on to others, to the people we love, and what we can't. Every object in the opera comes alive and is a gigantic music instrument, like this chandelier. It takes up the whole stage. It looks like a chandelier, but it's actually a robotic music instrument. So, as you can see in this prototype, gigantic piano strings, each string is controlled with a little robotic element -- either little bows that stroke the strings, propellers that tickle the strings, acoustic signals that vibrate the strings. We also have an army of robots on stage. These robots are the kind of the intermediary between the main character, Simon Powers, and his family. There are a whole series of them, kind of like a Greek chorus. They observe the action. We've designed these square robots that we're testing right now at MIT called OperaBots. These OperaBots follow my music. They follow the characters. They're smart enough, we hope, not to bump into each other. They go off on their own. And then they can also, when you snap, line up exactly the way you'd like to. Even though they're cubes, they actually have a lot of personality.
這部歌劇講的是,我們能和所愛的人分享些什麼,向他們傳承些什麼, 又有什麼是我們辦不到的。 歌劇中的所有道具都是活的、巨型的樂器。 譬如,佔據舞台很大部份的一盞“吊燈。”它看上去像個吊燈, 但同時又是一件機器人樂器。 正如你在這裡的樣機上所看到的,長長的鋼琴弦, 每根都被小型機器人部件所控制。 這裡有小巧的琴弓來撥動,驅動器來撩撥, 聲學信號來震動琴弦。在舞台上,還會出現一大群機器人。 這些機器人是主角西蒙 鮑威爾(Simon Powers)和家人之間交流的一種媒介。 他們為數眾多,有如古希臘歌劇中的合唱團。 他們觀察舞台上的一舉一動。我們在實驗室裡設計和測試了這些立方形的 “歌劇機器人”(Operabots)。它們能隨歌舞動, 還會跟隨舞台人物。它們很聰明, 我們也希望他們能互相規避(以避免碰撞)。它們自主行動; 如果你打個指響,他們也會如你所願,排成整齊的一行。 別看它們是一個個方盒子,卻擁有許多人格化的內涵。
The largest set piece in the opera is called The System. It's a series of books. Every single book is robotic, so they all move, they all make sound, and when you put them all together, they turn into these walls, which have the gesture and the personality of Simon Powers. So he's disappeared, but the whole physical environment becomes this person. This is how he's chosen to represent himself. The books also have high-packed LEDs on the spines. So it's all display. And here's the great baritone James Maddalena as he enters The System. This is a sneak preview. This premieres in Monaco -- it's in September 2009. If by any chance you can't make it, another idea with this project -- here's this guy building his legacy through this very unusual form, through music and through the environment. But we're also making this available both online and in public spaces, as a way of each of us to use music and images from our lives to make our own legacy or to make a legacy of someone we love. So instead of being grand opera, this opera will turn into what we're thinking of as personal opera.
歌劇中最大的道具就是所謂“系統”。它是一系列“圖書”。 每一部書都是一個機器人,都能運動,都能發聲。 放在一起,它們構成了一道道投影牆, 展現出西蒙 鮑威爾(Simon Powers)的動作和性格。歌劇的主人公雖然消失在舞台上, 卻存在於環境之中。 這是他選擇的,代表自己的辦法。 這些書的書脊上集成了LED的光源,作為顯示平面。 這位是男中音詹姆士 馬達萊納(),他正在進入系統。 這是預告片。 首映將於 2009年10月在摩洛哥舉行。如果你不能前往觀看, 那麼還有一個辦法。 西蒙用一種非同尋常的方法,即通過音樂和環境,來建立他的遺贈。 我們將把系統放在網絡和公共場所, 以便人人都能用音樂和生活中的影像 來製作我們或者我們摯愛的人的遺贈。 這不再是一部單純的大歌劇,它將把我們現在所想的, 變成一部個性化歌劇。
And, if you're going to make a personal opera, what about a personal instrument? Everything I've shown you so far -- whether it's a hyper-cello for Yo-Yo Ma or squeezy toy for a child -- the instruments stayed the same and are valuable for a certain class of person: a virtuoso, a child. But what if I could make an instrument that could be adapted to the way I personally behave, to the way my hands work, to what I do very skillfully, perhaps, to what I don't do so skillfully? I think that this is the future of interface, it's the future of music, the future of instruments.
要做個性化歌劇,怎麼能沒有個性化的樂器呢? 我到目前為止所展示的這些,比如給馬友友的超級大提琴, 又或者是給孩子們捏音樂的玩具,這些樂器都是一成不變的, 或為藝術家,或為小朋友,它僅僅針對某一類人有著實用價值。 試想一下,如果我再製作一種樂器,能夠適應我的個人行為, 按照手指彈奏方式,根據我熟悉的,甚至不熟悉的技法 來自我調整,情況又會如何呢? 我以為這就是交互界面,音樂和樂器的未來趨勢。
And I'd like now to invite two very special people on the stage, so that I can give you an example of what personal instruments might be like. So, can you give a hand to Adam Boulanger, Ph.D. student from the MIT Media Lab, and Dan Ellsey. Dan, thanks to TED and to Bombardier Flexjet, Dan is here with us today all the way from Tewksbury. He's a resident at Tewksbury Hospital. This is by far the farthest he's strayed from Tewksbury Hospital, I can tell you that, because he's motivated to meet with you today and show you his own music. So, first of all, Dan, do you want to say hi to everyone and tell everyone who you are?
