TEDxStanford
Mark Applebaum: The mad scientist of music
Mark Applebaum: Ludi znanstvenik glazbe
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Mark Applebaum piše glazbu koja krši pravila na fantastičan način, skladajući koncert za cvjećara i izrađujući glazbene instumente od smeća i pronađenih predmeta. Ovaj zanimljivi govor mogao bi vas inspirirati da uzdrmate “pravila” svog vlastitog kreativnog rada. (Snimljeno na REDxStanford-u)
Mark Applebaum - Composer
Mark Applebaum has built an instrument out of doorstops and combs, as well as composed a piece of music to be performed by a florist. Full bio
Mark Applebaum has built an instrument out of doorstops and combs, as well as composed a piece of music to be performed by a florist. Full bio
Double-click the English transcript below to play the video.
00:18
I thought if I skipped it might help my nerves,
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Mislio sam da bi pomoglo mojim živcima
00:22
but I'm actually having a paradoxical reaction to that,
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kada bih to preskočio, ali zapravo imam paradoksalnu reakciju na to,
00:25
so that was a bad idea. (Laughter)
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tako da je to bila loša ideja. ( Smijeh)
00:27
Anyway, I was really delighted to receive the invitation
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Bio sam oduševljen kad sam primio poziv
00:30
to present to you some of my music and some of my work
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da predstavim nešto od moje glazbe i neke moje skladateljske
00:34
as a composer, presumably because it appeals
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radove, vjerojatno zato jer to pristaje
00:37
to my well-known and abundant narcissism. (Laughter)
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mom dobro znanom i obilnom narcisizmu. (Smijeh)
00:41
And I'm not kidding, I just think we should just
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I ne šalim se, samo mislim da bih to trebao
00:44
say that and move forward. (Laughter)
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reći, pa možemo krenuti dalje. ( Smijeh)
00:47
So, but the thing is, a dilemma quickly arose,
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Ali stvar je u tome da je uskoro nastala dilema .
00:50
and that is that I'm really bored with music,
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Dosadila mi je glazba
00:52
and I'm really bored with the role of the composer,
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i dosadila mi je uloga skladatelja
00:55
and so I decided to put that idea, boredom,
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i tako sam odlučio postaviti tu ideju, dosadu,
00:58
as the focus of my presentation to you today.
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kao središte moje današnje prezentacije.
01:01
And I'm going to share my music with you, but I hope
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Podijelit ću svoju glazbu s vama, ali se nadam
01:04
that I'm going to do so in a way that tells a story,
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da ću to uspjeti učiniti na način da ispričam priču,
01:06
tells a story about how I used boredom as a catalyst
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priču o tome kako sam iskoristio dosadu kao katalizator
01:09
for creativity and invention, and how boredom
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za kreativnost I inventivnost, kako me zapravo dosada
01:12
actually forced me to change the fundamental question
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prisilila da promijenim osnovno pitanje
01:15
that I was asking in my discipline,
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koje sam postavljao u svome poslu
01:17
and how boredom also, in a sense,
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te kako me je dosada, na neki način,
01:19
pushed me towards taking on roles beyond the sort of
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potaknula prema preuzimanju uloge iznad
01:24
most traditional, narrow definition of a composer.
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one tradicionalne, uske definicije skladatelja.
01:26
What I'd like to do today is to start with an excerpt
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Htio bih danas započeti jednim odlomkom
01:29
of a piece of music at the piano.
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iz skladbe za klavir.
01:32
(Music)
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(Glazba)
01:41
Okay, I wrote that. (Laughter)
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U redu, to sam ja napisao. (Smijeh)
01:44
No, it's not — (Applause) Oh, why thank you.
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Ne, nisam… Oh, hvala vam.
01:46
No, no, I didn't write that.
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Ne, ne, nisam ja to napisao.
01:48
In fact, that was a piece by Beethoven,
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Zapravo, ovo je Beethovenovo djelo,
01:50
and so I was not functioning as a composer.
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a ja ovdje nisam bio u ulozi skladatelja.
