TEDxStanford
Mark Applebaum: The mad scientist of music
Mark Applebaum: Šialený vedec sveta hudby
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Mark Applebaum píše hudbu, ktorá úžasným spôsobom prekračuje hranice - koncert pre kvetinára či postavenie hudobného nástroja z odpadu. Tento nepredvídateľný prejav môže byť tou pravou inšpiráciou pre prekračovanie hraníc vo vašej vlastnej tvorivej činnosti. (Záznam z TEDxStanford).
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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Myslel som si, že budem menej nervózny, ak si poskočím,
00:22
but I'm actually having a paradoxical reaction to that,
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ale mám vlastne na to presne opačnú reakciu,
00:25
so that was a bad idea. (Laughter)
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tak to asi nebol dobrý nápad. (Smiech)
00:27
Anyway, I was really delighted to receive the invitation
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Veľmi ma potešilo, keď som dostal pozvánku
00:30
to present to you some of my music and some of my work
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predstaviť vám niečo zo svojej hudby a skladieb,
00:34
as a composer, presumably because it appeals
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a to najmä preto, že to zahralo na strunu
00:37
to my well-known and abundant narcissism. (Laughter)
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môjho dobre známeho a prekypujúceho narcizmu. (Smiech)
00:41
And I'm not kidding, I just think we should just
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Myslím to vážne, len som myslel, že to treba spomenúť
00:44
say that and move forward. (Laughter)
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a prejsť k ďalším témam. (Smiech)
00:47
So, but the thing is, a dilemma quickly arose,
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Rýchlo som však musel čeliť dileme -
00:50
and that is that I'm really bored with music,
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hudba ma naozaj nudí,
00:52
and I'm really bored with the role of the composer,
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a nudí ma aj úloha skladateľa,
00:55
and so I decided to put that idea, boredom,
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a preto som sa rozhodol tento element - nudu -
00:58
as the focus of my presentation to you today.
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použiť ako ústredný prvok mojej dnešnej prezentácie.
01:01
And I'm going to share my music with you, but I hope
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Podelím sa s vami o svoju hudbu, ale dúfam,
01:04
that I'm going to do so in a way that tells a story,
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že to bude formou príbehu,
01:06
tells a story about how I used boredom as a catalyst
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príbehu o tom, ako som použil nudu čoby spúšťač
01:09
for creativity and invention, and how boredom
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tvorivosti a vynaliezavosti, a ako ma nuda vlastne
01:12
actually forced me to change the fundamental question
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prinútila zmeniť najzákladnejšiu otázku,
01:15
that I was asking in my discipline,
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okolo ktorej sa v mojom odbore všetko točí,
01:17
and how boredom also, in a sense,
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a ako ma nuda istým spôsobom
01:19
pushed me towards taking on roles beyond the sort of
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dotlačila vziať na seba iné úlohy, mimo tradičnej,
01:24
most traditional, narrow definition of a composer.
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najužšej definície skladateľa.
01:26
What I'd like to do today is to start with an excerpt
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Rád by som dnes začal krátkou ukážkou
01:29
of a piece of music at the piano.
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z jednej skladby pre klavír.
01:32
(Music)
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(Hudba)
01:41
Okay, I wrote that. (Laughter)
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To som napísal ja. (Smiech)
01:44
No, it's not — (Applause) Oh, why thank you.
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Nie, nie je -- (Potlesk). Ó, ďakujem vám.
01:46
No, no, I didn't write that.
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Nie, nenapísal som to.
01:48
In fact, that was a piece by Beethoven,
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V skutočnosti to bola skladba od Beethovena,
01:50
and so I was not functioning as a composer.
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preto som teraz nebol v pozícii skladateľa.
01:53
Just now I was functioning in the role of the interpreter,
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Bol som v pozícii interpreta,
01:56
and there I am, interpreter.
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a tu to máme, interpret.
01:58
So, an interpreter of what? Of a piece of music, right?
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Ale interpret čoho? Hudobnej skladby , že?