為了現場演示個性化樂器, 我想邀請兩位嘉賓到台上。 掌聲有請,亞當 布朗傑(Adam Boulanger),麻省理工媒體實驗室的博士生 和丹 埃爾西(Dan Ellsey)。 感謝泰德,感謝龐巴迪 佛里士傑(Bombardier Flexjet) 丹今天從圖斯伯里遠道而來,他在那裡住院。 我要告訴大家:這是迄今為止,他離開醫院外出旅行距離最遠的一次。 他是因為要和大家見面並分享自已的音樂,才特地來這裡的。 首先,丹,先自我介紹一下,好嗎?
Dan Ellsey: Hello. My name is Dan Ellsey. I am 34 years old and I have cerebral palsy. I have always loved music and I am excited to be able to conduct my own music with this new software.
丹•埃爾西(以下簡稱丹):你們好,我叫丹•埃爾西。我34歲,是一名腦癱患者。 我一直都很熱愛音樂,能用這樣的新軟件來指揮我的樂曲, 我感到非常激動。
Tod Machover: And we're really excited to have you here, really Dan. (Applause)
托德•麥克弗(以下簡稱托德):你能來這裡,我們真的也很激動。(掌聲)
So we met Dan about three years ago, three and a half years ago, when we started working at Tewksbury. Everybody we met there was fantastic, did fantastic music. Dan had never made music before, and it turned out he was really fantastic at it. He's a born composer. He's very shy, too. So, turned out he's a fantastic composer, and over the last few years has been a constant collaborator of ours. He has made many, many pieces. He makes his own CDs. Actually, he is quite well known in the Boston area -- mentors people at the hospital and children, locally, in how to make their own music. And I'll let Adam tell you. So, Adam is a Ph.D. student at MIT, an expert in music technology and medicine. And Adam and Dan have become close collaborators. What Adam's been working on for this last period is not only how to have Dan be able easily to make his own pieces, but how he can perform his piece using this kind of personal instrument. So, you want to say a little bit about how you guys work?
我們和丹大約在三年半前相識, 那時我們剛開始和圖斯伯里醫院合作。那裡我們遇到的每一個人都妙極了, 能作出美妙的曲子。丹此前從來沒有作曲,但出乎意料的是, 他擅長於這種方式。他天生就是個作曲家。 他也很害羞。 嗯,他是一個非常棒的作曲家。從那以後, 我們就成了固定合作者。丹作了許多許多曲子, 發行了自己的光碟唱片。其實在波士頓地區,他知名度很高, 還教授醫院的人們和當地的孩子如何創作音樂。 下面請亞當來講,他是麻省理工學院的博士生, 他是音樂技術和醫藥方面的專家,和丹有著密切的合作。 亞當所做的不但使丹能夠 輕輕鬆鬆作曲, 而且使他能用個性化樂器來演奏自己的作品。 所以,談談你們是怎麼做的吧?
Adam Boulanger: Yes. So, Tod and I entered into a discussion following the Tewksbury work and it was really about how Dan is an expressive person, and he's an intelligent and creative person. And it's in his face, it's in his breathing, it's in his eyes. How come he can't perform one of his pieces of music? That's our responsibility, and it doesn't make sense.
亞當•布朗傑(以下簡稱亞當):好。圖斯伯里醫院的項目源自 我和托德的一次討論,那時我們談到丹是個非常有表現欲, 聰明而且有創造力的人。你可以從 他的一舉一動裡看出來。但是為什麼他就不能演奏一段屬於自己樂曲呢? 沒有理由說這不可以呀!同樣,這也是我們的責任。
So we started developing a technology that will allow him with nuance, with precision, with control, and despite his physical disability, to be able to do that, to be able to perform his piece of music. So, the process and the technology -- basically, first we needed an engineering solution. So, you know, we have a FireWire camera, it looked at an infrared pointer. We went with the type of gesture metaphor that Dan was already used to with his speaking controller. And this was actually the least interesting part of the work, you know, the design process. We needed an input; we needed continuous tracking; in the software, we look at the types of shapes he's making.
