TED2008
Tod Machover + Dan Ellsey: Inventing instruments that unlock new music
托德•麦克弗（Tod Machover）和丹•埃尔西（Dan Ellsey ）演奏新音乐
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美国麻省理工学院媒体实验室（MIT Media Lab）的托德•麦克弗教授致力于将大到歌剧，小到电子游戏，各种各样的音乐表现形式带给我们每一个人，其受众包括了从胎儿到成人的广泛人群。他和作曲家丹•埃尔西在这里阐述了音乐的未来。
Tod Machover - Composer, inventor
At MIT's Media Lab, Tod Machover creates boundary-breaking new music, often using new instruments and music technologies he has invented. Full bioDan Ellsey - Musician
Dan Ellsey uses Hyperscore music software and a custom-tuned musical "hyperinstrument" to write, perform and conduct his music, and to help others learn how to compose. Full bio
At MIT's Media Lab, Tod Machover creates boundary-breaking new music, often using new instruments and music technologies he has invented. Full bioDan Ellsey - Musician
Dan Ellsey uses Hyperscore music software and a custom-tuned musical "hyperinstrument" to write, perform and conduct his music, and to help others learn how to compose. Full bio
Double-click the English transcript below to play the video.
00:18
The first idea I'd like to suggest is that we all
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音乐，大家都非常热爱它，
00:20
love music a great deal. It means a lot to us.
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因为它对于我们很重要。
00:23
But music is even more powerful if you don't just listen to it, but you make it yourself.
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假如你不只是作为一名听众，而且还能亲自参与创作，那么音乐会对你更具影响力。
00:29
So, that's my first idea. And we all know about the Mozart effect --
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这是我要讲的第一点。在最近5-10年里，
00:32
the idea that's been around for the last five to 10 years --
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有个著名的莫扎特效应（Mozart Effect），
00:35
that just by listening to music or by playing music to your baby [in utero],
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讲的就是单靠听音乐，或者是给胎儿播放音乐，
00:39
that it'll raise our IQ points 10, 20, 30 percent.
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就可以使我们的智商提高10%到30%。
00:43
Great idea, but it doesn't work at all.
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这真是个好主意，但是根本行不通。
00:46
So, you can't just listen to music, you have to make it somehow.
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（那是因为）光听是不够的，你还必须设法创作音乐。
00:49
And I'd add to that, that it's not just making it,
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我还要说，不单如此，
00:53
but everybody, each of us, everybody in the world
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我们每一个人、世界上的所有的人，
00:55
has the power to create and be part of music in a very dynamic way,
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都应该能够进行创作，并以动态的方式让自己和音乐融为一体。
00:59
and that's one of the main parts of my work.
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这正是我从事的工作中非常重要的一部分。
01:01
So, with the MIT Media Lab, for quite a while now,
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在美国麻省理工学院媒体实验室（MIT Media Lab）里，
01:03
we've been engaged in a field called active music.
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我和我的同事们长期以来致力于“动感音乐”（Active Music）的研究：
01:05
What are all the possible ways that we can think of
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通过寻求可行的途径，
01:07
to get everybody in the middle of a musical experience,
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使人人都能够体验和融入音乐。
01:10
not just listening, but making music?
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让大家不只是在聆听音乐，而且还能够创作音乐。
01:13
And we started by making instruments for some of the world's greatest performers --
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起初，我们为像马友友、Peter Gabriel、Prince这样的演奏大师，
01:16
we call these hyperinstruments -- for Yo-Yo Ma, Peter Gabriel, Prince,
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以及管弦和摇滚乐队制作了“超级乐器”（Hyperinstruments）。
01:19
orchestras, rock bands. Instruments where they're all kinds of sensors
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这种乐器集成了多种传感器，
01:23
built right into the instrument, so the instrument knows how it's being played.
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以感知我们是如何演奏乐曲的。
01:26
And just by changing the interpretation and the feeling,
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（有了它，）我只需稍稍改变演绎方式和感情，
01:29
I can turn my cello into a voice, or into a whole orchestra,
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就可以把大提琴演奏声变为和谐的人声、一个乐团的协奏，
01:32
or into something that nobody has ever heard before.
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甚至变成我们从未听过的天籁之音。
01:35
When we started making these, I started thinking, why can't we make
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随即，我们开始思考，
01:37
wonderful instruments like that for everybody,
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为什么不能制作同样完美的乐器，使它成为平常人，
01:39
people who aren't fantastic Yo-Yo Mas or Princes?