02:00
But we can ask the question, "But is it music?"
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Môžeme si ale položiť otázku "Je to hudba?!
02:05
And I say this rhetorically, because of course
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Myslím to skôr ako rečnícku otázku, keďže by sme
02:06
by just about any standard we would have to concede
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použitím akýchkoľvek kritérií samozrejme prišli k záveru,
02:09
that this is, of course, a piece of music,
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že to, prirodzene, je hudba,
02:11
but I put this here now because,
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dal som to sem ale teraz preto,
02:14
just to set it in your brains for the moment,
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aby sa vám tá otázka trochu uložila v hlavách,
02:16
because we're going to return to this question.
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pretože sa k nej ešte vrátime.
02:18
It's going to be a kind of a refrain
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Bude to taký refrén
02:19
as we go through the presentation.
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počas celej mojej prezentácie.
02:21
So here we have this piece of music by Beethoven,
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Takže tu máme túto skladbu od Beethovena,
02:23
and my problem with it is, it's boring.
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a čo mi na nej vadí, je, že je nudná.
02:27
I mean, you — I'm just like, a hush, huh -- It's like -- (Laughter)
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Tým myslím -- Preboha, to snáď -- To predsa -- (Smiech)
02:33
It's Beethoven, how can you say that?
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Veď je to Beethoven, to si nikto nemôže dovoliť.
02:35
No, well, I don't know, it's very familiar to me.
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No, neviem, ja tú skladbu dobre poznám.
02:37
I had to practice it as a kid, and I'm really sick of it. So -- (Laughter)
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Ako dieťa som ju musel cvičiť, a mám jej plné zuby. Preto -- (Smiech)
02:40
I would, so what I might like to try to do is to change it,
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Možno je ale dobrý nápad trošku ju zmeniť,
02:43
to transform it in some ways, to personalize it,
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určitým spôsobom ju upraviť, zosobniť si ju,
02:45
so I might take the opening, like this idea --
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môžem napríklad vziať začiatok, tento motív --
02:48
(Music)
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(Hudba)
02:50
and then I might substitute -- (Music)
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a potom ho môžem nahradiť -- (Hudba)
02:55
and then I might improvise on that melody
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a potom na základe tej melódie
02:56
that goes forward from there -- (Music)
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môžem niečo zaimprovizovať -- (Hudba)
03:00
(Music)
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(Hudba)
03:26
So that might be the kind of thing -- Why thank you.
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Nejak takto by sa to mohlo -- Ďakujem vám.
03:29
(Applause)
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(Potlesk)
03:33
That would be the kind of thing that I would do,
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Niečo také by som mohol urobiť,
03:35
and it's not necessarily better than the Beethoven.
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aj keď to nie je nevyhnutné lepšie, než Beethoven.
03:37
In fact, I think it's not better than it. The thing is -- (Laughter) --
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Vlastne si myslím, že nie je. Ide o to -- (Smiech)
03:41
it's more interesting to me. It's less boring for me.
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Je to pre mňa zaujímavejšie. Je to pre mňa menej nudné.
03:46
I'm really leaning into me, because I, because I have
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A zdôrazňujem to "mňa," pretože ja, ja musím premýšľať
03:49
to think about what decisions I'm going to make on the fly
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o rozhodnutiach, ktoré urobím za behu, zatiaľ čo
03:53
as that Beethoven text is running in time through my head
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Beethovenove noty mi bežia hlavou,
03:56
and I'm trying to figure out what kinds of transformations
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a ja sa snažím vymyslieť, akým spôsobom
03:58
I'm going to make to it.
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ich upravím.
