TED2010
David Byrne: How architecture helped music evolve
大衛 伯恩: 建築如何幫助音樂進化
Filmed:
Readability: 3.8
1,675,829 views
隨著音樂事業的發展，大衛．伯恩的也從CBGB一路表演進卡內基音樂廳。他問自己：「是音樂廳塑造了音樂嗎？」從戶外的鼓樂到華格納的歌劇，到體育場的搖滾樂，大衛．伯恩探究了環境背景是如何的推動了音樂的創新。
David Byrne - Musician, artist, writer
David Byrne builds an idiosyncratic world of music, art, writing and film. Full bio
David Byrne builds an idiosyncratic world of music, art, writing and film. Full bio
Double-click the English transcript below to play the video.
00:16
This is the venue
0
1000
2000
就是這個場地，
00:18
where, as a young man,
1
3000
2000
我年輕的時候
00:20
some of the music that I wrote was first performed.
2
5000
3000
一些當時寫的音樂，最早是在這裡演出的。
00:23
It was, remarkably,
3
8000
2000
這個空間有相當
00:25
a pretty good sounding room.
4
10000
2000
好的音效。
00:27
With all the uneven walls and all the crap everywhere,
5
12000
2000
不平坦的牆面，那些雜七雜八的東西，
00:29
it actually sounded pretty good.
6
14000
2000
其實製造出很好的音效。
00:31
This is a song that was recorded there.
7
16000
3000
這首歌是在那裏錄製的。
00:34
(Music)
8
19000
2000
(音樂)
00:36
This is not Talking Heads,
9
21000
3000
這不是面部特寫，
00:39
in the picture anyway.
10
24000
2000
我是指照片裡的不是面部特寫。
00:41
(Music: "A Clean Break (Let's Work)" by Talking Heads)
11
26000
8000
(音樂：徹底決裂 (我們分手吧) 面部特寫合唱團演唱)
00:49
So the nature of the room
12
34000
2000
這個場地的特色，
00:51
meant that words could be understood.
13
36000
2000
是要讓每一個字都可以被聽到。
00:53
The lyrics of the songs could be pretty much understood.
14
38000
2000
歌詞可以被清楚的聽到。
00:55
The sound system was kind of decent.
15
40000
3000
這裡的音響系統還蠻不錯的，
00:58
And there wasn't a lot of reverberation in the room.
16
43000
3000
也沒有太多的回聲。
01:01
So the rhythms
17
46000
2000
所以音樂的節拍，
01:03
could be pretty intact too,
18
48000
2000
也相當完整，
01:05
pretty concise.
19
50000
2000
相當簡潔。
01:07
Other places around the country had similar rooms.
20
52000
2000
美國還有類似的場地。
01:09
This is Tootsie's Orchid Lounge in Nashville.
21
54000
3000
這是那什維爾的杜絲蘭花酒吧。
01:12
The music was in some ways different,
22
57000
2000
這裡的音樂不太一樣，
01:14
but in structure and form,
23
59000
3000
但就結構和形式而言，
01:17
very much the same.
24
62000
2000
其實大同小異。
01:19
The clientele behavior was very much the same too.
25
64000
3000
客人們的行為也幾乎一樣。
01:24
And so the bands at Tootsie's
26
69000
2000
所以樂團在杜絲蘭花酒吧
01:26
or at CBGB's
27
71000
2000
或是在CBGB's （註：位於紐約的酒吧，龐克音樂誕生地）
01:28
had to play loud enough --
28
73000
3000
必須演奏得夠大聲，
01:31
the volume had to be loud enough to overcome
29
76000
2000
音量要大到足以蓋過
01:33
people falling down, shouting out
30
78000
2000
人們跌倒、吶喊，
01:35
and doing whatever else they were doing.
31
80000
2000
及其他任何的聲音。
01:37
Since then, I've played other places
32
82000
2000
之後，我在一些
01:39
that are much nicer.
33
84000
2000
更好的地方表演，
01:41
I've played the Disney Hall here
34
86000
3000
迪士尼音樂廳、
01:44
and Carnegie Hall and places like that.
35
89000
3000
卡內基音樂廳等等。
01:47
And it's been very exciting.
36
92000
2000
這一切令人很興奮。
01:49
But I also noticed that sometimes the music
37
94000
2000
但是我也注意到，有時
01:51
that I had written,
38
96000
2000
我所寫好的音樂，
01:53
or was writing at the time,
39
98000
2000
或是當時正在創作的音樂，
01:55
didn't sound all that great
40
100000
2000
在某些音樂廳裡
01:57
in some of those halls.