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而不仅仅是马友友或Princes大师们所演奏呢？
01:43
So, we've made a whole series of instruments.
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于是，我们制作了一组乐器，
01:45
One of the largest collections is called the Brain Opera.
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统称其为“头脑歌剧”（Brain Opera）。
01:48
It's a whole orchestra of about 100 instruments,
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这个管弦乐队大约有100件乐器，
01:50
all designed for anybody to play using natural skill.
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都是按平常人的自然演奏方式所设计的。
01:53
So, you can play a video game, drive through a piece of music,
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这样，你可以打游戏，“开”过一段音乐，
01:56
use your body gesture to control huge masses of sound,
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使用肢体语言来控制大量的声音，
01:59
touch a special surface to make melodies, use your voice to make a whole aura.
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通过触摸特制的表面来产生美妙的乐音，还可以用自己的声音来营造某种氛围。
02:04
And when we make the Brain Opera, we invite the public to come in,
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当这些乐器制作完成之后，
02:06
to try these instruments and then collaborate with us
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我们邀请公众前来体验，并和他们一起，
02:09
to help make each performance of the Brain Opera.
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举办了多场演奏音乐会。
02:10
We toured that for a long time. It is now permanently in Vienna,
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这些巡演持续了相当长的一段时间。现在，在音乐之都维也纳，
02:13
where we built a museum around it.
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我们还建造了一处永久性的博物馆。
02:15
And that led to something which you probably do know.
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这些都促成了 “吉他英雄”（Guitar Hero）的诞生，
02:18
Guitar Hero came out of our lab,
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相信你多半听说过这款源自我们实验室的游戏。
02:19
and my two teenage daughters and most of the students at the MIT Media Lab
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有一点，在我两个十几岁的女儿和实验室不少学生的身上，
02:22
are proof that if you make the right kind of interface,
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都得到了验证。这就是，只要你提供合适的交互界面，
02:25
people are really interested in being in the middle of a piece of music,
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人们就会乐于融入音乐，
02:29
and playing it over and over and over again.
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并对演奏乐此不疲。
02:32
So, the model works, but it's only the tip of the iceberg,
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这个模式可行，但是可做的远不止这些。
02:35
because my second idea is that it's not enough just to want
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我的第二点观点就是，
02:38
to make music in something like Guitar Hero.
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仅用“吉他英雄”这类东西来做音乐还不够。
02:41
And music is very fun, but it's also transformative.
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音乐不仅非常有趣，而且还颇具影响力。
02:44
It's very, very important.
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非常非常重要的一点是，
02:45
Music can change your life, more than almost anything.
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音乐能够改变你的人生，为其他的方式所不及，
02:48
It can change the way you communicate with others,
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能够改变人与人之间的交流方式，
02:50
it can change your body, it can change your mind. So, we're trying
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还能够改变你的身心。于是，我们力求有所突破，
02:53
to go to the next step of how you build on top of something like Guitar Hero.
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也就是想在“吉他英雄”这类事物的基础上做点什么。
02:57
We are very involved in education. We have a long-term project
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我们深入到教育界，开展了一个叫做“玩具交响乐”（Toy Symphony）的长期项目。
03:00
called Toy Symphony, where we make all kinds of instruments that are also addictive,
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我们为小朋友制作了一系列特别好玩的乐器，
03:04
but for little kids, so the kids will fall in love with making music,
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期望他们会喜欢上演奏，
03:08
want to spend their time doing it, and then will demand to know how it works,
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并愿意在这方面投入时间（来培养爱好），进而渴求学习乐理知识，
03:11
how to make more, how to create. So, we make squeezy instruments,
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以及如何演奏、创作音乐。我们制作了一种可以捏的乐器，
03:14
like these Music Shapers that measure the electricity in your fingers,
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比如说这个可以测量手指间（微）电流的“音乐塑型机”（Music Shaper）。
03:18
Beatbugs that let you tap in rhythms -- they gather your rhythm,
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又如这个用于敲击节奏的 “节拍虫子”（Beat Bugs），你可以用它来收集节奏，
03:21
and like hot potato, you send your rhythm to your friends,
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然后把这个信息像丢烫土豆似地传给你的朋友，
03:23
who then have to imitate or respond to what your doing --
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他们需要模仿你，或者对你的动作作出反应。
03:26
and a software package called Hyperscore, which lets anybody use lines and color
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再就是制作一种叫做“超级乐谱”（Hyperscore）的软件。
03:30
to make quite sophisticated music. Extremely easy to use, but once you use it,
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它可以让大家用线条和色彩来绘制出复杂的音乐，（操作方法简便，）特别容易使用。
03:34
you can go quite deep -- music in any style. And then, by pressing a button,
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一旦上了手，任何曲风的音乐，对你来说都是手到擒来。最后只要摁下按钮，
03:38
it turns into music notation so that live musicians can play your pieces.