01:53
Just now I was functioning in the role of the interpreter,
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Ovdje sam bio tumač.
01:56
and there I am, interpreter.
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Evo, to sam ja, izvođač.
01:58
So, an interpreter of what? Of a piece of music, right?
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Dakle, izvođač čega? Glazbenog djela, zar ne?
02:00
But we can ask the question, "But is it music?"
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Ali možemo postaviti pitanje: “Je li to glazba?”
02:05
And I say this rhetorically, because of course
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I kažem ovo retorički jer, naravno,
02:06
by just about any standard we would have to concede
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prema svakom standardu moramo se složiti
02:09
that this is, of course, a piece of music,
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da ovo jest glazbeno djelo,
02:11
but I put this here now because,
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ali stavio sam ovo tu zato
02:14
just to set it in your brains for the moment,
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da bih vam nakratko to pitanje stavio na um
02:16
because we're going to return to this question.
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jer ćemo se kasnije vratiti njemu.
02:18
It's going to be a kind of a refrain
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Bit će to neka vrsta refrena (pripjeva)
02:19
as we go through the presentation.
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kako budemo prolazili kroz prezentaciju.
02:21
So here we have this piece of music by Beethoven,
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Dakle, imamo ovdje Beethovenovo glazbeno djelo,
02:23
and my problem with it is, it's boring.
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a ono što je tu problem jest da je dosadno.
02:27
I mean, you — I'm just like, a hush, huh -- It's like -- (Laughter)
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Mislim, vi…. Ja samo…pst, pst… Kao… (Smijeh)
02:33
It's Beethoven, how can you say that?
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To je Beethoven, kako možeš to reći?!
02:35
No, well, I don't know, it's very familiar to me.
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Ne znam, meni je djelo jako poznato.
02:37
I had to practice it as a kid, and I'm really sick of it. So -- (Laughter)
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Morao sam ga puno vježbati kao dijete i zlo mi je već od njega. I zato, (Smijeh)
02:40
I would, so what I might like to try to do is to change it,
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ono što bih volio pokušati jest preobraziti
02:43
to transform it in some ways, to personalize it,
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ga na neki način, personalizirati.
02:45
so I might take the opening, like this idea --
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Mogao bih uzeti uvod, poput ove ideje …
02:48
(Music)
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(Glazba)
02:50
and then I might substitute -- (Music)
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a zatim bih mogao zamijeniti … (Glazba)
02:55
and then I might improvise on that melody
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a onda bih mogao improvizirati na tu melodiju
02:56
that goes forward from there -- (Music)
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koja ide odavde…(Glazba)
03:00
(Music)
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(Glazba)
03:26
So that might be the kind of thing -- Why thank you.
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To bi bilo nešto što… Hvala vam.
03:29
(Applause)
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(Pljesak)
03:33
That would be the kind of thing that I would do,
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To bi bilo nešto što bih ja učinio,
03:35
and it's not necessarily better than the Beethoven.
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ali nije nužno bolje od Beethovena.
03:37
In fact, I think it's not better than it. The thing is -- (Laughter) --
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Zapravo, mislim da nije bolje od Beethovena. Stvar je u tome… (Smijeh)
03:41
it's more interesting to me. It's less boring for me.
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tako mi je zanimljivije. Manje mi je dosadno.
03:46
I'm really leaning into me, because I, because I have
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Moram se osloniti na samog sebe jer moram
03:49
to think about what decisions I'm going to make on the fly
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razmisliti koje ću brze odluke donijeti dok
03:53
as that Beethoven text is running in time through my head
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taj Beethovenov tekst teče kroz vrijeme mojom glavom
03:56
and I'm trying to figure out what kinds of transformations
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i pokušavam smisliti kakve ću promjene
03:58
I'm going to make to it.
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napraviti.