04:00
So this is an engaging enterprise for me, and
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Mňa taká činnosť naplňuje, a stále
04:02
I've really leaned into that first person pronoun thing there,
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sa snažím zdôrazniť to osobné zámeno pre prvú osobu,
04:07
and now my face appears twice, so I think we can agree
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a moja tvár je tam teraz dvakrát, takže sa asi zhodneme na tom,
04:09
that this is a fundamentally solipsistic enterprise. (Laughter)
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že skladateľstvo je mimoriadne sebecká činnosť. (Smiech)
04:13
But it's an engaging one, and it's interesting to me
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Ľahko vás však vtiahne, a chvíľku je to zaujímavé,
04:16
for a while, but then I get bored with it, and by it,
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ale potom ma to znudí, a tým "to" myslím
04:18
I actually mean, the piano, because it becomes,
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samotný klavír, pretože je to nástroj,
04:21
it's this familiar instrument, it's timbral range is actually
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ktorý ma už neprekvapí, jeho rozsah je v skutočnosti
04:24
pretty compressed, at least when you play on the keyboard,
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celkom malý, minimálne pokiaľ hráte na klávesoch
04:26
and if you're not doing things like listening to it
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a neskúšate vecí, ako počúvať ho po tom,
04:29
after you've lit it on fire or something like that, you know.
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čo ste ho zapálili alebo tak, chápete.
04:32
It gets a little bit boring, and so pretty soon
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Začne to byť trochu nudné, a tak sa zoznamujem
04:34
I go through other instruments, they become familiar,
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s inými nástrojmi, naučím sa na nich hrať,
04:36
and eventually I find myself designing and constructing
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a nakoniec začnem nevdojak navrhovať a staviať
04:38
my own instrument, and I brought one with me today,
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svoj vlastný nástroj, a jeden som si dnes so sebou priniesol,
04:43
and I thought I would play a little bit on it for you
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a rozhodol som sa vám na ňom trochu zahrať,
04:46
so you can hear what it sounds like.
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aby ste počuli, ako znie.
04:48
(Music)
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(Hudba)
04:59
You gotta have doorstops, that's important. (Laughter)
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Zarážky do dverí sú základ, nesmú chýbať. (Smiech)
05:05
I've got combs. They're the only combs that I own. (Music)
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Tiež sú tu hrebene. Jediné hrebene, ktoré vlastním. (Hudba)
05:08
They're all mounted on my instruments. (Laughter)
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Všetky sú pripevnené na moje nástroje. (Smiech)
05:11
(Music)
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(Hudba)
05:20
I can actually do all sorts of things. I can play
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Dá sa na tom robiť kopa vecí. Môžem hrať
05:23
with a violin bow. I don't have to use the chopsticks.
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s husľovým slákom. Nemusím používať paličky.
05:25
So we have this sound. (Music)
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Potom to znie takto. (Hudba)
05:33
And with a bank of live electronics,
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A s bankou elektronických zvukov
05:35
I can change the sounds radically. (Music)
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môžem zvuk radikálne zmeniť. (Hudba)
05:39
(Music)
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(Hudba)
05:48
Like that, and like this. (Music)
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Takto, a takto. (Hudba)
05:55
And so forth.
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A tak ďalej.
05:57
So this gives you a little bit of an idea of the sound world
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Dúfam, že vám to dáva trochu predstavu o zvukových možnostiach
05:59
of this instrument, which I think is quite interesting
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tohto nástroja, ktorý je podľa mňa dosť zaujímavý
06:02
and it puts me in the role of the inventor, and the nice thing about —
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a stavia ma do úlohy vynalézcu, a dobrá vec ohľadom --
06:05
This instrument is called the Mouseketeer ... (Laughter)
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Ten nástroj som nazval Myšketier... (Smiech)
06:09
and the cool thing about it is
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A dobrá vec na tom je,
06:11
I'm the world's greatest Mouseketeer player. (Laughter)
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že som najlepším hráčom na Myšketier na svete. (Smiech)
06:14
Okay? (Applause)
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Nie?
