TEDxStanford
Mark Applebaum: The mad scientist of music
Mark Eplbaum (Mark Applebaum): Ludi muzički naučnik
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Mark Eplbam piše muziku koja krši pravila na fantastične načine, komponujući koncert za cvećara i izrađujući muzički instrument od otpada i pronađenih predmeta. Ovaj uvrnuti govor vas možda inspiriše da pretresete pravila sopstvenog stvaralačkog rada. (Snimljeno na 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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Mislio sam da će mi poskakivanje
pomoći sa nervozom,
pomoći sa nervozom,
00:22
but I'm actually having a paradoxical reaction to that,
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ali u stvari imam
paradoksalnu reakciju na to,
paradoksalnu reakciju na to,
00:25
so that was a bad idea. (Laughter)
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pa je to bila loša ideja. (Smeh)
00:27
Anyway, I was really delighted to receive the invitation
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Kako god, zaista mi je bilo drago
da primim pozivnicu
da primim pozivnicu
00:30
to present to you some of my music and some of my work
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da predstavim deo svoje muzike
i svog rada
i svog rada
00:34
as a composer, presumably because it appeals
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kao kompozitora, verovatno
zato što to odgovara
zato što to odgovara
00:37
to my well-known and abundant narcissism. (Laughter)
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mom dobro poznatom
i obilnom narcisizmu. (Smeh)
i obilnom narcisizmu. (Smeh)
00:41
And I'm not kidding, I just think we should just
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Ne šalim se; samo mislim da bi
trebalo to da kažemo
trebalo to da kažemo
00:44
say that and move forward. (Laughter)
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i krenemo napred. (Smeh)
00:47
So, but the thing is, a dilemma quickly arose,
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Stvar je u tome da se brzo javila dilema,
00:50
and that is that I'm really bored with music,
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a to je da mi je muzika stvarno dosadila
00:52
and I'm really bored with the role of the composer,
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i da mi je stvarno dosadila
uloga kompozitora,
uloga kompozitora,
00:55
and so I decided to put that idea, boredom,
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pa sam odlučio da stavim tu ideju
- dosadu -
- dosadu -
00:58
as the focus of my presentation to you today.
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u središte moje današnje prezentacije.
01:01
And I'm going to share my music with you, but I hope
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Podeliću svoju muziku sa vama,
ali se nadam
ali se nadam
01:04
that I'm going to do so in a way that tells a story,
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da ću to uraditi na način
koji priča priču,
koji priča priču,
01:06
tells a story about how I used boredom as a catalyst
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priču o tome kako sam koristio dosadu
kao katalizator
kao katalizator
01:09
for creativity and invention, and how boredom
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za kreativnost i inventivnost
i kako me je dosada
i kako me je dosada
01:12
actually forced me to change the fundamental question
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u stvari naterala da promenim
osnovno pitanje
osnovno pitanje
01:15
that I was asking in my discipline,
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koje sam postavljao u svojoj disciplini
01:17
and how boredom also, in a sense,
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i kako me je dosada u nekom smislu
01:19
pushed me towards taking on roles beyond the sort of
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pogurala da prihvatim uloge
van najtradicionalnije,
van najtradicionalnije,
01:24
most traditional, narrow definition of a composer.
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uske definicije kompozitora.
01:26
What I'd like to do today is to start with an excerpt
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Želeo bih da danas započnem odlomkom
01:29
of a piece of music at the piano.
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iz muzičkog dela na klaviru.
01:32
(Music)
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(Muzika)
01:41
Okay, I wrote that. (Laughter)
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OK. Ja sam to napisao. (Smeh)
01:44
No, it's not — (Applause) Oh, why thank you.
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Ne, nisam. (Aplauz)
Oh, pa hvala vam.
Oh, pa hvala vam.
01:46
No, no, I didn't write that.
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Ne, ne, ja to nisam napisao.
01:48
In fact, that was a piece by Beethoven,
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U stvari, to je bilo Betovenovo delo,
01:50
and so I was not functioning as a composer.
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te nisam funkcionisao kao kompozitor.
01:53
Just now I was functioning in the role of the interpreter,
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Upravo sam bio izvođač
01:56
and there I am, interpreter.