41
102000
2000
聽起來並不是那麼的好。
01:59
We managed,
42
104000
2000
我們設法解決，
02:01
but sometimes those halls didn't seem exactly suited
43
106000
3000
但有時候那些場地完全不合適
02:04
to the music I was making
44
109000
2000
我當時正在創作的，
02:06
or had made.
45
111000
2000
或已經寫好的音樂。
02:08
So I asked myself:
46
113000
2000
我問自己：
02:10
Do I write stuff
47
115000
1000
「我是為了某個特定的場地
02:11
for specific rooms?
48
116000
2000
寫音樂嗎？
02:13
Do I have a place, a venue,
49
118000
2000
我在創作音樂時，
02:15
in mind when I write?
50
120000
2000
是否有一個特定地方在我的腦海中？」
02:17
Is that a kind of model for creativity?
51
122000
2000
「這是不是一種創造的模式？」
02:19
Do we all make things with
52
124000
2000
「是不是在我們創造的當下
02:21
a venue, a context, in mind?
53
126000
3000
心中都存有某個場地，某種背景情境？」
02:25
Okay, Africa.
54
130000
2000
好，來看看非洲。
02:27
(Music: "Wenlenga" / Various artists)
55
132000
7000
(音樂：Wenlenga，眾多藝人合唱)
02:34
Most of the popular music that we know now
56
139000
3000
許多我們所熟悉的流行音樂，
02:37
has a big part of its roots in West Africa.
57
142000
3000
有很大一部分是源自於西非。
02:40
And the music there,
58
145000
2000
那裏的音樂，
02:42
I would say, the instruments,
59
147000
2000
它的樂器，
02:44
the intricate rhythms,
60
149000
2000
複雜的節奏，
02:46
the way it's played, the setting, the context,
61
151000
3000
演奏的方式，譜曲，整首曲子的氛圍，
02:49
it's all perfect. It all works perfect.
62
154000
2000
真是太完美了! 一切都搭配的完美極了!
02:51
The music works perfectly in that setting.
63
156000
3000
這首曲子在那個場地演奏效果非常棒!
02:54
There's no big room
64
159000
2000
沒有大的室內場地
02:56
to create reverberation and confuse the rhythms.
65
161000
3000
會製造回聲，把節奏攪亂。
02:59
The instruments are loud enough
66
164000
2000
所有樂器的音量也夠大聲
03:01
that they can be heard without amplification, etc., etc.
67
166000
2000
不需要擴音都能聽得到，還有其它一些因素...。
03:03
It's no accident.
68
168000
2000
這並非偶然，
03:05
It's perfect for that particular context.
69
170000
3000
在這特定的背景情境中，這一切都無懈可擊。
03:08
And it would be a mess
70
173000
2000
但要是換到了這裡，
03:10
in a context like this. This is a gothic cathedral.
71
175000
3000
哥德式大教堂，那可就會一塌糊塗了!
03:13
(Music: "Spem In Alium" by Thomas Tallis)
72
178000
6000
(音樂："寄託的希望" 四十聲部經文歌 湯瑪斯．泰利斯 作曲)
03:19
In a gothic cathedral, this kind of music is perfect.
73
184000
3000
在哥德式大教堂裡，這樣的音樂是完美無暇的。
03:25
It doesn't change key, the notes are long,
74
190000
2000
這建築物不會改變音調，音符拉的很長，
03:27
there's almost no rhythm whatsoever,
75
192000
3000
這樣的音樂沒有強烈節奏。
03:32
and the room flatters the music.
76
197000
2000
這空間使音樂顯得更美，
03:34
It actually improves it.
77
199000
2000
其實還提升、改善了音樂。
03:36
This is the room that Bach
78
201000
2000
巴哈為了這個場地
03:38
wrote some of his music for. This is the organ.
79
203000
3000
寫了一些音樂。這是管風琴。
03:41
It's not as big as a gothic cathedral,
80
206000
2000
這裡不如哥德式大教堂那麼大，
03:43
so he can write things that are a little bit more intricate.
81
208000
3000
所以巴哈可以作一些複雜的曲子。
03:46
He can, very innovatively,
82
211000
2000
他可以盡情的創作，
03:48
actually change keys
83
213000
2000
放手改編曲調，
03:50
without risking huge dissonances.
84
215000
2000
無須擔心樂曲會過於不諧調。
03:52
(Music: "Fantasia On Jesu, Mein Freunde" by Johann S. Bach)
85
217000
8000
(音樂："幻想曲 耶穌，我的至寶" 約翰．塞巴斯蒂安．巴哈 作曲)
04:00
This is a little bit later.