於是我們開始著手研發一種技術, 讓他用微小的動作和精準的操控,來演奏自己的作品, 並且不需要在意自己肢體上的不便。 接著,談到流程和技術, 簡言之,首先需要一個工程之道。你看, 我們放置了一台1394火線接口的攝像頭來追踪紅外指針。 我們利用了丹在言語控制中使用的肢體語言 和表意系統。 設計流程是“不太”有趣的一部份。 我們需要一些輸入,持續的跟踪 以及軟件來監測他做出的不同形狀。
But, then was the really interesting aspect of the work, following the engineering part, where, basically, we're coding over Dan's shoulder at the hospital extensively to figure out, you know, how does Dan move? What's useful to him as an expressive motion? You know, what's his metaphor for performance? What types of things does he find important to control and convey in a piece of music? So all the parameter fitting, and really the technology was stretched at that point to fit just Dan. And, you know, I think this is a perspective shift. It's not that our technologies -- they provide access, they allow us to create pieces of creative work. But what about expression? What about that moment when an artist delivers that piece of work? You know, do our technologies allow us to express? Do they provide structure for us to do that? And, you know, that's a personal relationship to expression that is lacking in the technological sphere. So, you know, with Dan, we needed a new design process, a new engineering process to sort of discover his movement and his path to expression that allow him to perform. And so that's what we'll do today.
解決了工程問題,隨後便是工作中真正有趣的部分了。 簡單的講吧,我們在醫院現場編程,和丹密切合作, 理解他是如何動作, 哪些具有表現力的動作是他覺得有用的。 再如,他用什麼手法來演奏? 哪些是他覺得重要, 並可以用於控制和傳達音樂的東西? 可以說,所有的參數,所有的技術, 都是為丹量身定做的。 嗯,我覺得,這也是未來的趨勢。 並非是技術本身打開了創新之門。 是表達麼?是藝術家創作作品的那一刻嗎? 我們的技術有給大家表述的機會麼? 他們有提供這樣的構架嗎?其實,是人與人之間的聯繫 產生了表達,而這恰是技術本身所不能的。 於是,我們需要新的設計流程和工程流程, 來了解丹的動作以及表達方式,使他能更容易的表演, 這便是今天我們所要做的。
TM: So let's do it. So Dan do you want to tell everyone about what you're going to play now?
托德:我們開始吧,丹,要告訴大家 你將要演奏什麼嗎?
DE: This is "My Eagle Song." TM: So Dan is going to play a piece of his, called "My Eagle Song". In fact, this is the score for Dan's piece, completely composed by Dan in Hyperscore. So he can use his infrared tracker to go directly into Hyperscore. He's incredibly fast at it, too, faster than I am, in fact.
丹:我的“鷹之頌”。 托德:丹將演奏他的樂曲“鷹之頌”。 這是他的樂譜, 完全由他用“超級樂譜”完成的。 他用紅外追踪器來操作軟件。 他用起軟件來,出乎意料的快,事實上,比我還快呢。
(Laughter)
丹:(笑聲)... ...(似乎想說些什麼)
TM: He's really modest, too. So he can go in Hyperscore. You start out by making melodies and rhythms. He can place those exactly where he wants. Each one gets a color. He goes back into the composition window, draws the lines, places everything the way he wants to. Looking at the Hyperscore, you can see it also, you can see where the sections are, something might continue for a while, change, get really crazy and then end up with a big bang at the end.
托德:他太謙虛了,哈哈。 他使用了軟件,從樂音和旋律開始, 他可以把它們放置在自己想要的地方。 每個元素都有色彩,回到編曲窗口, 畫線,把這些東西放到他所想要的位置。 看著“超級樂譜” 你可以觀察到音樂的 起承轉合。
So that's the way he made his piece, and as Adam says, we then figured out the best way to have him perform his piece. It's going to be looked at by this camera, analyze his movements, it's going to let Dan bring out all the different aspects of his music that he wants to. And you're also going to notice a visual on the screen. We asked one of our students to look at what the camera is measuring. But instead of making it very literal, showing you exactly the camera tracing, we turned it into a graphic that shows you the basic movement, and shows the way it's being analyzed.
這就是他作曲的方法。正如亞當所說的, 我們找到了讓他演奏的最好的辦法。 攝像頭會監控丹,分析他的動作, 讓他隨心所欲地展示他音樂的各種層面。 你還會看到銀屏上的視覺特效。 我的一位學生負責視覺採樣。 其實這裡並非是原封不動地顯示相機跟踪的物體, 我們把採集的數據轉化成了影像, 以便顯示基本的運動和分析的方法。
I think it gives an understanding of how we're picking out movement from what Dan's doing, but I think it will also show you, if you look at that movement, that when Dan makes music, his motions are very purposeful, very precise, very disciplined and they're also very beautiful. So, in hearing this piece, as I mentioned before, the most important thing is the music's great, and it'll show you who Dan is. So, are we ready Adam?
我覺得這些影像有助於大家理解我們是如何提取丹的動作。 如果觀察他表演時的舉動, 銀幕上的影像還能展現丹的動作目的明確、精準、 有專業素養,並且很優美。 正如我先前提到的,在聽他的作品時, 重點是音樂棒極了,它會告訴你一個真正的丹。 亞當,準備好了嗎?
AB: Yeah.
亞當:好啦。
TM: OK, now Dan will play his piece "My Eagle Song" for you. (Applause)
托德:好,有請丹為大家表演他的作品“鷹之頌”。 (持續熱烈的掌聲)
TM: Bravo. (Applause)
托德:太棒了。 (掌聲)