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i eto me - izvođač.
01:58
So, an interpreter of what? Of a piece of music, right?
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Izvođač čega? Muzičkog dela, zar ne?
02:00
But we can ask the question, "But is it music?"
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Međutim, možemo postaviti pitanje:
„Da li je to muzika?"
„Da li je to muzika?"
02:05
And I say this rhetorically, because of course
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Kažem ovo retorički jer, naravno,
02:06
by just about any standard we would have to concede
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prema svakom standardu se moramo složiti
02:09
that this is, of course, a piece of music,
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da je ovo, naravno, muzičko delo,
02:11
but I put this here now because,
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ali stavio sam ovo ovde sada,
02:14
just to set it in your brains for the moment,
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čisto da ga imate na umu na trenutak,
02:16
because we're going to return to this question.
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jer ćemo se vraćati na ovo pitanje.
02:18
It's going to be a kind of a refrain
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Biće to neka vrsta refrena
02:19
as we go through the presentation.
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kako budemo išli kroz prezentaciju.
02:21
So here we have this piece of music by Beethoven,
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Dakle, ovde imamo Betovenovo muzičko delo,
02:23
and my problem with it is, it's boring.
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a moj problem s njim je - dosadno je.
02:27
I mean, you — I'm just like, a hush, huh -- It's like -- (Laughter)
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Mislim, vi - ja samo - ššš, ššš -
to je kao - (Smeh)
to je kao - (Smeh)
02:33
It's Beethoven, how can you say that?
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To je Betoven.
Kako možeš da kažeš nešto tako?
02:35
No, well, I don't know, it's very familiar to me.
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Pa, ne znam. Poznato mi je.
02:37
I had to practice it as a kid, and I'm really sick of it. So -- (Laughter)
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Morao sam da ga vežbam kao dete
i muka mi je od njega, pa - (Smeh)
02:40
I would, so what I might like to try to do is to change it,
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Možda bi mi se dopalo da ga promenim,
02:43
to transform it in some ways, to personalize it,
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transformišem na neki način,
da ga učinim ličnim,
da ga učinim ličnim,
02:45
so I might take the opening, like this idea --
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pa bih mogao uzeti uvod,
kao ovu ideju -
kao ovu ideju -
02:48
(Music)
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(Muzika)
02:50
and then I might substitute -- (Music)
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a onda bih mogao da zamenim - (Muzika)
02:55
and then I might improvise on that melody
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a onda da improvizujem
02:56
that goes forward from there -- (Music)
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sa tom melodijom koja ide odatle -
03:00
(Music)
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(Muzika)
03:26
So that might be the kind of thing -- Why thank you.
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Dakle, to bi mogla biti stvar -
Oh, pa hvala.
Oh, pa hvala.
03:29
(Applause)
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(Aplauz)
03:33
That would be the kind of thing that I would do,
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To bi bilo ono što bih uradio
03:35
and it's not necessarily better than the Beethoven.
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i to ne mora da bude bolje od Betovena.
03:37
In fact, I think it's not better than it. The thing is -- (Laughter) --
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U stvari, mislim da nije bolja.
Stvar je u tome - (Smeh)
Stvar je u tome - (Smeh)
03:41
it's more interesting to me. It's less boring for me.
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da je meni interesantnija.
Manje mi je dosadna.
Manje mi je dosadna.
03:46
I'm really leaning into me, because I, because I have
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Moram se osloniti na sebe,
jer ja moram da mislim
jer ja moram da mislim
03:49
to think about what decisions I'm going to make on the fly
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o tome koje ću odluke doneti u trenutku
03:53
as that Beethoven text is running in time through my head
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dok taj Betovenov tekst teče kroz vreme
u mojoj glavi
u mojoj glavi
03:56
and I'm trying to figure out what kinds of transformations
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i ja pokušavam da shvatim
03:58
I'm going to make to it.
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kakve ću promene da primenim.