06:16
So in that regard, this is one of the things,
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A v tomto ohľade je to jedna z tých vecí,
06:19
this is one of the privileges of being,
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je to jedno z tých privilégií,
06:21
and here's another role, the inventor, and by the way,
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a tu máme ďalšiu úlohu, vynálezcu, a mimochodom,
06:24
when I told you that I'm the world's greatest,
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keď som vám povedal, že som najlepší na svete,
06:26
if you're keeping score, we've had narcissism and solipsism
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ak to počítate, mali sme tu už narcizmus, sebectvo,
06:30
and now a healthy dose of egocentricism.
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a teraz ešte zdravú dávku egocentrizmu.
06:32
I know some of you are just, you know, bingo! Or, I don't know. (Laughter)
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Niektorí z vás asi práve kričia "Bingo!" alebo tak niečo. (Smiech)
06:36
Anyway, so this is also a really enjoyable role.
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Táto úloha ma každopádne veľmi baví.
06:41
I should concede also that I'm the world's worst Mouseketeer player,
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Musím pripustiť, že som tiež najhorší hráč na Myšketier na svete,
06:44
and it was this distinction that I was most worried about
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a práve tento rozdiel ma najviac trápil,
06:46
when I was on that prior side of the tenure divide.
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keď sme si na začiatku museli podeliť vlastníctvo.
06:49
I'm glad I'm past that. We're not going to go into that.
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Som rád, že je to za mnou. Detaily vynechám.
06:52
I'm crying on the inside. There are still scars.
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Vnútri to ešte stále bolí. Neprekonal som to úplne.
06:55
Anyway, but I guess my point is that all of these enterprises
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Ide však o to, že všetky tieto činnosri
06:59
are engaging to me in their multiplicity, but as I've presented them
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sú zaujímavé svojou rôznorodosťou, ale
07:02
to you today, they're actually solitary enterprises,
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ak sa na ne pozrieme, sú to osamelé činnosti,
07:06
and so pretty soon I want to commune with other people, and so
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a mne začne chýbať kontakt s ľuďmi, a preto
07:09
I'm delighted that in fact I get to compose works for them.
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ma veľmi teší, že pre nich môžem skladať hudbu.
07:11
I get to write, sometimes for soloists and I get to work with one person,
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Píšem, niekedy pre sólistov, a tak pracujem len s jednou osobou,
07:14
sometimes full orchestras, and I work with a lot of people,
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niekedy pre celé orchestre a pracujem s mnohými ľuďmi,
07:18
and this is probably the capacity, the role creatively
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a práve v tomto ohľade, v tejto tvorivej úlohe
07:21
for which I'm probably best known professionally.
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som zrejme najznámejší.
07:24
Now, some of my scores as a composer look like this,
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Niektoré moje partitúry vyzerajú takto,
07:27
and others look like this,
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a iné zase takto,
07:29
and some look like this,
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a ďalšie takto,
07:32
and I make all of these by hand, and it's really tedious.
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všetky ich píšem ručne, a je to pekne úmorné,
07:35
It takes a long, long time to make these scores,
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napísať takú partitúru trvá veľmi, veľmi dlho,
07:37
and right now I'm working on a piece
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a momentálne pracujem na skladbe
07:39
that's 180 pages in length,
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dlhej 180 strán,
07:41
and it's just a big chunk of my life, and I'm just pulling out hair.
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zaberá mi to pol života a trhám si pri tom vlasy.
07:45
I have a lot of it, and that's a good thing I suppose. (Laughter)
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Ešteže ich mám toľko, to je asi výhoda. (Smiech)
07:48
So this gets really boring and really tiresome for me,
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Mňa to často hrozne nudí a unavuje,
07:51
so after a while the process of notating is not only boring,
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po chvíli ma celé to zapisovanie nôte nezačne len nudiť,
07:54
but I actually want the notation to be more interesting,
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ale tiež ho chcem spraviť zaujímavejším,
07:57
and so that's pushed me to do other projects like this one.
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a to ma inšpirovalo vytvoriť iné projekty, ako napríklad tento.
08:00
This is an excerpt from a score called
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Toto je úryvok z partitúry nazvanej
08:02
"The Metaphysics of Notation."
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"Metafyzika notácie."
08:05
The full score is 72 feet wide.