86
225000
2000
這是後來，
04:02
This is the kind of rooms that Mozart wrote in.
87
227000
3000
莫札特在像這樣的空間裡創作。
04:05
I think we're in like 1770, somewhere around there.
88
230000
3000
這大約是1770年左右。
04:08
They're smaller, even less reverberant,
89
233000
2000
這樣的空間比較小，回聲也比較少。
04:10
so he can write really frilly music
90
235000
2000
因此莫札特可以寫很華麗的、
04:12
that's very intricate -- and it works.
91
237000
3000
很複雜的樂曲，而且效果很好。
04:16
(Music: "Sonata in F," KV 13, by Wolfgang A. Mozart)
92
241000
2000
(音樂："奏鳴曲 F大調" KV13 沃爾夫岡．阿瑪迪斯，莫札特作曲)
04:19
It fits the room perfectly.
93
244000
2000
這首奏鳴曲非常適合這裡。
04:25
This is La Scala.
94
250000
2000
這是史卡拉歌劇院，
04:27
It's around the same time,
95
252000
2000
同一時期的建築，
04:29
I think it was built around 1776.
96
254000
2000
大約建於1776年左右，
04:31
People in the audience in these opera houses, when they were built,
97
256000
3000
當時歌劇院裡的觀眾，
04:34
they used to yell out to one another.
98
259000
2000
會彼此呼來喚去，
04:36
They used to eat, drink and yell out to people on the stage,
99
261000
3000
會吃東西，喝飲料，還會對台上的人叫喊，
04:39
just like they do at CBGB's and places like that.
100
264000
2000
就像CBGB's的觀眾一般。
04:41
If they liked an aria,
101
266000
2000
如果他們喜歡某段詠歎調，
04:43
they would holler and suggest
102
268000
2000
就會大聲喊安可，
04:45
that it be done again as an encore,
103
270000
2000
要求再把這一段唱一遍，
04:47
not at the end of the show, but immediately.
104
272000
3000
觀眾會馬上喊安可，不是等到表演完畢。
04:50
(Laughter)
105
275000
3000
(笑聲)
04:54
And well, that was an opera experience.
106
279000
3000
嗯，那是一種聆聽歌劇的經驗。
04:57
This is the opera house that Wagner built for himself.
107
282000
3000
這是華格納為自己蓋的歌劇院。
05:01
And the size of the room is not that big.
108
286000
3000
這個空間並不是那麼的大。
05:04
It's smaller than this.
109
289000
2000
比起現在這裡小。
05:06
But Wagner made an innovation.
110
291000
2000
但是華格納有一項創舉，
05:08
He wanted a bigger band.
111
293000
2000
他想要容納更大的樂團，
05:10
He wanted a little more bombast,
112
295000
2000
想要讓音樂更華麗一些，
05:12
so he increased the size of the orchestra pit
113
297000
2000
所以他把樂池給加大了，
05:14
so he could get more low-end instruments in there.
114
299000
3000
這麼一來就可以容納更多的低音樂器。
05:17
(Music: "Lohengrin / Prelude to Act III" by Richard Wagner)
115
302000
10000
(音樂："羅安格林 / 序曲至第三幕" 華格納 作曲)
05:27
Okay.
116
312000
2000
好，
05:30
This is Carnegie Hall.
117
315000
3000
這是卡內基音樂廳。
05:33
Obviously, this kind of thing became popular.
118
318000
2000
顯然這股風潮流行起來流，
05:35
The halls got bigger. Carnegie Hall's fair-sized.
119
320000
3000
音樂廳越來越大，卡內基音樂廳就很大，
05:38
It's larger than some of the other symphony halls.
120
323000
3000
比其他音樂廳都要來的大。
05:41
And they're a lot more reverberant
121
326000
2000
比史卡拉歌劇院
05:43
than La Scala.
122
328000
2000
回聲也大得多。
05:45
Around the same,
123
330000
2000
在這個時期，
05:47
according to Alex Ross who writes for the New Yorker,
124
332000
3000
根據《紐約客》音樂評論 艾力克斯．羅斯的說法，
05:50
this kind of rule came into effect
125
335000
3000
開始有欣賞古典音樂的禮節:
05:53
that audiences had to be quiet --
126
338000
2000
觀眾必須安靜，
05:55
no more eating, drinking and yelling at the stage,
127
340000
2000
不准進食，喝飲料，也不可以對著舞台大叫，
05:57
or gossiping with one another
128
342000
2000
在表演進行時，
05:59
during the show.
129
344000
2000
不得在席間交頭接耳。
06:01
They had to be very quiet.