04:00
So this is an engaging enterprise for me, and
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To je privlačan pothvat za mene, zaista
04:02
I've really leaned into that first person pronoun thing there,
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sam se oslonio na tu zamjenicu prvog lica;
04:07
and now my face appears twice, so I think we can agree
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sad se moje lice pojavljuje dvaput tako da se možemo složiti
04:09
that this is a fundamentally solipsistic enterprise. (Laughter)
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da je ovo u temelju solipsističan pothvat. (Smijeh)
04:13
But it's an engaging one, and it's interesting to me
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Ali također je i privlačan. Zanimljiv mi je
04:16
for a while, but then I get bored with it, and by it,
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neko vrijeme, a onda mi dosadi. Pod tim
04:18
I actually mean, the piano, because it becomes,
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mislim na klavir jer je poznat instrument
04:21
it's this familiar instrument, it's timbral range is actually
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pa postane dosadan; domet njegove boje zvuka je zapravo
04:24
pretty compressed, at least when you play on the keyboard,
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vrlo zbijen, barem kad svirate na klavijaturama.
04:26
and if you're not doing things like listening to it
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Osim ako ga ne slušate nakon što ste ga zapalili
04:29
after you've lit it on fire or something like that, you know.
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ili nešto takvo.
04:32
It gets a little bit boring, and so pretty soon
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Postane pomalo dosadno pa uskoro
04:34
I go through other instruments, they become familiar,
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prođem druge instrumente. Onda mi i oni postanu poznati
04:36
and eventually I find myself designing and constructing
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i na kraju si sam dizajniram i gradim
04:38
my own instrument, and I brought one with me today,
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svoj vlastiti instrument. Jedan sam ponio danas sa sobom
04:43
and I thought I would play a little bit on it for you
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i htio bih vam ga malo svirati
04:46
so you can hear what it sounds like.
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da čujete kako zvuči.
04:48
(Music)
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(Glazba)
04:59
You gotta have doorstops, that's important. (Laughter)
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Morate imati stopere za vrata, to je važno. (Smijeh)
05:05
I've got combs. They're the only combs that I own. (Music)
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Imam češljeve. To su jedini češljevi koje posjedujem. (Glazba)
05:08
They're all mounted on my instruments. (Laughter)
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Svi su montirani na moje instrumente. (Smijeh)
05:11
(Music)
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(Glazba)
05:20
I can actually do all sorts of things. I can play
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Zapravo mogu mnogo toga raditi. Mogu svirati
05:23
with a violin bow. I don't have to use the chopsticks.
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gudalom violine. Ne moram koristiti štapiće za jelo.
05:25
So we have this sound. (Music)
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Tako dobijemo ovaj zvuk. (Glazba)
05:33
And with a bank of live electronics,
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A s bankom žive elektronike
05:35
I can change the sounds radically. (Music)
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mogu potpuno promijeniti zvuk.(Glazba)
05:39
(Music)
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(Glazba)
05:48
Like that, and like this. (Music)
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Ovako i ovako. (Glazba)
05:55
And so forth.
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I tako dalje.
05:57
So this gives you a little bit of an idea of the sound world
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Ovo vam daje ideju o svijetu zvukova ovoga
05:59
of this instrument, which I think is quite interesting
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instrumenta koji prilično zanimljiv,
06:02
and it puts me in the role of the inventor, and the nice thing about —
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a mene stavlja u ulogu izumitelja. Zgodna stvar u vezi toga -
06:05
This instrument is called the Mouseketeer ... (Laughter)
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instrument se zove “Mišketir”...(Smijeh)
06:09
and the cool thing about it is
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Dobra stvar u tome je
06:11
I'm the world's greatest Mouseketeer player. (Laughter)
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da sam ja najbolji svirač mišketira na svijetu. (Smijeh)
06:14
Okay? (Applause)
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U redu? (Pljesak)
06:16
So in that regard, this is one of the things,
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U tom pogledu, to je jedna stvar,
06:19
this is one of the privileges of being,
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ovo je jedna od privilegija,
06:21
and here's another role, the inventor, and by the way,
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a druga je uloga izumitelja. Usput rečeno,
06:24
when I told you that I'm the world's greatest,
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kad sam vam rekao da sam najbolji,
06:26
if you're keeping score, we've had narcissism and solipsism
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ako netko broji, imali smo dosad narcisoidnost i solipsizam
06:30
and now a healthy dose of egocentricism.