04:00
So this is an engaging enterprise for me, and
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To je, dakle, poduhvat koji me angažuje,
04:02
I've really leaned into that first person pronoun thing there,
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a zaista sam se oslonio
na zamenicu prvog lica ovde,
na zamenicu prvog lica ovde,
04:07
and now my face appears twice, so I think we can agree
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pa se sada moje lice pojavljuje dvaput,
04:09
that this is a fundamentally solipsistic enterprise. (Laughter)
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da ćemo se složiti da je ovo u osnovi
solipsističan poduhvat, (Smeh)
solipsističan poduhvat, (Smeh)
04:13
But it's an engaging one, and it's interesting to me
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ali zahteva angažovanje,
pa mi je neko vreme interesantan,
pa mi je neko vreme interesantan,
04:16
for a while, but then I get bored with it, and by it,
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ali mi i to onda dosadi,
04:18
I actually mean, the piano, because it becomes,
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a pod tim podrazumevam klavir,
zato što postane -
zato što postane -
04:21
it's this familiar instrument, it's timbral range is actually
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to je poznat instrument.
Domet boje njegovog zvuka je
Domet boje njegovog zvuka je
04:24
pretty compressed, at least when you play on the keyboard,
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u stvari prilično zbijen,
bar kada svirate na klavijaturama,
bar kada svirate na klavijaturama,
04:26
and if you're not doing things like listening to it
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osim ako ga ne slušate
04:29
after you've lit it on fire or something like that, you know.
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pošto ste ga zapalili
ili nešto slično, znate.
ili nešto slično, znate.
04:32
It gets a little bit boring, and so pretty soon
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Postane dosadnjikav
i prilično brzo se okrećem
i prilično brzo se okrećem
04:34
I go through other instruments, they become familiar,
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drugim instrumentima,
pa oni postanu poznati
pa oni postanu poznati
04:36
and eventually I find myself designing and constructing
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i na kraju zateknem sebe
da dizajniram i gradim
da dizajniram i gradim
04:38
my own instrument, and I brought one with me today,
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sopstveni instrument, a ovaj sam danas
doneo sa sobom
doneo sa sobom
04:43
and I thought I would play a little bit on it for you
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i mislio da vam malo sviram na njemu
04:46
so you can hear what it sounds like.
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da biste mogli da čujete kako zvuči.
04:48
(Music)
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(Muzika)
04:59
You gotta have doorstops, that's important. (Laughter)
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Morate da imate šarke;
to je važno. (Smeh)
to je važno. (Smeh)
05:05
I've got combs. They're the only combs that I own. (Music)
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Imam češljeve. To su jedini češljevi
koje posedujem. (Smeh)
koje posedujem. (Smeh)
05:08
They're all mounted on my instruments. (Laughter)
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Svi su montirani
na mojim instrumentima. (Smeh)
na mojim instrumentima. (Smeh)
05:11
(Music)
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(Muzika)
05:20
I can actually do all sorts of things. I can play
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Mogu da radim različite stvari;
mogu da sviram gudalom violine.
mogu da sviram gudalom violine.
05:23
with a violin bow. I don't have to use the chopsticks.
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Ne moram da koristim štapiće za jelo.
05:25
So we have this sound. (Music)
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Imamo ovaj zvuk. (Muzika)
05:33
And with a bank of live electronics,
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A sa bankom žive elektronike,
05:35
I can change the sounds radically. (Music)
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mogu radikalno da promenim zvukove.
05:39
(Music)
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(Muzika)
05:48
Like that, and like this. (Music)
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Ovako i ovako, (Muzika)
05:55
And so forth.
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i tako dalje.