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Celý zápis je 25 metrov dlhý.
08:07
It's a bunch of crazy pictographic notation.
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Je to len kopa šialených piktogramov.
08:10
Let's zoom in on one section of it right here. You can see
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Dajme si túto sekciu do výrezu. Ako vidíte,
08:13
it's rather detailed. I do all of this with drafting templates,
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je pomerné detailný. Všetko to robím pomocou šablón na kreslenie,
08:17
with straight edges, with French curves, and by freehand,
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pravítok, krividiel a voľnou rukou,
08:20
and the 72 feet was actually split
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a tých 25 metrov sme rozdelili
08:23
into 12 six-foot-wide panels that were installed
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na 12 panelov po 2 metroch a kúsok, a vystavili ich
08:26
around the Cantor Arts Center Museum lobby balcony,
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na balkóne vestibulu múzea Cantor Arts,
08:31
and it appeared for one year in the museum,
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a nechali ich tam po dobu jedného roka,
08:35
and during that year, it was experienced as visual art
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a počas toho obdobia tam väčšinu týždňov boli vystavené
08:37
most of the week, except, as you can see in these pictures,
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ako výtvarné diela, okrem, ako vidíte na fotkách,
08:39
on Fridays, from noon til one, and only during that time,
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piatkov od poludnia do jednej, a iba v ten čas,
08:42
various performers came and interpreted these strange
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kedy rozliční umelci vystupovali a interpretovali tieto zvláštne
08:46
and undefined pictographic glyphs. (Laughter)
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a nejasné piktorgrafické symboly. (Smiech)
08:49
Now this was a really exciting experience for me.
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Pre mňa to bola vskutku vzrušujúca skúsenosť.
08:53
It was gratifying musically, but I think
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Bolo to naplňujúce z hudobného hľadiska,
08:54
the more important thing is it was exciting because I got to take on
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ešte dôležitejšie však bolo, že som sa dostal do novej pozície,
08:57
another role, especially given that it appeared in a museum,
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súvisiacej najmä s tou výstavou v múzeu,
09:00
and that is as visual artist. (Laughter)
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a to je rola výtvarníka. (Smiech)
09:03
We're going to fill up the whole thing, don't worry. (Laughter)
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Zaplníme všetky políčka, nebojte sa. (Smiech)
09:06
I am multitudes. (Laughter)
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Som celé zástupy ľudí. (Smiech)
09:08
So one of the things is that, I mean, some people
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Ide však aj o to, že niektorí ľudia si môžu povedať
09:11
would say, like, "Oh, you're being a dilettante,"
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"Si iba obyčajný diletant,"
09:12
and maybe that's true. I can understand how, I mean,
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a možno budú mať pravdu. Chápem ich,
09:15
because I don't have a pedigree in visual art
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keďže nemám z výtvarného umenia žiaden základ
09:17
and I don't have any training, but it's just something
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ani vzdelanie, ale chcel som si to vyskúšať
09:19
that I wanted to do as an extension of my composition,
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ako nový prvok vo svojom skladaní,
09:22
as an extension of a kind of creative impulse.
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nový prvok v procese tvorivých podnetov.
09:24
I can understand the question, though. "But is it music?"
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Tú otázku však chápem. "Je to hudba?"
09:28
I mean, there's not any traditional notation.
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Nemáme tu predsa žiaden tradičný zápis.
09:30
I can also understand that sort of implicit criticism
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Tú nevyslovenú kritiku chápem aj pre túto skladbu,
09:32
in this piece, "S-tog," which I made when I was living in Copenhagen.
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"S-tog," ktorú som napísal, keď som žil v Kodani.
09:35
I took the Copenhagen subway map and
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Použil som mapu kodaňského metra a
09:37
I renamed all the stations to abstract musical provocations,
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všetky stanice som premenoval na abstraktné hudobné podnety,
09:41
and the players, who are synchronized with stopwatches,
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a hráči, synchronizovaní so stopkami,
09:43
follow the timetables, which are listed in minutes past the hour.