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te sada zdravu dozu egocentrizma.
06:32
I know some of you are just, you know, bingo! Or, I don't know. (Laughter)
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Znam da su neki od vas pomislili, bingo! Ili, ne znam. (Smijeh)
06:36
Anyway, so this is also a really enjoyable role.
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Ovo je vrlo ugodna uloga.
06:41
I should concede also that I'm the world's worst Mouseketeer player,
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Trebao bih reći da sam također i najgori svirač mišketira na svijetu
06:44
and it was this distinction that I was most worried about
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i to je odlika zbog koje sam se najviše brinuo
06:46
when I was on that prior side of the tenure divide.
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kad sam bio na prijašnjoj strani podjele mjesta.
06:49
I'm glad I'm past that. We're not going to go into that.
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Drago mi je da je to sad prošlo. Ne vraćamo se više tome.
06:52
I'm crying on the inside. There are still scars.
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Plačem iznutra. Još uvijek imam ožiljke.
06:55
Anyway, but I guess my point is that all of these enterprises
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U svakom slučaju, želim reći da su mi svi ovi pothvati
06:59
are engaging to me in their multiplicity, but as I've presented them
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zanimljivi u svojoj raznosvrsnosti, ali kako sam vam ih danas
07:02
to you today, they're actually solitary enterprises,
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predstavio, oni su zapravo usamljeni pothvati,
07:06
and so pretty soon I want to commune with other people, and so
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tako da uskoro želim komunicirati s drugim ljudima i
07:09
I'm delighted that in fact I get to compose works for them.
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oduševljen sam kad mogu skladati djela za njih.
07:11
I get to write, sometimes for soloists and I get to work with one person,
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Mogu pisati, ponekad za soliste i raditi s jednom osobom,
07:14
sometimes full orchestras, and I work with a lot of people,
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a ponekad s čitavim orkestrom pa radim s mnogo ljudi.
07:18
and this is probably the capacity, the role creatively
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Ovo je vjerojatno kapacitet, kreativna uloga
07:21
for which I'm probably best known professionally.
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po kojoj sam profesionalno najpoznatiji.
07:24
Now, some of my scores as a composer look like this,
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Sad, neki od mojih notnih zapisa izgledaju ovako,
07:27
and others look like this,
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drugi ovako,
07:29
and some look like this,
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a poneki ovako.
07:32
and I make all of these by hand, and it's really tedious.
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Sve to radim ručno, što je prilično mukotrpno.
07:35
It takes a long, long time to make these scores,
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Dugo traje, puno vremena treba za zapisivanje,
07:37
and right now I'm working on a piece
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a trenutno radim na djelu
07:39
that's 180 pages in length,
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koje je dugo 180 stranica.
07:41
and it's just a big chunk of my life, and I'm just pulling out hair.
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To mi oduzima dobar dio života, dođe mi da si počupam kosu!
07:45
I have a lot of it, and that's a good thing I suppose. (Laughter)
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Imam je puno, što je valjda dobra stvar. ( Smijeh)
07:48
So this gets really boring and really tiresome for me,
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Dakle, ovo je jako dosado i zamorno,
07:51
so after a while the process of notating is not only boring,
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a nakon nekog vremena proces notacije ne samo da je dosadan,
07:54
but I actually want the notation to be more interesting,
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nego poželim da i sama notacija postane zanimljivija.
07:57
and so that's pushed me to do other projects like this one.
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To me je navelo na projekte poput ovoga.
08:00
This is an excerpt from a score called
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Ovo je isječak iz djela pod nazivom
08:02
"The Metaphysics of Notation."
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“Metafizika notacije”.
08:05
The full score is 72 feet wide.
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Cijeli notni zapis širok je 22 metra.
08:07
It's a bunch of crazy pictographic notation.
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To je hrpa lude piktografske notacije.