05:57
So this gives you a little bit of an idea of the sound world
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Ovo vam donekle daje predstavu
o svetu zvukova
o svetu zvukova
05:59
of this instrument, which I think is quite interesting
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ovog instrumenta, za koji mislim da je
prilično interesantan,
prilično interesantan,
06:02
and it puts me in the role of the inventor, and the nice thing about —
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a što me stavlja u ulogu pronalazača,
a lepa stvar u vezi -
a lepa stvar u vezi -
06:05
This instrument is called the Mouseketeer ... (Laughter)
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Ovaj instrument se zove „Mišketar" -
(Smeh)
(Smeh)
06:09
and the cool thing about it is
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a super stvar u vezi sa tim je
06:11
I'm the world's greatest Mouseketeer player. (Laughter)
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da sam najbolji svetski svirač „Mišketara"
na svetu. (Smeh)
na svetu. (Smeh)
06:14
Okay? (Applause)
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U redu? (Aplauz)
06:16
So in that regard, this is one of the things,
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U tom pogledu, ovo je jedna stvar,
06:19
this is one of the privileges of being,
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jedna od privilegija,
06:21
and here's another role, the inventor, and by the way,
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a evo i druge uloge, izumitelja,
a uzgred budi rečeno,
a uzgred budi rečeno,
06:24
when I told you that I'm the world's greatest,
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kada sam vam rekao da sam
najbolji na svetu,
najbolji na svetu,
06:26
if you're keeping score, we've had narcissism and solipsism
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ako neko vodi evidenciju, imali smo
narcisizam i solisizam,
narcisizam i solisizam,
06:30
and now a healthy dose of egocentricism.
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a sada i zdravu dozu egocentrizma.
06:32
I know some of you are just, you know, bingo! Or, I don't know. (Laughter)
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Znam da su neki od vas rekli - bingo!
Ili, ne znam. (Smeh)
Ili, ne znam. (Smeh)
06:36
Anyway, so this is also a really enjoyable role.
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Dakle, ovo je vrlo prijatna uloga.
Treba da priznam da sam
06:41
I should concede also that I'm the world's worst Mouseketeer player,
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i najgori svetski svirač „Mišketara"
06:44
and it was this distinction that I was most worried about
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i zbog te odlike sam najviše brinuo
06:46
when I was on that prior side of the tenure divide.
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dok sam bio na prethodnoj strani
podele mesta.
podele mesta.
06:49
I'm glad I'm past that. We're not going to go into that.
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Drago mi je da se to završilo,
Nećemo više zalaziti u to.
Nećemo više zalaziti u to.
06:52
I'm crying on the inside. There are still scars.
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Plačem iznutra; još imam ožiljke.
06:55
Anyway, but I guess my point is that all of these enterprises
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Pretpostavljam da je moja poenta
da me svi ovi poduhvati okupiraju
da me svi ovi poduhvati okupiraju
06:59
are engaging to me in their multiplicity, but as I've presented them
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svojom raznovrsnošću, ali kako sam
vam ih danas i predstavio,
vam ih danas i predstavio,
07:02
to you today, they're actually solitary enterprises,
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oni su u stvari usamljeni poduhvati
07:06
and so pretty soon I want to commune with other people, and so
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te uskoro želim da komuniciram sa ljudima,
07:09
I'm delighted that in fact I get to compose works for them.
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pe sam oduševljen što mogu
da komponujem dela za njih.
da komponujem dela za njih.
07:11
I get to write, sometimes for soloists and I get to work with one person,
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Mogu pisati, nekada za soliste,
te radim sa jednom osobom,
te radim sa jednom osobom,
07:14
sometimes full orchestras, and I work with a lot of people,
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a nekada sa čitavim orkestrima,
pa radim sa puno ljudi.
pa radim sa puno ljudi.
07:18
and this is probably the capacity, the role creatively
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Ovo je verovatno kapacitet,
kreativna uloga
kreativna uloga
07:21
for which I'm probably best known professionally.
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po kojoj sam verovatno najbolje
poznat u poslu.
poznat u poslu.
07:24
Now, some of my scores as a composer look like this,
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Neki od mojih kompozitorskih tonova
izgledaju ovako,
izgledaju ovako,
07:27
and others look like this,
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drugi ovako,
07:29
and some look like this,
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a neki ovako.
07:32
and I make all of these by hand, and it's really tedious.
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Sve ih ručno zapisujem,
a to je stvarno dosadno.
a to je stvarno dosadno.
07:35
It takes a long, long time to make these scores,
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Treba puno, puno vremena
da se ovi tonovi zapišu,
da se ovi tonovi zapišu,
07:37
and right now I'm working on a piece
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a trenutno radim na delu
07:39
that's 180 pages in length,
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koje ima 180 strana.
07:41
and it's just a big chunk of my life, and I'm just pulling out hair.
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To je dobar deo mog života
i jednostavno mi dođe da počupam kosu.
i jednostavno mi dođe da počupam kosu.