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这个软件就能自动转换出乐谱，以便让音乐家来演奏你创作的乐章。
03:44
We've had good enough, really, very powerful effects with kids
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我们的这个软件，在世界各地的孩子和不同年龄段的人群身上，
03:47
around the world, and now people of all ages, using Hyperscore.
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都取得了良好的、非常显著的效果。
03:50
So, we've gotten more and more interested in using these kinds of creative activities
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所以，我们乐于将此类创意运用到
03:54
in a much broader context, for all kinds of people
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更加广泛的人群中，
03:56
who don't usually have the opportunity to make music.
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让那些没有机会进行音乐创作的人也能积极参与。
03:59
So, one of the growing fields that we're working on
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其中，我们实验室正在拓展的一个领域叫作
04:00
at the Media Lab right now is music, mind and health.
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“音乐、心智和健康”（Music, Mind and Health）。
04:03
A lot of you have probably seen Oliver Sacks' wonderful new book called
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相信不少人都读过奥利佛•萨克斯（Oliver Sack）的新书
04:06
"Musicophilia". It's on sale in the bookstore. It's a great book.
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《脑袋装了2000出歌剧的人》（Musicophelia）。这是一本正在热卖中的好书。
04:10
If you haven't seen it, it's worth reading. He's a pianist himself,
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如果你还没有看过，建议你读一读。
04:12
and he details his whole career of looking at and observing
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书的作者是一位钢琴家，他在书中详细地记录了自己职业生涯中所观察到的事实，
04:16
incredibly powerful effects that music has had on peoples' lives in unusual situations.
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那就是音乐在非常状态下的人身上（残疾／重症病人），所能发生的不可思议的效应。
04:21
So we know, for instance, that music is almost always the last thing
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正如大家所知道的那样，
04:24
that people with advanced Alzheimer's can still respond to.
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音乐是老年痴呆症患者晚期能做出响应的最后一样事物。
04:28
Maybe many of you have noticed this with loved ones,
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也许不少人在挚爱亲朋身上观察到这样的现象：
04:30
you can find somebody who can't recognize their face in the mirror,
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他们无法识别镜子里的自己、无法认出家人，
04:32
or can't tell anyone in their family, but you can still find a shard of music
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但是你仍然能找到一段音乐，
04:35
that that person will jump out of the chair and start singing. And with that
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让他们从病榻中惊醒，随声轻和。
04:39
you can bring back parts of people's memories and personalities.
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正是借助这样的方法，你可以唤回一些他们的记忆和自我意识。
04:41
Music is the best way to restore speech to people who have lost it through strokes,
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对于治愈中风所导致的失语症，以及帕金森症所导致的运动失能，
04:45
movement to people with Parkinson's disease.
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音乐是最好的办法。
04:47
It's very powerful for depression, schizophrenia, many, many things.
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它对抑郁症、精神分裂症和许许多多其它病症都颇具疗效。
04:51
So, we're working on understanding those underlying principles
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我们目前正在探寻这些现象背后的原理，
04:53
and then building activities which will let music really improve people's health.
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并开展一系列活动，用音乐来改善人类健康。
04:57
And we do this in many ways. We work with many different hospitals.
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我们采取了很多方式，和各类医院有着合作。
05:00
One of them is right near Boston, called Tewksbury Hospital.
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其中有一家就是离美国波士顿不远的图斯伯里医院。
05:03
It's a long-term state hospital, where several years ago
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这是一家历史悠久的州立医院。许多年前，
05:05
we started working with Hyperscore and patients with physical and mental disabilities.
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我们在那里就开始将“超级乐谱” 介绍给生理和精神残疾病人。
05:09
This has become a central part of the treatment at Tewksbury hospital,
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这已成为图斯伯里医院核心治疗项目，
05:13
so everybody there clamors to work on musical activities.
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每个接受治疗的人都要求参与音乐活动。
05:17
It's the activity that seems to accelerate people's treatment the most
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这一活动似乎大大加速了治疗的过程，
05:21
and it also brings the entire hospital together as a kind of musical community.