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idú podľa cestovného poriadku - minúty v rámci hodiny.
09:46
So this is a case of actually adapting something,
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V tomto prípade som teda niečo adaptoval,
09:49
or maybe stealing something,
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možno dokonca ukradol,
09:51
and then turning it into a musical notation.
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a potom z toho spravil hudobný zápis.
09:54
Another adaptation would be this piece.
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Podobnou adaptáciou je táto skladba.
09:56
I took the idea of the wristwatch, and I turned it into a musical score.
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Použil som myšlienku náramkových hodiniek, a spravil z nich partitúru.
09:59
I made my own faces, and had a company fabricate them,
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Vymyslel som im ciferníky, ktoré pre mňa vyrobila jedna firma,
10:02
and the players follow these scores.
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a hráči sa riadia týmto zápisom.
10:04
They follow the second hands, and as they pass over
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Idú podľa minútovej ručičky, a reagujú na ne tvorením hudby
10:07
the various symbols, the players respond musically.
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podľa toho, okolo akých symbolov ručička prechádza.
10:09
Here's another example from another piece,
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Ešte jeden príklad z inej skladby
10:12
and then its realization.
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a jej interpretácie.
10:14
So in these two capacities, I've been scavenger,
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V týchto dvoch prípadoch som bol tak trochu zberač odpadkov,
10:16
in the sense of taking, like, the subway map, right,
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tým ako som napríklad použil mapu metra,
10:19
or thief maybe, and I've also been designer,
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možno zlodej, a bol som tiež dizajnér,
10:21
in the case of making the wristwatches.
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keď som navrhol tie hodinky.
10:23
And once again, this is, for me, interesting.
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A znovu opakujem, pre mňa je to zaujímavé.
10:27
Another role that I like to take on is that of the performance artist.
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Ďalšou úlohou, ktorú mám rád, je umelec na javisku.
10:30
Some of my pieces have these kind of weird theatric elements,
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Niektoré moje skladby používajú zvláštne divadelné prvky,
10:33
and I often perform them. I want to show you a clip
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a ja s nimi často vystupujem. Rád by som vám ukázal
10:35
from a piece called "Echolalia."
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klip zo skladby "Echolália."
10:37
This is actually being performed by Brian McWhorter,
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Vystupuje tu Brian McWhorter,
10:40
who is an extraordinary performer.
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výnimočný umelec.
10:41
Let's watch a little bit of this, and please notice the instrumentation.
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Pozrime si kúsok, a najmä si prosím všimnite nástroje.
10:45
(Music)
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(Hudba)
11:14
Okay, I hear you were laughing nervously because
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OK, vidím, že sa nervózne smejete,
11:15
you too could hear that the drill was a little bit sharp,
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lebo ste si všimili, že vŕtačka bola trošku nadladená,
11:18
the intonation was a little questionable. (Laughter)
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jej intonácia nebola úplne presná. (Smiech)
11:20
Let's watch just another clip.
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Pozrime si ešte jednu ukážku.
11:22
(Music)
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(Hudba)
11:32
You can see the mayhem continues, and there's, you know,
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Vidíte, že skaza pokračuje, a nie sú tam
11:35
there were no clarinets and trumpets
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žiadne klarinety či trúbky,
11:37
and flutes and violins. Here's a piece that has
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flauty a husle. Toto je skladba s ešte
11:39
an even more unusual, more peculiar instrumentation.
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zvláštnejšími nástrojmi, svojráznejším prevedením.
11:41
This is "Tlön," for three conductors and no players. (Laughter)
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Volá sa "Tlon," pre troch dirigentov a žiadnych hráčov. (Smiech)
11:58
This was based on the experience of actually watching
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Založil som ju na pozorovaní
12:00
two people having a virulent argument in sign language,
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dvoch ľudí zlostne sa hádajúcich v znakovej reči,
12:02
which produced no decibels to speak of,
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ktorí pri tom nevyvárali žiadne decibely,
12:04
but affectively, psychologically, was a very loud experience.