130
346000
2000
觀眾必須非常地安靜。
06:03
So those two things combined meant that
131
348000
2000
這兩件事結合起來意味著
06:05
a different kind of music
132
350000
2000
有一種不同的音樂，
06:07
worked best in these kind of halls.
133
352000
3000
最適合在這些音樂廳中演出。
06:10
It meant that there could be extreme dynamics,
134
355000
2000
意味著音樂的張力可以展現到極致，
06:12
which there weren't in some of these
135
357000
2000
這在其他類型的音樂
06:14
other kinds of music.
136
359000
2000
是看不到的。
06:16
Quiet parts could be heard
137
361000
2000
以前被觀眾叫喊或交頭接耳的聲音
06:18
that would have been drowned out
138
363000
2000
給淹沒的輕柔樂曲
06:20
by all the gossiping and shouting.
139
365000
2000
現在可以聽得一清二楚。
06:22
But because of the reverberation
140
367000
2000
因為回聲變大了，
06:24
in those rooms like Carnegie Hall,
141
369000
2000
像卡內基音樂廳這樣的場地，
06:26
the music had to be maybe a little less rhythmic
142
371000
2000
音樂的節奏性必須不是那麼強，
06:28
and a little more textural.
143
373000
2000
而要更注重樂曲的整體諧和。
06:30
(Music: "Symphony No. 8 in E Flat Major" by Gustav Mahler)
144
375000
3000
(音樂：" 降E大調第八號交響曲 「千人」" 馬勒 作曲)
06:33
This is Mahler.
145
378000
2000
這是馬勒，
06:36
It looks like Bob Dylan, but it's Mahler.
146
381000
2000
看起來像巴布狄倫，但是是馬勒，
06:41
That was Bob's last record, yeah.
147
386000
3000
對啦，是巴布狄倫最後一次錄音，沒錯！
06:44
(Laughter)
148
389000
2000
(笑聲)
06:47
Popular music, coming along at the same time.
149
392000
3000
同一時期，流行音樂興起了，
06:50
This is a jazz band.
150
395000
2000
這是一個爵士樂團
06:52
According to Scott Joplin, the bands were playing
151
397000
3000
斯科特 · 喬普林說當他們的樂團
06:55
on riverboats and clubs.
152
400000
2000
在船上及俱樂部裡表演時，
06:57
Again, it's noisy. They're playing for dancers.
153
402000
2000
這些場地也是很吵雜。他們演奏的對象是舞客。
06:59
There's certain sections of the song -- the songs had different sections
154
404000
3000
舞客們非常喜愛樂曲裡的某一段，
07:02
that the dancers really liked.
155
407000
2000
許多樂曲裡的不同的片段，
07:04
And they'd say, "Play that part again."
156
409000
2000
舞客會說：「那一段再來一遍吧。」
07:06
Well, there's only so many times
157
411000
2000
嗯，同樣的片段，
07:08
you can play the same section of a song over and over again for the dancers.
158
413000
3000
你頂多只能重複表演個幾次，
07:11
So the bands started to improvise new melodies.
159
416000
3000
所以樂團開始臨場即興創作新的旋律，
07:14
And a new form of music was born.
160
419000
2000
一種新的音樂風格誕生了。
07:16
(Music: "Royal Garden Blues" by W.C. Handy / Ethel Waters)
161
421000
10000
(音樂："皇家花園藍調曲" W.C.韓第 / 艾索華特斯 演出)
07:26
These are played mainly in small rooms.
162
431000
3000
這種新的音樂多半是在小場地表演。
07:30
People are dancing, shouting and drinking.
163
435000
2000
觀眾會跳舞，叫喊，喝酒，
07:32
So the music has to be loud enough
164
437000
2000
所以音樂必須要夠大聲，
07:34
to be heard above that.
165
439000
2000
大過其他所有的聲音，
07:36
Same thing goes true for -- that's the beginning of the century --
166
441000
3000
二十世紀初的音樂皆然。
07:39
for the whole of 20th-century popular music,
167
444000
3000
整個二十世紀的流行音樂—
07:42
whether it's rock or Latin music or whatever.
168
447000
2000
不論是搖滾、拉丁，或其他類型的音樂，
07:44
[Live music] doesn't really change that much.
169
449000
3000
都沒有多大的改變，
07:47
It changes about a third of the way into the 20th century,
170
452000
3000
一直到了30年代，開始有了變化，
07:50
when this became
171
455000
3000
收音機變成了
07:53
one of the primary venues for music.