08:10
Let's zoom in on one section of it right here. You can see
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Zumirajmo jedan dio. Možete vidjeti
08:13
it's rather detailed. I do all of this with drafting templates,
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da je prilično detaljno. Sve to radim pomoću skiciranih predložaka,
08:17
with straight edges, with French curves, and by freehand,
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ravnih rubova, francuskih krivulja i slobodnom rukom.
08:20
and the 72 feet was actually split
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Ta 22 metra bila su zapravo podijeljena
08:23
into 12 six-foot-wide panels that were installed
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u 12 ploča od 1.8 metara koje su bile instalirane
08:26
around the Cantor Arts Center Museum lobby balcony,
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oko balkona predvorja Cantor Arts Center muzeja
08:31
and it appeared for one year in the museum,
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gdje je bilo izloženo godinu dana.
08:35
and during that year, it was experienced as visual art
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Tijekom te godine uglavnom je promatrano kao vizualna umjetnost
08:37
most of the week, except, as you can see in these pictures,
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veći dio tjedna, kao što možete vidjeti na slikama,
08:39
on Fridays, from noon til one, and only during that time,
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ali petkom od podneva do 1 i samo tijekom tog vremena
08:42
various performers came and interpreted these strange
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razni su izvođači dolazilii i interpretirali ove neobične i
08:46
and undefined pictographic glyphs. (Laughter)
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nedefinirane piktografske znakove. (Smijeh)
08:49
Now this was a really exciting experience for me.
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To je bilo vrlo zanimljivo iskustvo za mene.
08:53
It was gratifying musically, but I think
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Bilo je glazbeno ugodno, ali mislim
08:54
the more important thing is it was exciting because I got to take on
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da je još važnije da je bilo zanimljivo jer sam imao
08:57
another role, especially given that it appeared in a museum,
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drugačiju ulogu, osobito jer je izloženo u muzeju
09:00
and that is as visual artist. (Laughter)
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kao vizualni umjetnik. (Smijeh)
09:03
We're going to fill up the whole thing, don't worry. (Laughter)
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Ispunit ćemo mi sve to, ne brinite. ( Smijeh)
09:06
I am multitudes. (Laughter)
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Ja sam mnogostruk. (Smijeh)
09:08
So one of the things is that, I mean, some people
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Neki mi ljudi kažu
09:11
would say, like, "Oh, you're being a dilettante,"
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da sam diletant
09:12
and maybe that's true. I can understand how, I mean,
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što je možda i točno. Razumijem zašto to misle
09:15
because I don't have a pedigree in visual art
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jer nemam diplomu iz vizualnih umjetnosti
09:17
and I don't have any training, but it's just something
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i nemam iskustva, ali to je nešto
09:19
that I wanted to do as an extension of my composition,
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što sam htio napraviti kao nadogradnju na svoje skladanje,
09:22
as an extension of a kind of creative impulse.
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kao ekstenziju kreativnog impulsa.
09:24
I can understand the question, though. "But is it music?"
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Mogu razumijeti to pitanje: “Ali, je Ii to glazba?”
09:28
I mean, there's not any traditional notation.
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Mislim, tu nema tradicionalne notacije.
09:30
I can also understand that sort of implicit criticism
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Također mogu razumijeti i neku vrstu implicitnog kriticizma
09:32
in this piece, "S-tog," which I made when I was living in Copenhagen.
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ovoga djela, “S-tog”, koje sam napravio kad sam bio u Copenhagenu.
09:35
I took the Copenhagen subway map and
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Uzeo sam kartu kopenhaške podzemne željeznice
09:37
I renamed all the stations to abstract musical provocations,
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i promijenio imena svih stanica u apstraktne glazbene provokacije.
09:41
and the players, who are synchronized with stopwatches,
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Izvođači, koji su usklađeni štopericama,
09:43
follow the timetables, which are listed in minutes past the hour.
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prate vremenski raspored od po nekoliko minuta u satu.
09:46
So this is a case of actually adapting something,
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Ovo je slučaj adaptiranja
09:49
or maybe stealing something,
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ili možda krađe nečega
09:51
and then turning it into a musical notation.