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psychologicky to však malo veľmi hlasný efekt.
12:07
So, yeah, I get it, with, like, the weird appliances
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Ok, chápem, s týmito divnými pomôckami
12:11
and then the total absence of conventional instruments
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a neprítomnosťou tradičných nástrojov
12:15
and this glut of conductors, people might, you know,
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a príliš mnoho dirigentami sa ľudia môžu pýtať,
12:18
wonder, yeah, "Is this music?"
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diviť sa : "Je to hudba?"
12:21
But let's move on to a piece where clearly I'm behaving myself,
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Pozrime sa ale na sklabu, kde som sa správal slušne,
12:25
and that is my "Concerto for Orchestra."
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a to je môj "Koncert pre orchester."
12:27
You're going to notice a lot of conventional instruments
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V tejto úkažke je jasne vidieť mnoho
12:29
in this clip. (Music)
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tradičných nástrojov. (Hudba)
12:33
(Music)
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(Hudba)
12:46
This, in fact, is not the title of this piece.
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Toto ale v skutočnosti nie je názov tej skladby.
12:48
I was a bit mischievous. In fact, to make it more interesting,
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Bol som trochu zlomyseľný. Aby som to spravil zaujímavejším,
12:50
I put a space right in here, and this is the actual title of the piece.
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dal som sem medzeru, a skutočný názov znie: "Koncert pre orchester a kvetinára."
12:55
Let's continue with that same excerpt.
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Pokračujem s tou istou ukážkou.
12:57
(Music)
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(Hudba)
13:07
It's better with a florist, right? (Laughter) (Music)
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S kvetinárom je to lepšie, nie? (Smiech) (Hudba)
13:15
Or at least it's less boring. Let's watch a couple more clips.
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Alebo aspoň menej nudné. Pozrime si ešte zopár ukážok.
13:17
(Music)
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(Hudba)
13:31
So with all these theatric elements, this pushes me in another role,
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Všetky tieto divadelné prvky ma tlačia do novej úlohy,
13:34
and that would be, possibly, the dramaturge.
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ktorú by som možno mohol nazvať dramaturgom.
13:37
I was playing nice. I had to write the orchestra bits, right?
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Choval som sa slušne. Musel som predsa napísať tie party pre orchester, nie?
13:42
Okay? But then there was this other stuff, right?
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Ale potom tam boli tie ďalšie veci, nie?
13:44
There was the florist, and I can understand that,
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Mali sme tam kvetinára, a ja chápem,
13:46
once again, we're putting pressure on the ontology of music
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že znovu dostávame ontológiu hudby, ako ju tradične poznáme,
13:49
as we know it conventionally,
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pod tlak,
13:52
but let's look at one last piece today I'm going to share with you.
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teraz sa ale pozrime na poslednú skladbu, o ktorú sa dnes s vami chcem podeliť.
13:56
This is going to be a piece called "Aphasia,"
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Je to sklaba nazvaná "Afázia,"
13:59
and it's for hand gestures synchronized to sound,
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pre gestá rukou synchronizované so zvukom,
14:03
and this invites yet another role, and final one
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a uvádza ďalšiu úlohu, už poslednú,
14:05
I'll share with you, which is that of the choreographer.
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a to je úloha choreografa.
14:08
And the score for the piece looks like this,
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Takto vyzerá jej zápis,
14:10
and it instructs me, the performer, to make
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a mne, vystupujúcemu, ukazuje, kedy robiť
14:15
various hand gestures at very specific times
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rozličné gestá rukami
14:17
synchronized with an audio tape, and that audio tape
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v súlade s nahrávkou, a tú nahrávku tvoria
14:20
is made up exclusively of vocal samples.
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výhradne kúsky spevu.