07:45
I have a lot of it, and that's a good thing I suppose. (Laughter)
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Imam je puno, a to je, pretpostavljam,
dobra stvar.
dobra stvar.
07:48
So this gets really boring and really tiresome for me,
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Dakle, ovo postaje stvarno dosadno
i zamorno za mene.
i zamorno za mene.
Posle nekog vremena,
proces zapisivanja nota
proces zapisivanja nota
07:51
so after a while the process of notating is not only boring,
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nije samo dosadan,
07:54
but I actually want the notation to be more interesting,
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već u stvari poželim da zapisivanje
postane zanimljivije.
postane zanimljivije.
07:57
and so that's pushed me to do other projects like this one.
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To me je navelo da radim projekte
kao što je ovaj.
kao što je ovaj.
08:00
This is an excerpt from a score called
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Ovo je odlomak iz notnog zapisa
koji se zove
koji se zove
08:02
"The Metaphysics of Notation."
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„Metafizika zapisivanja nota".
08:05
The full score is 72 feet wide.
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Celokupni notni zapis širok je 22 metra.
08:07
It's a bunch of crazy pictographic notation.
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To je gomila ludih piktografskih
notnih zapisa.
notnih zapisa.
08:10
Let's zoom in on one section of it right here. You can see
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Hajde da uvećamo jedan deo ovde,
Možete da vidite
Možete da vidite
08:13
it's rather detailed. I do all of this with drafting templates,
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da je prilično detaljno. Sve ovo radim
preko skiciranih obrazaca,
preko skiciranih obrazaca,
08:17
with straight edges, with French curves, and by freehand,
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pravih uglova, francuskih krivih linija
i slobodnom rukom,
i slobodnom rukom,
08:20
and the 72 feet was actually split
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a tih 22 metra bilo je podeljeno
08:23
into 12 six-foot-wide panels that were installed
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na 12 ploča širine 1,8 metara
koje su postavljene
koje su postavljene
08:26
around the Cantor Arts Center Museum lobby balcony,
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oko balkona u predvorju muzeja
Centra Kantorove umetnosti,
Centra Kantorove umetnosti,
08:31
and it appeared for one year in the museum,
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a bili su izloženi godinu dana
u tom muzeju.
u tom muzeju.
08:35
and during that year, it was experienced as visual art
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Tokom te godine, doživljavani su
kao vizuelna umetnost
kao vizuelna umetnost
08:37
most of the week, except, as you can see in these pictures,
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većim delom nedelje, osim,
kao što vidite na slikama,
kao što vidite na slikama,
08:39
on Fridays, from noon til one, and only during that time,
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petkom, od podneva do jedan,
i samo tokom tog perioda
i samo tokom tog perioda
08:42
various performers came and interpreted these strange
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dolazili su različiti izvođači
i izvodili ove čudne
i izvodili ove čudne
08:46
and undefined pictographic glyphs. (Laughter)
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i nedefinisane piktografske znakove.
(Smeh)
(Smeh)
08:49
Now this was a really exciting experience for me.
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Ovo je za mene bilo
veoma uzbudljivo iskustvo.
veoma uzbudljivo iskustvo.
08:53
It was gratifying musically, but I think
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Bilo je muzički prijatno, ali mislim
08:54
the more important thing is it was exciting because I got to take on
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da je važnija stvar da je
bilo uzbudljivo jer sam preuzeo
bilo uzbudljivo jer sam preuzeo
08:57
another role, especially given that it appeared in a museum,
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drugu ulogu, posebno zato što je
izloženo u muzeju,
izloženo u muzeju,
09:00
and that is as visual artist. (Laughter)
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a to znači - vizuelni umetnik. (Smeh)
09:03
We're going to fill up the whole thing, don't worry. (Laughter)
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Popunićemo celu stvar; ne brinite.
(Smeh)
(Smeh)
09:06
I am multitudes. (Laughter)
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Ja sam mnogostruk. (Smeh)
09:08
So one of the things is that, I mean, some people
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Pa, jedna od stvari je - mislim,
neki ljudi bi rekli
neki ljudi bi rekli
09:11
would say, like, "Oh, you're being a dilettante,"
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nešto kao:
„Oh, ponašaš se kao diletant",
„Oh, ponašaš se kao diletant",
09:12
and maybe that's true. I can understand how, I mean,
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a možda je to i istina.