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i pretvaranja istog u notaciju.
09:54
Another adaptation would be this piece.
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Druga adaptacija bilo bi ovo djelo.
09:56
I took the idea of the wristwatch, and I turned it into a musical score.
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Uzeo sam ideju ručnoga sata i pretvorio ju u glazbeno djelo.
09:59
I made my own faces, and had a company fabricate them,
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Sam sam izradio lica i dao tvornici da ih proizvede,
10:02
and the players follow these scores.
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a izvođači slijede note.
10:04
They follow the second hands, and as they pass over
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Oni prate kazaljke koje označuju minute i kako one prolaze preko
10:07
the various symbols, the players respond musically.
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određenih simbola izvođači reagiraju kroz glazbu.
10:09
Here's another example from another piece,
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Ovdje je primjer još jednog djela
10:12
and then its realization.
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i njegove realizacije.
10:14
So in these two capacities, I've been scavenger,
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U ova dva navrata bio sam skupljač otpada
10:16
in the sense of taking, like, the subway map, right,
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u smislu uzimanja, naprimjer, karte podzemne.
10:19
or thief maybe, and I've also been designer,
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Ili možda lopov. Također sam bio i dizajner
10:21
in the case of making the wristwatches.
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u slučaju izrade ručnih satova.
10:23
And once again, this is, for me, interesting.
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I još jednom, ovo je za mene zanimljivo.
10:27
Another role that I like to take on is that of the performance artist.
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Još jedna uloga koju volim preuzeti jest uloga umjetnika performansa.
10:30
Some of my pieces have these kind of weird theatric elements,
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Neka od mojih djela imaju čudne teatralne elemente
10:33
and I often perform them. I want to show you a clip
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i često ih izvodim. Želim vam pokazati isječak
10:35
from a piece called "Echolalia."
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iz djela nazvanog “Echolaila”.
10:37
This is actually being performed by Brian McWhorter,
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Izvodi ga Brian McWhorter
10:40
who is an extraordinary performer.
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koji je izvrstan izvođač.
10:41
Let's watch a little bit of this, and please notice the instrumentation.
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Pogledajmo dio ovoga i obratimo pažnju na instrumentaciju.
10:45
(Music)
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(Glazba)
11:14
Okay, I hear you were laughing nervously because
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U redu, vidim da ste se nervozno nasmijali jer
11:15
you too could hear that the drill was a little bit sharp,
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ste i vi mogli čuti da je bušilica bila malo preoštra,
11:18
the intonation was a little questionable. (Laughter)
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a intonacija upitna. (Smijeh)
11:20
Let's watch just another clip.
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Pogledajmo još jedan isječak.
11:22
(Music)
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(Glazba)
11:32
You can see the mayhem continues, and there's, you know,
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Vidite da se sakaćenje nastavlja.
11:35
there were no clarinets and trumpets
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Nema klarineta, truba,
11:37
and flutes and violins. Here's a piece that has
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flauta ni violina.
11:39
an even more unusual, more peculiar instrumentation.
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Ovo djelo ima još neobičniju, još čudniju instumentaciju.
11:41
This is "Tlön," for three conductors and no players. (Laughter)
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Ovo je “Tlön”, za tri dirigenta i bez svirača. ( Smijeh)
11:58
This was based on the experience of actually watching
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Ovo je zapravo temeljeno na iskustvu promatranja
12:00
two people having a virulent argument in sign language,
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dviju osoba kako vode žučnu raspravu na znakovnom jeziku,
12:02
which produced no decibels to speak of,
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što nije proizvelo nikakvih decibela,
12:04
but affectively, psychologically, was a very loud experience.
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ali afektivno i psihološki bilo je to vrlo bučno iskustvo.
12:07
So, yeah, I get it, with, like, the weird appliances
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Dobro, razumijem. Sa svim tim čudnim uređajima,
12:11
and then the total absence of conventional instruments
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potpunom odsutnošću tradicionalnih instrumenata
12:15
and this glut of conductors, people might, you know,
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i ovom hrpicom dirigenata, ljudi se mogu
12:18
wonder, yeah, "Is this music?"