172
458000
3000
演奏的主要場地之一，
07:56
And this was one way
173
461000
2000
麥克風成為
07:58
that the music got there.
174
463000
2000
音樂傳送的方式。
08:00
Microphones enabled singers, in particular,
175
465000
3000
麥克風讓音樂家和作曲家
08:03
and musicians and composers,
176
468000
2000
尤其是歌手，
08:05
to completely change the kind of music
177
470000
2000
完完全全的改變了
08:07
that they were writing.
178
472000
2000
他們當時所寫的音樂的類型。
08:09
So far, a lot of the stuff that was on the radio was live music,
179
474000
3000
這個時期，收音機播放的多是現場演奏的音樂，
08:12
but singers, like Frank Sinatra,
180
477000
3000
但是歌手們，像法蘭克辛納屈，
08:15
could use the mic
181
480000
2000
可以用麥克風
08:17
and do things
182
482000
2000
來表現一些在沒有麥克風之前
08:19
that they could never do without a microphone.
183
484000
3000
是不可能辦到的演唱技巧。
08:22
Other singers after him
184
487000
2000
法蘭克辛納屈之後的歌手，
08:24
went even further.
185
489000
2000
把麥克風更發揚光大。
08:26
(Music: "My Funny Valentine" by Chet Baker)
186
491000
7000
(音樂："我可笑的情人" 查特．貝克 演唱)
08:33
This is Chet Baker.
187
498000
2000
這是查特．貝克，
08:35
And this kind of thing
188
500000
2000
留聲機這樣的機器，
08:37
would have been impossible without a microphone.
189
502000
2000
沒有麥克風是不可能的，
08:39
It would have been impossible without recorded music as well.
190
504000
3000
要是沒有錄製的音樂也是不可能的。
08:42
And he's singing right into your ear.
191
507000
2000
這就像查特．貝克正在你的耳邊唱歌，
08:44
He's whispering into your ears.
192
509000
2000
就像他正在你的耳邊輕柔的唱歌。
08:46
The effect is just electric.
193
511000
2000
感覺好像觸電一樣，
08:48
It's like the guy is sitting next to you,
194
513000
2000
就像他就坐在你旁邊，
08:50
whispering who knows what into your ear.
195
515000
3000
對著你的耳朵輕聲細語。
08:55
So at this point, music diverged.
196
520000
2000
這時音樂發展有了新的走向。
08:57
There's live music,
197
522000
2000
有現場音樂，
08:59
and there's recorded music.
198
524000
2000
有錄音音樂，
09:01
And they no longer have to be exactly the same.
199
526000
3000
現場音樂和錄音音樂不必完全一樣。
09:04
Now there's venues like this, a discotheque,
200
529000
3000
後來迪斯科舞廳出現了，
09:07
and there's jukeboxes in bars,
201
532000
2000
酒吧裡有點唱機，
09:09
where you don't even need to have a band.
202
534000
2000
在這些地方甚至不需要樂團。
09:11
There doesn't need to be any
203
536000
2000
這些地方不再需要
09:13
live performing musicians whatsoever,
204
538000
3000
現場表演的樂手了。
09:16
and the sound systems are good.
205
541000
3000
音響系統也很棒。
09:19
People began to make music
206
544000
2000
歌手開始針對迪斯科
09:21
specifically for discos
207
546000
3000
及音響系統
09:24
and for those sound systems.
208
549000
2000
來創作音樂。
09:26
And, as with jazz,
209
551000
3000
就像爵士樂一樣，
09:29
the dancers liked certain sections
210
554000
3000
這些舞客也特別喜歡
09:32
more than they did others.
211
557000
2000
曲子裡的某一段，
09:34
So the early hip-hop guys would loop certain sections.
212
559000
3000
所以早期的嘻哈饒舌歌手會一直重複某一個部分。
09:37
(Music: "Rapper's Delight" by The Sugarhill Gang)
213
562000
8000
(音樂："說唱樂手的樂趣" 糖山幫 演唱)
09:45
The MC would improvise lyrics
214
570000
2000
饒舌歌手會現場即興創作歌詞，
09:47
in the same way that the jazz players would improvise melodies.
215
572000
3000
就像爵士樂手即興創作新旋律一般。
09:50
And another new form of music was born.
216
575000
3000
因此，一種新的音樂形式誕生了。
09:54
Live performance, when it was incredibly successful,
217
579000
3000
當時非常成功的現場音樂表演，
09:57
ended up in what is probably, acoustically,
218
582000
3000
來到了可能是音效、
10:00
the worst sounding venues on the planet:
219
585000
3000
音響系統最糟的場地，
10:03
sports stadiums,
220
588000
2000
像體育場、
10:05
basketball arenas and hockey arenas.