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在某种程度上也把医院变成音乐社区。
05:25
I wanted to show you a quick video of some of this work before I go on.
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继续下一个话题之前，我想先给大家看些以上内容的相关短片。
06:10
Video: They're manipulating each other's rhythms.
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（这些玩具交响乐的）参与者在操控音乐节奏。
06:12
It's a real experience, not only to learn how to play and listen to rhythms,
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通过亲身体验，孩子们不但学会了怎样演奏和听节奏，
06:16
but to train your musical memory and playing music in a group.
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而且锻炼了音乐记忆，练习了合奏。
06:21
To get their hands on music, to shape it themselves, change it,
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他们“拿”着音乐，捏一捏，
06:25
to experiment with it, to make their own music.
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改变和体验它，并创作自己的音乐。
06:27
So Hyperscore lets you start from scratch very quickly.
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“超级乐谱”从涂涂画画开始，很便捷。
06:38
Everybody can experience music in a profound way,
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个人都可以深刻地体验音乐，
06:40
we just have to make different tools.
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我们所必须做的就是创造各种各样的工具（来帮助大家）。
06:59
The third idea I want to share with you is that music, paradoxically,
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第三点想法是：我觉得音乐，异乎寻常地，
07:05
I think even more than words, is one of the very best ways we have
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是比语言更好的展示自我的方式。
07:08
of showing who we really are. I love giving talks, although
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我也喜欢做演讲，
07:12
strangely I feel more nervous giving talks than playing music.
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但是奇怪的是，我在演讲时，比演奏音乐感觉要更局促些。
07:14
If I were here playing cello, or playing on a synth, or sharing my music with you,
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当在演奏大提琴、控制电子音响合成器，或者和你们共同分享我的音乐时，
07:17
I'd be able to show things about myself that I can't tell you in words,
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我就能展现无法用语言描述的一面，
07:22
more personal things, perhaps deeper things.
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更多的是个人的，也许更深层的东西。
07:25
I think that's true for many of us, and I want to give you two examples
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对于我们中许多人来讲，我想的确是这样。我想举两个例子，
07:28
of how music is one of the most powerful interfaces we have,
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来说明音乐是我们与外界交流的
07:31
from ourselves to the outside world.
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最有效的媒介之一。
07:33
The first is a really crazy project that we're building right now, called
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首先是我们现在正在进行的一个非常疯狂的项目，名字叫作《死亡和鲍威尔一家》。
07:37
Death and the Powers. And it's a big opera,
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它是一部大型歌剧，
07:39
one of the larger opera projects going on in the world right now.
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是目前全球在运作中的大型歌剧项目之一。
07:43
And it's about a man, rich, successful, powerful, who wants to live forever.
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它是关于一位富有、成功、有权势并期望永生的人的歌剧。
07:48
So, he figures out a way to download himself into his environment,
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他找到了把自己下载到他所建立的环境
07:50
actually into a series of books.
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—一系列的书籍—中去的办法。
07:53
So this guy wants to live forever, he downloads himself into his environment.
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于是，他想长生不老，就把自己放进了系统中。
07:56
The main singer disappears at the beginning of the opera
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主唱在歌剧开始后便消失了，
08:00
and the entire stage becomes the main character. It becomes his legacy.
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整个舞台变成了主角，变成了他的遗赠。
08:04
And the opera is about what we can share, what we can pass on to others,
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这部歌剧讲的是，我们能和所爱的人分享些什么，向他们传承些什么，
08:07
to the people we love, and what we can't.
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又有什么是办不到的。
08:09
Every object in the opera comes alive and is a gigantic music instrument,
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歌剧中的所有道具都是活的、巨型的乐器。
08:13
like this chandelier. It takes up the whole stage. It looks like a chandelier,
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譬如，占据舞台很大部份的一盏“吊灯”。它看上去像个吊灯，
08:16
but it's actually a robotic music instrument.
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但同时又是一件机器人乐器。
08:18
So, as you can see in this prototype, gigantic piano strings,
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正如你在这里的样机上所看到的，长长的钢琴弦，
08:22
each string is controlled with a little robotic element --
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每根都被小型机器人部件所控制。
08:25
either little bows that stroke the strings, propellers that tickle the strings,
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这里有小巧的琴弓来拨动，驱动器来撩拨，
08:30
acoustic signals that vibrate the strings. We also have an army of robots on stage.