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zapitati:” Je li ovo glazba?”
12:21
But let's move on to a piece where clearly I'm behaving myself,
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Krenimo dalje na djelo gdje sam očito pristojan.
12:25
and that is my "Concerto for Orchestra."
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To je moj “Koncert za orkestar”.
12:27
You're going to notice a lot of conventional instruments
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Uočit ćete mnogo uobičajenih instrumenata
12:29
in this clip. (Music)
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u ovome isječku. ( Glazba)
12:33
(Music)
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(Glazba)
12:46
This, in fact, is not the title of this piece.
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Ali ovo zapravo nije naziv toga djela.
12:48
I was a bit mischievous. In fact, to make it more interesting,
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Bio sam pomalo nestašan. Zapravo, da bi bilo zanimljivije,
12:50
I put a space right in here, and this is the actual title of the piece.
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ostavio sam prostor ovdje gdje bi trebao pisati puni naslov djela.
12:55
Let's continue with that same excerpt.
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Nastavimo dalje s istim isječkom.
12:57
(Music)
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(Glazba)
13:07
It's better with a florist, right? (Laughter) (Music)
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Bolje je s cvjećarom, zar ne? ( Smijeh) (Glazba)
13:15
Or at least it's less boring. Let's watch a couple more clips.
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Ili je barem manje dosadno. Pogledajmo još par isječaka.
13:17
(Music)
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(Glazba)
13:31
So with all these theatric elements, this pushes me in another role,
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Dakle s ovim teatralnim elementima dobivam novu ulogu,
13:34
and that would be, possibly, the dramaturge.
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ulogu dramaturga.
13:37
I was playing nice. I had to write the orchestra bits, right?
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Pravio sam se dobar. Morao sam napisati i dijelove za orkestar. U redu?
13:42
Okay? But then there was this other stuff, right?
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Ali bilo je tu i drugih stvari, zar ne?
13:44
There was the florist, and I can understand that,
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Tu je cvjećar i mogu razumijeti da,
13:46
once again, we're putting pressure on the ontology of music
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još jednom, stavljamo pritisak na ontologiju glazbe
13:49
as we know it conventionally,
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kakvu tradicijski poznajemo,
13:52
but let's look at one last piece today I'm going to share with you.
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ali pogledajmo zadnje djelo koje ću danas podijeliti s vama.
13:56
This is going to be a piece called "Aphasia,"
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Ovo je djelo nazvano “Aphasia”
13:59
and it's for hand gestures synchronized to sound,
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za pokrete ruke usklađene sa zvukom.
14:03
and this invites yet another role, and final one
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Ovo mi daje novu ulogu, posljednju
14:05
I'll share with you, which is that of the choreographer.
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koju ću podijeliti s vama, a to je uloga koreografa.
14:08
And the score for the piece looks like this,
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Notni zapis izgleda ovako
14:10
and it instructs me, the performer, to make
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i daje meni, izvođaču, upute za
14:15
various hand gestures at very specific times
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razne pokrete ruku u točno određeno vrijeme
14:17
synchronized with an audio tape, and that audio tape
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sinkronizirano s audio vrpcom. Ta je vrpca
14:20
is made up exclusively of vocal samples.
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napravljena isključivo od vokalnih uzoraka.
14:23
I recorded an awesome singer,
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Snimio sam jednog izvrsnog pjevača,
14:25
and I took the sound of his voice in my computer,
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stavio zvuk njegova glasa u računalo
14:27
and I warped it in countless ways to come up with
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i izvitoperio ga na bezbroj načina da bih dobio
14:30
the soundtrack that you're about to hear.
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ovo što ćete sada čuti.
14:32
And I'll perform just an excerpt of "Aphasia" for you here. Okay?
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Izvest ću samo jedan isječak iz Aphasije. U redu?
14:37
(Music)
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(Glazba)
15:16
So that gives you a little taste of that piece. (Applause)
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Evo, to vam može malo ilustrirati djelo. (Pljesak)
15:22
Yeah, okay, that's kind of weird stuff.