221
590000
3000
籃球場、及曲棍球場。
10:08
Musicians who ended up there did the best they could.
222
593000
2000
在這些場地表演的樂手們可是卯足了全力，
10:10
They wrote what is now called arena rock,
223
595000
2000
創作出體育館搖滾樂，
10:12
which is medium-speed ballads.
224
597000
2000
是一種不快不慢的歌曲。
10:14
(Music: "I Still Haven't Found What I'm Looking For" by U2)
225
599000
8000
(音樂："我仍未找到我所找尋的" U2 演唱)
10:22
They did the best they could
226
607000
2000
以體育館搖滾樂這種音樂類型而言，
10:24
given that this is what they're writing for.
227
609000
3000
他們表現的非常好，
10:27
The tempos are medium. It sounds big.
228
612000
3000
節奏不疾不徐，聲音很大。
10:30
It's more a social situation
229
615000
2000
這比較像是一個社交場合，
10:32
than a musical situation.
230
617000
2000
反而不像是音樂場合。
10:34
And in some ways, the music
231
619000
2000
而且從某些角度來看，他們創作的音樂，
10:36
that they're writing for this place
232
621000
2000
在體育館這一類場地
10:38
works perfectly.
233
623000
2000
表演起來非常的棒。
10:41
So there's more new venues.
234
626000
3000
還有更新的場地，
10:44
One of the new ones is the automobile.
235
629000
2000
車子是其中之一。
10:46
I grew up with a radio in a car.
236
631000
2000
我成長的過程中，車子裡有收音機。
10:48
But now that's evolved into something else.
237
633000
2000
但是現在已經演進成新的東西，
10:50
The car is a whole venue.
238
635000
2000
這輛車是自成一格音樂場地。
10:52
(Music: "Who U Wit" by Lil' Jon & the East Side Boyz)
239
637000
5000
(音樂："你跟誰" 力．喬恩 & 東城男孩 演出)
10:57
The music that, I would say, is written
240
642000
3000
我認為這首歌是專門為了
11:00
for automobile sound systems
241
645000
2000
汽車音響而寫的，
11:02
works perfectly on it.
242
647000
2000
而且在汽車裡播放效果非棒。
11:04
It might not be what you want to listen to at home,
243
649000
3000
你不會想在家裡聽這樣的音樂，
11:07
but it works great in the car --
244
652000
2000
但在汽車裡聽起來很棒，
11:09
has a huge frequency spectrum,
245
654000
3000
有很廣的振動頻率範圍，
11:12
you know, big bass and high-end
246
657000
2000
有重低音也有高音，
11:14
and the voice kind of stuck in the middle.
247
659000
3000
歌手的聲音正好在中間。
11:17
Automobile music, you can share with your friends.
248
662000
3000
汽車音樂可以和朋友們一起聽。
11:21
There's one other kind of new venue,
249
666000
2000
而有另一種新的音樂演出場地：
11:23
the private MP3 player.
250
668000
3000
MP3播放器。
11:26
Presumably, this is just for Christian music.
251
671000
2000
播放的很可能是基督教音樂。
11:28
(Laughter)
252
673000
3000
(笑聲)
11:34
And in some ways it's like Carnegie Hall,
253
679000
3000
從某些方面來看，MP3就像卡內基音樂廳，
11:37
or when the audience had to hush up,
254
682000
2000
你必須安靜下來，
11:39
because you can now hear every single detail.
255
684000
3000
每一個細節都能聽得清清楚楚。
11:42
In other ways, it's more like the West African music
256
687000
2000
而從另一方面來看，MP3又更像西非音樂，
11:44
because if the music in an MP3 player gets too quiet,
257
689000
3000
當你聽MP3，音樂變小聲時，
11:47
you turn it up, and the next minute,
258
692000
2000
你把音量調大聲，然後
11:49
your ears are blasted out by a louder passage.
259
694000
3000
音樂大聲到好像在轟炸你的耳朵。
11:52
So that doesn't really work.
260
697000
2000
音樂忽小忽大是不行的。
11:54
I think pop music, mainly,
261
699000
2000
我認為在某種程度上，
11:56
it's written today,
262
701000
2000
現在流行音樂的創作，
11:58
to some extent, is written for these kind of players,
263
703000
3000
主要是為了像MP3這類的播放器，
12:01
for this kind of personal experience
264
706000
2000
是為了像這樣個人化的聆聽經驗而寫的，
12:03
where you can hear extreme detail,
265
708000
2000
你可以聽到非常細微的細節，
12:05
but the dynamic doesn't change that much.