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声学信号来震动琴弦。在舞台上，还会出现一大群机器人。
08:35
These robots are the kind of the intermediary between the main character, Simon Powers,
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这些机器人是主角西蒙•鲍威尔和家人之间交流的一种媒介。
08:39
and his family. There are a whole series of them, kind of like a Greek chorus.
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他们为数众多，有如古希腊歌剧中的合唱团。
08:43
They observe the action. We've designed these square robots that we're testing right now
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他们观察舞台上的一举一动。我们在实验室里设计和测试了这些立方形的
08:48
at MIT called OperaBots. These OperaBots follow my music.
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“歌剧机器人”（Operabots）。它们能随歌舞动，
08:51
They follow the characters. They're smart enough, we hope,
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还会跟随舞台人物。它们很聪明，
08:54
not to bump into each other. They go off on their own.
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我们也希望他们能互相规避（以避免碰撞）。它们自主行动；
08:57
And then they can also, when you snap, line up exactly the way you'd like to.
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如果你打个指响，他们也会如你所愿，排成整齐的一行。
09:03
Even though they're cubes, they actually have a lot of personality.
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别看它们是一个个方盒子，却拥有许多人格化的内涵。
09:12
The largest set piece in the opera is called The System. It's a series of books.
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歌剧中最大的道具就是所谓“系统”。它是一系列“图书”。
09:16
Every single book is robotic, so they all move, they all make sound,
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每一部书都是一个机器人，都能运动，都能发声。
09:20
and when you put them all together, they turn into these walls,
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放在一起，它们构成了一道道投影墙，
09:24
which have the gesture and the personality of Simon Powers. So he's disappeared,
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展现出西蒙•鲍威尔的动作和性格。歌剧的主人公虽然消失在舞台上，
09:29
but the whole physical environment becomes this person.
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却存在于环境之中。
09:32
This is how he's chosen to represent himself.
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这是他选择的，代表自己的办法。
09:35
The books also have high-packed LEDs on the spines. So it's all display.
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这些书的书脊上集成了LED光源，作为显示平面。
09:42
And here's the great baritone James Maddalena as he enters The System.
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这位是男中音詹姆士•抹大拉（James Maddalena），他正在进入系统。
09:46
This is a sneak preview.
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这是预告片。
10:11
This premieres in Monaco -- it's in September 2009. If by any chance you can't make it,
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首映将于2009年10月在摩洛哥举行。如果你不能前往观看，
10:16
another idea with this project -- here's this guy building his legacy
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那么还有一个办法。
10:19
through this very unusual form, through music and through the environment.
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西蒙用一种非同寻常的方法，即通过音乐和环境，来建立他的遗赠。
10:23
But we're also making this available both online and in public spaces,
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我们将把系统放在网络和公共场所，
10:27
as a way of each of us to use music and images from our lives
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以便人人都能用音乐和生活中的影像
10:31
to make our own legacy or to make a legacy of someone we love.
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来制作我们或者我们挚爱的人的遗赠。
10:34
So instead of being grand opera, this opera will turn into what we're
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这不再是一部单纯的大歌剧，它将把我们现在所想的，
10:37
thinking of as personal opera.
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变成一部个性化歌剧。
10:39
And, if you're going to make a personal opera, what about a personal instrument?
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要做个性化歌剧，怎么能没有个性化的乐器呢？
10:41
Everything I've shown you so far -- whether it's a hyper-cello for Yo-Yo Ma
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我到目前为止所展示的这些，比如给马友友的超级大提琴，
10:44
or squeezy toy for a child -- the instruments stayed the same and are valuable
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又如给孩子们捏音乐的玩具，这些乐器都是一成不变的，
10:49
for a certain class of person: a virtuoso, a child.
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或为艺术家，或为小朋友，它仅仅针对某一类人有着实用价值。
10:52
But what if I could make an instrument that could be adapted
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试想一下，如果我再制作一种乐器，能够适应我的个人行为，
10:55
to the way I personally behave, to the way my hands work,
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按照手指弹奏方式，根据我熟悉的，甚至不熟悉的技法
10:59
to what I do very skillfully, perhaps, to what I don't do so skillfully?
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来自我调整，情况又会如何呢？
11:02
I think that this is the future of interface, it's the future of music, the future of instruments.
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我以为这就是交互界面、音乐和乐器的未来趋势。
11:07
And I'd like now to invite two very special people on the stage,
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为了现场演示个性化乐器，
11:10
so that I can give you an example of what personal instruments might be like.