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Dobro, ovo je malo čudna stvar.
15:24
Is it music? Here's how I want to conclude.
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Je li to glazba? Evo kako želim zaključiti.
15:27
I've decided, ultimately, that this is the wrong question,
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Odlučio sam naposljetku da je ovo pogrešno pitanje,
15:29
that this is not the important question.
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nebitno pitanje.
15:31
The important question is, "Is it interesting?"
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Važno pitanje jest: “Je li zanimljivo?”
15:34
And I follow this question, not worrying about "Is it music?" --
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Ja slijedim to pitanje ne brinući je li to glazba,
15:37
not worrying about the definition of the thing that I'm making.
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ne brinući o definiciji stvari koje radim.
15:39
I allow my creativity to push me
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Dopuštam kreativnosti da me ponese
15:42
in directions that are simply interesting to me,
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u smjeru koji mi je jednostavno zanimljiv
15:44
and I don't worry about the likeness of the result
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i ne brinem o privlačnosti završnog rezultata
15:47
to some notion, some paradigm,
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ovisno o nekom pojmu, nekim paradigmama
15:49
of what music composition is supposed to be,
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toga što bi kompozicija trebala biti
15:52
and that has actually urged me, in a sense,
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i to me je tjeralo
15:54
to take on a whole bunch of different roles,
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da preuzmem hrpu drugih uloga.
15:56
and so what I want you to think about is,
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Ono o čemu bih htio da razmislite jest
15:58
to what extent might you change the fundamental question
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do koje granice biste mogli promijeniti osnovno pitanje
16:02
in your discipline, and, okay,
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u vašoj disciplini
16:04
I'm going to put one extra little footnote in here,
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i dodat ću još jednu fusnotu
16:07
because, like, I realized I mentioned
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jer sam shvatio da sam spomenuo
16:08
some psychological defects earlier, and we also,
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ranije neke psihološke defekte, a i imali smo
16:11
along the way, had a fair amount of obsessive behavior,
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usput dobru količinu opsesivnog ponašanja,
16:15
and there was some delusional behavior and things like that,
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neracionalnog ponašanja i sličnog,
16:17
and here I think we could say that this is an argument
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mogli bismo reći da je ovo rasprava
16:20
for self-loathing and a kind of schizophrenia,
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za samoprijezir i šizofreniju,
16:22
at least in the popular use of the term,
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barem u popularnom smisli riječi
16:24
and I really mean dissociative identity disorder, okay. (Laughter)
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i pod time zaista mislim na disocijativni poremećaj ličnosti, u redu? ( Smijeh)
16:26
Anyway, despite those perils, I would urge you
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Kako bilo, unatoč tim opasnostima, htio bih da
16:29
to think about the possibility that you might take on roles
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razmislite o mogućnosti da preuzmete druge uloge
16:32
in your own work, whether they are neighboring
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u svome poslu, bilo da ste blizu
16:34
or far-flung from your professional definition.
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ili daleko od definicije svoje profesije.
16:36
And with that, I thank you very much. (Applause)
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I na kraju, zahvaljujem vam. ( Pljesak)
16:38
(Applause)
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(Pljesak)
ABOUT THE SPEAKER
Mark Applebaum - ComposerMark Applebaum has built an instrument out of doorstops and combs, as well as composed a piece of music to be performed by a florist.
Why you should listen
Don’t ask Mark Applebaum the question, “Is this music?” A composer and performer, he takes great joy in challenging the conventional boundaries of musical ontology. His solo, chamber, choral, orchestral, operatic and electroacoustic work has been performed throughout the world. He is also an accomplished jazz pianist and the founding director of the Stanford Improvisation Collective.
An associate professor of composition at Stanford University, Applebaum received the Walter J. Gores Award for excellence in teaching in 2003. He was also recently named the Hazy Family University Fellow in Undergraduate Education and the Leland & Edith Smith Faculty Scholar.
Mark Applebaum | Speaker | TED.com