266
710000
3000
但是音樂還是張力十足。
12:08
So I asked myself:
267
713000
3000
所以我問我自己：
12:11
Okay, is this
268
716000
2000
「我們這樣的改變、適應，
12:13
a model for creation,
269
718000
2000
這究竟是不是
12:15
this adaptation that we do?
270
720000
3000
一種創作的模式？
12:18
And does it happen anywhere else?
271
723000
2000
這是否也發生在其他的領域？」
12:20
Well, according to David Attenborough and some other people,
272
725000
3000
大衛·艾登伯祿及一些人認為
12:23
birds do it too --
273
728000
2000
鳥類也有同樣的行為。
12:25
that the birds in the canopy,
274
730000
3000
在樹葉濃密的樹冠層
12:28
where the foliage is dense,
275
733000
2000
生活的鳥類，
12:30
their calls tend to be
276
735000
2000
聲調往往較高、
12:32
high-pitched, short and repetitive.
277
737000
3000
叫聲短促且重複。
12:36
And the birds on the floor
278
741000
2000
住在森林地面的鳥類
12:38
tend to have lower pitched calls,
279
743000
2000
叫聲則較低沉，
12:40
so that they don't get distorted
280
745000
2000
這麼一來，當他們的叫聲在森林裡傳送時，
12:42
when they bounce off the forest floor.
281
747000
3000
聲音才不至於變調、失真。
12:45
And birds like this Savannah sparrow,
282
750000
3000
像稀樹草鵐這類的鳥，
12:49
they tend to have a buzzing
283
754000
2000
叫聲是持續的
12:51
(Sound clip: Savannah sparrow song)
284
756000
2000
(聲音：稀樹草鵐鳴叫聲)
12:53
type call.
285
758000
2000
一種低鳴聲。
12:55
And it turns out that
286
760000
3000
結果聽起來
12:58
a sound like this
287
763000
2000
像是這樣，
13:00
is the most energy efficient and practical way
288
765000
3000
這是高效率又聰明的
13:03
to transmit their call
289
768000
3000
聲音傳送方法，
13:06
across the fields and savannahs.
290
771000
3000
可以穿越廣闊的原野，傳達給其它的稀樹草鵐。
13:10
Other birds, like this tanager,
291
775000
3000
其它的鳥，像唐納雀，
13:13
have adapted within the same species.
292
778000
3000
在同類中也有這種改變、適應的例子發生。
13:16
The tananger on the East Coast of the United States,
293
781000
2000
美國東岸
13:18
where the forests are a little denser,
294
783000
2000
森林較濃密，
13:20
has one kind of call,
295
785000
2000
這裡的唐納雀有一種叫聲；
13:22
and the tananger on the other side, on the west
296
787000
3000
而西岸的唐納雀
13:25
(Sound clip: Scarlet tanager song)
297
790000
2000
(聲音：緋紅風琴鳥鳴叫聲)
13:27
has a different kind of call.
298
792000
3000
叫聲則不一樣。
13:30
(Sound clip: Scarlet tanager song)
299
795000
3000
(聲音：緋紅風琴鳥鳴叫聲)
13:35
So birds do it too.
300
800000
3000
鳥類也會因適應環境而改變叫聲。
13:38
And I thought:
301
803000
2000
我想：
13:40
Well, if this is a model for creation,
302
805000
3000
「這是否是一種創作的模式；
13:43
if we make music,
303
808000
2000
是否我們創作音樂時，
13:45
primarily the form at least,
304
810000
3000
根本的考量就是，最起碼音樂的形式
13:48
to fit these contexts,
305
813000
2000
要完全合適表演場地的背景環境？
13:50
and if we make art to fit gallery walls or museum walls,
306
815000
3000
是否埋首藝術創作時，我們想著作品得適合美術館的牆？
13:53
and if we write software to fit existing operating systems,
307
818000
3000
是否設計軟體時，我們想著如何相容於在現有的作業系統？
13:58
is that how it works?
308
823000
3000
這是不是我們創作時的心理狀態？」
14:01
Yeah. I think it's evolutionary.
309
826000
2000
是的，在我看來，這是一種進化，
14:03
It's adaptive.
310
828000
2000
音樂發展的適應性，
14:05
But the pleasure and the passion and the joy
311
830000
2000
可是創作音樂的快樂、熱情和喜悅
14:07
is still there.
312
832000
2000
仍然在那兒。
14:10
This is a reverse view of things
313
835000
2000
從傳統浪漫的觀點來看，
14:12
from the kind of traditional Romantic view.