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我想邀请两位嘉宾到台上。
11:16
So, can you give a hand to Adam Boulanger, Ph.D. student from
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掌声有请，亚当•布朗杰（Adam Boulanger），麻省理工媒体实验室的博士生
11:21
the MIT Media Lab, and Dan Ellsey. Dan,
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和丹•埃尔西（Dan Ellsey）。
11:28
thanks to TED and to Bombardier Flexjet, Dan is here with us today
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感谢TED，感谢庞巴迪·佛里士杰
11:35
all the way from Tewksbury. He's a resident at Tewksbury Hospital.
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丹今天从图斯伯里远道而来，他在那里住院。
11:39
This is by far the farthest he's strayed from Tewksbury Hospital, I can tell you that,
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我要告诉大家：这是迄今为止，他离开医院外出旅行距离最远的一次。
11:43
because he's motivated to meet with you today and show you his own music.
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他是因为要和大家见面并分享自已的音乐，才特意来这里的。
11:48
So, first of all, Dan, do you want to say hi to everyone and tell everyone who you are?
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丹，先自我介绍一下，好吗？
11:57
Dan Ellsey: Hello. My name is Dan Ellsey. I am 34 years old and I have cerebral palsy.
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丹•埃尔西（以下简称丹）：你们好，我叫丹•埃尔西。我34岁，是一名脑瘫患者。
12:05
I have always loved music and I am excited to be able to conduct
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我一直都很热爱音乐，能用这样的新软件来指挥我的乐曲，
12:11
my own music with this new software.
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我感到非常激动。
12:15
Tod Machover: And we're really excited to have you here, really Dan. (Applause)
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托德•麦克弗（以下简称托德）：你能来这里，我们真的也很激动。（掌声）
12:26
So we met Dan about three years ago, three and a half years ago,
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我们和丹大约在三年半前相识，
12:29
when we started working at Tewksbury. Everybody we met there was fantastic,
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那时我们刚开始和图斯伯里医院合作。那里我们遇到的每一个人都妙极了，
12:34
did fantastic music. Dan had never made music before, and it turned out
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能作出美妙的曲子。丹此前从来没有作曲，但出乎意料的是，
12:39
he was really fantastic at it. He's a born composer.
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他长于此道。他天生就是个作曲家。
12:46
He's very shy, too.
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他也很害羞。
12:49
So, turned out he's a fantastic composer, and over the last few years has been
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嗯，他是一个非常棒的作曲家。从那以后，
12:53
a constant collaborator of ours. He has made many, many pieces.
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我们就成了固定合作者。丹作了许多许多曲子，
12:56
He makes his own CDs. Actually, he is quite well known in the Boston area --
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发行了自己的CD唱片。其实在波士顿地区，他知名度很高，
12:59
mentors people at the hospital and children, locally, in how to make their own music.
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还教授医院的人们和当地的孩子如何创作音乐。
13:03
And I'll let Adam tell you. So, Adam is a Ph.D. student at MIT, an expert in music
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下面请亚当来讲，他是麻省理工学院的博士生，
13:08
technology and medicine. And Adam and Dan have become close collaborators.
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音乐技术和医药方面的专家，和丹有着密切的合作。
13:13
What Adam's been working on for this last period is not only how to have Dan
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亚当所做的不但使丹能够
13:17
be able easily to make his own pieces,
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轻轻松松作曲，
13:20
but how he can perform his piece using this kind of personal instrument.
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而且使他能用个性化乐器来演奏自己的作品。
13:23
So, you want to say a little bit about how you guys work?
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怎么样，谈谈你们是怎么做的吧？
13:25
Adam Boulanger: Yes. So, Tod and I entered into a discussion
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亚当•布朗杰（以下简称亚当）：好。图斯伯里医院的项目源自
13:28
following the Tewksbury work and it was really about how Dan is an expressive
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我和托德的一次讨论，那时我们谈到丹是个非常有表现欲、
13:32
person, and he's an intelligent and creative person. And it's in his face,
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聪明而且有创造力的人。你可以从
13:37
it's in his breathing, it's in his eyes. How come he can't perform
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他的一举一动里看出来。为什么他就不能演奏一段属于自己乐曲呢？
13:40
one of his pieces of music? That's our responsibility, and it doesn't make sense.
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没有理由说这不可以呀！同样，这也是我们的责任。
13:44
So we started developing a technology that will allow him with nuance,
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于是我们着手研发一种技术，
13:47
with precision, with control, and despite his physical disability, to be able to do that,
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让他用微小的动作和精准的操控，来演奏自己的作品，
13:52
to be able to perform his piece of music.