14:23
I recorded an awesome singer,
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Nahral som jedného úžasného speváka,
14:25
and I took the sound of his voice in my computer,
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a prehnal som zvuk jeho hlasu počítačom,
14:27
and I warped it in countless ways to come up with
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a nespočetnými spôsobmi som ho premenil,
14:30
the soundtrack that you're about to hear.
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aby som vytvoril skladbu, ktorú si teraz vypočujete.
14:32
And I'll perform just an excerpt of "Aphasia" for you here. Okay?
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Rád by som tu pre vás zahral len kúsok "Afázie." OK?
14:37
(Music)
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(Hudba)
15:16
So that gives you a little taste of that piece. (Applause)
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Takže takto nejak tá skladby vyzerá. (Potlesk)
15:22
Yeah, okay, that's kind of weird stuff.
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OK, divné veci.
15:24
Is it music? Here's how I want to conclude.
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Je to hudba? Prišiel som k tomuto záveru.
15:27
I've decided, ultimately, that this is the wrong question,
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Nakoniec som sa rozhodol, že toto je zlá otázka,
15:29
that this is not the important question.
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že to nie je dôležitá otázka.
15:31
The important question is, "Is it interesting?"
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Dôležitou otázkou je "Je to zaujímavé?"
15:34
And I follow this question, not worrying about "Is it music?" --
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A touto otázkou sa riadim, netrápi ma "Je to hudba?"
15:37
not worrying about the definition of the thing that I'm making.
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netrápi ma definícia veci, ktorú vytváram.
15:39
I allow my creativity to push me
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Svojej tvorivosti dovolím, aby sa vydala smermi,
15:42
in directions that are simply interesting to me,
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ktoré sú pre mňa jednoducho zaujímavé,
15:44
and I don't worry about the likeness of the result
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a netrápi ma, ako sa výsledok bude podobať
15:47
to some notion, some paradigm,
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nejakej predstave, nejakej paradigme o tom,
15:49
of what music composition is supposed to be,
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ako má vyzerať hudobná skladba,
15:52
and that has actually urged me, in a sense,
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a práve toto ma istým spôsobom prinútilo
15:54
to take on a whole bunch of different roles,
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vziať na seba celú kopu rozličných úloh,
15:56
and so what I want you to think about is,
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a preto by som chcel, aby ste sa zamysleli,
15:58
to what extent might you change the fundamental question
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do akej miery môžete vy zmeniť základnú otázku
16:02
in your discipline, and, okay,
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vo svojom odbore, a sem
16:04
I'm going to put one extra little footnote in here,
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ešte vložím jednu malú poznámku,
16:07
because, like, I realized I mentioned
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uvedomil som si totiž, že som predtým spomínal
16:08
some psychological defects earlier, and we also,
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nejaké psychologické poruchy, a tiež sme tu mali
16:11
along the way, had a fair amount of obsessive behavior,
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slušnú dávku obsedantného správania,
16:15
and there was some delusional behavior and things like that,
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a tiež sme tu mali rojčenie a podobné veci,
16:17
and here I think we could say that this is an argument
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a to myslím všetko smeruje k nenávideniu
16:20
for self-loathing and a kind of schizophrenia,
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seba samého a tak trochu ku schizofrénii,
16:22
at least in the popular use of the term,
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teda aspoň tak, ako sa to slovo používa bežne,
16:24
and I really mean dissociative identity disorder, okay. (Laughter)
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v skutočnosti mám na mysli disociatívnu poruchu identity, aby bolo jasné. (Smiech)
16:26
Anyway, despite those perils, I would urge you
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Napriek týmto rizikám by som vás ale rád vyzval,
16:29
to think about the possibility that you might take on roles
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aby ste zapremýšľali nad možnosťou nových úloh
16:32
in your own work, whether they are neighboring
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vo svojej vlastnej práci, či už sú blízke
16:34
or far-flung from your professional definition.
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alebo vzdialené tradičnému chápaniu vášho odboru.
16:36
And with that, I thank you very much. (Applause)
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To je všetko, veľmi pekne vám ďakujem. (Potlesk)
16:38
(Applause)
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(Potlesk)
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