314
837000
2000
這是相反的看法，
14:14
The Romantic view is that
315
839000
2000
傳統浪漫的觀點認為
14:16
first comes the passion
316
841000
2000
音樂創作首先有源自於音樂家的熱情，
14:18
and then the outpouring of emotion,
317
843000
2000
將其湧現的情感傾注其間，
14:20
and then somehow it gets shaped into something.
318
845000
3000
音樂作品隨之成形。
14:23
And I'm saying,
319
848000
2000
而我認為，
14:25
well, the passion's still there,
320
850000
2000
創作的熱情始終都在，
14:27
but the vessel
321
852000
2000
而要承接
14:29
that it's going to be injected into and poured into,
322
854000
3000
這股熱情的作品，
14:32
that is instinctively and intuitively
323
857000
2000
早已直覺地
14:34
created first.
324
859000
2000
被創造出來。
14:36
We already know where that passion is going.
325
861000
3000
那一股創作的熱情始終都在，
14:43
But this conflict of views is kind of interesting.
326
868000
3000
這兩種相互衝突的觀點其實蠻有趣的。
14:46
The writer,
327
871000
2000
作者
14:48
Thomas Frank,
328
873000
2000
湯瑪斯‧法蘭克
14:50
says that
329
875000
2000
說：
14:52
this might be a kind of explanation
330
877000
2000
有一種解釋可以說明，
14:54
why some voters vote
331
879000
2000
為什麼許多
14:56
against their best interests,
332
881000
2000
像我們這樣的選民
14:58
that voters, like a lot of us,
333
883000
3000
會把票投給那些
15:01
assume, that if they hear something that sounds like it's sincere,
334
886000
3000
聽起來好像很誠懇，
15:04
that it's coming from the gut, that it's passionate,
335
889000
2000
像是發自內心、熱情激昂，好像比較真實的候選人，
15:06
that it's more authentic.
336
891000
2000
而不是投給對自己有最大利益的候選人，
15:08
And they'll vote for that.
337
893000
2000
人們會把票投給那樣的人。
15:10
So that, if somebody can fake sincerity,
338
895000
2000
這麼一來，如果某個人裝的很誠懇，
15:12
if they can fake passion,
339
897000
3000
裝的滿腔熱情，
15:15
they stand a better chance
340
900000
2000
那麼當選的機會
15:17
of being selected in that way,
341
902000
3000
就更大了，
15:21
which seems a little dangerous.
342
906000
2000
這樣似乎有點危險。
15:25
I'm saying the two, the passion, the joy,
343
910000
3000
我的意思是：熱情與喜悅這兩者
15:28
are not mutually exclusive.
344
913000
2000
並不是互相排斥的。
15:30
Maybe what the world needs now is for us to realize
345
915000
3000
或許現在我們最需要的是要瞭解的是，
15:33
that we are like the birds.
346
918000
2000
我們也像鳥兒一樣，
15:35
We adapt.
347
920000
2000
我們適應環境，
15:37
We sing.
348
922000
2000
我們唱歌；
15:39
And like the birds, the joy is still there,
349
924000
2000
而且也像鳥兒一樣，那一份喜悅始終都在，
15:41
even though we have changed what we do
350
926000
3000
就算我們必須改變
15:44
to fit the context.
351
929000
2000
以適應環境。
15:46
Thank you very much.
352
931000
2000
非常謝謝您！
15:48
(Applause)
353
933000
4000
(掌聲)
ABOUT THE SPEAKER
David Byrne - Musician, artist, writerDavid Byrne builds an idiosyncratic world of music, art, writing and film.
Why you should listen
Musician, author, filmmaker, curator, conservationist, digital music theorist, bicycle advocate, urban designer, visual artist, humanist ... David Byrne has many ways of expressing himself -- all of them heartfelt, authentic and thought-provoking.
From his groundbreaking recording career, first with Talking Heads and then as a solo artist and collaborator, to his recent use of digital media to connnect his creations to the world, he has been meshing art and technology to create jaw-dropping, soulful masterpieces that tell a story, and often invoke his audience to create some masterpieces of their own. In a recent art installation, Playing the Building, Byrne transformed an empty building into a musical instrument, and then invited visitors to play it.
His book Bicycle Diaries is a journal of what he thought and experienced while cycling through the cities of the world. And his 2012 book How Music Works expands on his 2010 TEDTalk to imagine how music is shaped by its time and place.
In David Byrne's 2010 TEDTalk, the image of CBGB comes from Joseph O. Holmes' CBGB series >>
David Byrne | Speaker | TED.com