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而对自己肢体的不便不必介意。
13:55
So, the process and the technology --
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嗯，谈到流程和技术，
13:57
basically, first we needed an engineering solution. So, you know,
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简言之，首先需要一个工程之道。你看，
14:00
we have a FireWire camera, it looked at an infrared pointer.
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我们放置了一台1394火线接口的摄像头来追踪红外指针。
14:03
We went with the type of gesture metaphor that Dan was already used to
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我们利用了丹在言语控制中使用的肢体语言
14:07
with his speaking controller.
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和表意系统。
14:11
And this was actually the least interesting part of the work, you know,
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设计流程是“不太”有趣的一部份。
14:14
the design process. We needed an input; we needed continuous tracking;
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我们需要一些输入、持续的跟踪
14:17
in the software, we look at the types of shapes he's making.
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以及软件来监测他做出的不同形状。
14:20
But, then was the really interesting aspect of the work, following the engineering part,
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解决了工程问题，随后便是工作中真正有趣的部分了。
14:24
where, basically, we're coding over Dan's shoulder at the hospital
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简单的讲吧，我们在医院现场编程，和丹密切合作，
14:27
extensively to figure out, you know, how does Dan move?
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理解他是如何动作，
14:30
What's useful to him as an expressive motion?
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哪些具有表现力的动作是他觉得有用的。
14:32
You know, what's his metaphor for performance?
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再如，他用什么手法来演奏？
14:35
What types of things does he find
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哪些是他觉得重要，
14:37
important to control and convey in a piece of music?
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并可以用于控制和传达音乐的东西？
14:39
So all the parameter fitting, and really the technology
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可以说，所有的参数、所有的技术，
14:43
was stretched at that point to fit just Dan.
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都是为丹量身定做的。
14:46
And, you know, I think this is a perspective shift. It's not that our technologies --
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嗯，我觉得，这也是未来的趋势。
14:52
they provide access, they allow us to create pieces of creative work.
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并非是技术本身打开了创新之门。
14:56
But what about expression? What about that moment when an artist delivers
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是表达么？是艺术家创作作品的那一刻吗？
14:59
that piece of work? You know, do our technologies allow us to express?
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我们的技术有给大家表述的机会么？
15:03
Do they provide structure for us to do that? And, you know, that's a personal relationship
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他们有提供这样的构架吗？其实，是人与人之间的联系
15:07
to expression that is lacking in the technological sphere. So, you know,
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产生了表达，而这恰是技术本身所不能的。
15:11
with Dan, we needed a new design process, a new engineering process
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于是，我们需要新的设计流程和工程流程，
15:14
to sort of discover his movement and his path to expression that allow him to perform.
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来了解丹的动作以及表达方式，方便他来表演，
15:19
And so that's what we'll do today.
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这便是今天我们所要做的。
15:21
TM: So let's do it. So Dan do you want to tell everyone
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托德：我们开始吧，丹，要告诉大家
15:23
about what you're going to play now?
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你将要演奏什么吗？
15:31
DE: This is "My Eagle Song."
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丹：我的“鹰之颂”。
15:35
TM: So Dan is going to play a piece of his, called "My Eagle Song".
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托德：丹将演奏他的乐曲“鹰之颂”。
15:38
In fact, this is the score for Dan's piece,
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这是他的乐谱，
15:40
completely composed by Dan in Hyperscore.
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完全由他用“超级乐谱”完成的。
15:43
So he can use his infrared tracker to go directly into Hyperscore.
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他用红外追踪器来操作软件。
15:48
He's incredibly fast at it, too, faster than I am, in fact.
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他用起软件来，出乎意料的快，事实上，比我还快呢。
15:51
(Laughter)
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丹：呜呜呀呀…… （想说些什么）
15:55
TM: He's really modest, too.
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托德：他太谦虚了，哈哈。
15:58
So he can go in Hyperscore. You start out by making melodies and rhythms.
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他使用了软件，从乐音和旋律开始，
16:04
He can place those exactly where he wants.
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他可以把它们放置在自己想要的地方。
16:06
Each one gets a color. He goes back into the composition window,
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每个元素都有色彩，回到编曲窗口，
16:09
draws the lines, places everything the way he wants to. Looking at the Hyperscore,
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画线，把这些东西放到他所想要的位置。
16:14
you can see it also, you can see where the sections are,
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看着“超级乐谱”，
16:17
something might continue for a while, change, get really crazy and then end
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你可以观察到音乐的
16:22
up with a big bang at the end.
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起承转合。
16:25
So that's the way he made his piece, and as Adam says,
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这就是他作曲的方法。正如亚当所说的，
16:28
we then figured out the best way to have him perform his piece.
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我们找到了让他演奏的最好的办法。
16:35
It's going to be looked at by this camera, analyze his movements,
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摄像头会监控丹，分析他的动作，
16:38
it's going to let Dan bring out all the different aspects of his music that he wants to.
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让他随心所欲地展示他音乐的方方面面。
16:42
And you're also going to notice a visual on the screen.
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你还会看到荧屏上的视觉特效。
16:45
We asked one of our students to look at what the camera is measuring.
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我的一位学生负责视觉采样。
16:51
But instead of making it very literal, showing you exactly
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其实这里并非是原封不动地显示相机跟踪的物体，
16:54
the camera tracing, we turned it into a graphic that shows you the basic
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我们把采集的数据转化成了影像，
16:59
movement, and shows the way it's being analyzed.
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以便显示基本的运动和分析的方法。
17:03
I think it gives an understanding of how we're picking out movement from what
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我觉得这些影像有助于大家理解我们是如何提取丹的动作。
17:07
Dan's doing, but I think it will also show you, if you look at that movement,
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如果观察他表演时的举动，
17:11
that when Dan makes music, his motions are very purposeful, very precise,
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屏幕上的影像还能展现丹的动作目的明确、精准、
17:18
very disciplined and they're also very beautiful.
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有专业素养，并且很优美。
17:21
So, in hearing this piece, as I mentioned before, the most important thing is
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正如我先前提到的，在听他的作品时，
17:26
the music's great, and it'll show you who Dan is.
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重点是音乐棒极了，它会告诉你一个真实的丹。
17:29
So, are we ready Adam?
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亚当，准备好了么？
17:31
AB: Yeah.
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亚当：好啦。
17:33
TM: OK, now Dan will play his piece "My Eagle Song" for you.
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托德：好，有请丹为大家表演他的作品“鹰之颂”。
20:01
(Applause)
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（持续热烈的掌声）
20:25
TM: Bravo.
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托德：太棒了。
20:27
(Applause)
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（掌声）
ABOUT THE SPEAKERS
Tod Machover - Composer, inventorAt MIT's Media Lab, Tod Machover creates boundary-breaking new music, often using new instruments and music technologies he has invented.
Why you should listen
Tod Machover is head of the MIT Media Lab's Hyperinstruments/Opera of the Future group. He has composed five operas and helped to develop many groundbeaking musical technologies -- including Hyperinstruments, a technology that augments musical expression for both virtuosi (from Yo-Yo Ma to Prince) and amateurs, and Hyperscore, software that allows anyone to create sophisticated, original music by using lines and colors. Many of Machover's principles about "active participation" in music are exemplified in Guitar Hero, which grew out of his lab.
Among his current projects is a new opera, Death and the Powers, complete with a musical chandelier, animatronic walls, and an army of robots. Death and the Powers premieres in Monaco in September 2009.
A recent focus of Machover's group has been on Music, Mind and Health, which marshals the power of music to promote well-being. Working with long-term patients at facilities such as Tewksbury Hospital, north of Boston, the group's goal is to develop personal musical activities that adapt to the particular skills and needs of each individual. In this way, the path to health becomes as rewarding as learning an instrument, composing a symphony, or premiering at Carnegie Hall.
Tod Machover | Speaker | TED.com
Dan Ellsey - Musician
Dan Ellsey uses Hyperscore music software and a custom-tuned musical "hyperinstrument" to write, perform and conduct his music, and to help others learn how to compose.
Why you should listen
A resident of Tewksbury Hospital in Massachusetts, Dan Ellsey has cerebral palsy and does not walk or speak. He does, however, write and play his own music, and mentor others, through a groundbreaking music system developed by MIT's Tod Machover and his team, including grad student Adam Boulanger. Working closely with this team, Ellsey helped to develop and fine-tune a head-mounted interface, tweaked to respond to his movements, that allows him to compose music and to conduct nuanced performances of his work. Hyperscore software helps Ellsey notate his musical ideas.
Ellsey's work has been performed at MIT, on the radio and at workshops around the Boston area. The Lowell Symphony Orchestra performed his piece "Our Musically" at a 2004 concert for residents of Tewksbury -- many of whom count Ellsey as a mentor in their own musical education.
Dan Ellsey | Speaker | TED.com