Mogu to da razumem
Mogu to da razumem
09:15
because I don't have a pedigree in visual art
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jer nemam diplomu iz vizuelne umetnosti
09:17
and I don't have any training, but it's just something
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i nisam prošao obuku, ali je to nešto
09:19
that I wanted to do as an extension of my composition,
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što sam želeo da uradim
kao proširenje svoje kompozicije,
kao proširenje svoje kompozicije,
09:22
as an extension of a kind of creative impulse.
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kao proširenje kreativnog impulsa.
09:24
I can understand the question, though. "But is it music?"
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Ipak, mogu da razumem pitanje:
„Ali, da li je to muzika?"
„Ali, da li je to muzika?"
09:28
I mean, there's not any traditional notation.
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Tu ne postoji tradicionalno
zapisivanje nota.
zapisivanje nota.
09:30
I can also understand that sort of implicit criticism
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Takođe mogu da razumem
i implicitnu kritiku
i implicitnu kritiku
09:32
in this piece, "S-tog," which I made when I was living in Copenhagen.
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u delu „S-tog" koje sam stvorio
dok sam živeo u Kopenhagenu.
dok sam živeo u Kopenhagenu.
09:35
I took the Copenhagen subway map and
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Uzeo sam mapu kopenhaškog metroa
09:37
I renamed all the stations to abstract musical provocations,
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i preimenovao sve stanice
u apstraktne muzičke provokacije,
u apstraktne muzičke provokacije,
09:41
and the players, who are synchronized with stopwatches,
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a izvođači, koji su sinhronizovani
sa štopericama
sa štopericama
09:43
follow the timetables, which are listed in minutes past the hour.
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prate rasporede, koji su izlistani
po minutama tokom jednog časa.
po minutama tokom jednog časa.
09:46
So this is a case of actually adapting something,
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Ovo je, dakle, slučaj adaptiranja nečega
09:49
or maybe stealing something,
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ili možda krađe nečega,
09:51
and then turning it into a musical notation.
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a zatim njegovog pretvaranja
u zapisivanje nota.
u zapisivanje nota.
09:54
Another adaptation would be this piece.
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Druga adaptacija bi bila ovo delo.
09:56
I took the idea of the wristwatch, and I turned it into a musical score.
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Uzeo sam ideju ručnog sata
i pretvorio je u muzičko delo.
i pretvorio je u muzičko delo.
09:59
I made my own faces, and had a company fabricate them,
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Napravio sam sopstvena lica
i dao kompaniji da ih proizvede,
i dao kompaniji da ih proizvede,
10:02
and the players follow these scores.
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a izvođači prate ove note.
10:04
They follow the second hands, and as they pass over
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Prate kazaljke za minute
i dok prelaze
i dok prelaze
10:07
the various symbols, the players respond musically.
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preko različitih simbola,
izvođači reaguju kroz muziku.
izvođači reaguju kroz muziku.
10:09
Here's another example from another piece,
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Evo još jednog primera dela
10:12
and then its realization.
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i njegove realizacije.
10:14
So in these two capacities, I've been scavenger,
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Dakle, u ova dva slučaja,
bio sam skupljač otpada
bio sam skupljač otpada
10:16
in the sense of taking, like, the subway map, right,
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u smislu uzimanja, recimo,
mape metroa
mape metroa
10:19
or thief maybe, and I've also been designer,
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i možda lopov, a bio sam i dizajner
10:21
in the case of making the wristwatches.
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u slučaju stvaranja ovih satova.
10:23
And once again, this is, for me, interesting.
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Ponovo, ovo je za mene bilo zanimljivo.
10:27
Another role that I like to take on is that of the performance artist.
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Još jedna uloga koju volim da preuzmem je
uloga izvođača performansa.
uloga izvođača performansa.
10:30
Some of my pieces have these kind of weird theatric elements,
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Neka od mojih dela imaju
čudne pozorišne elemente,
čudne pozorišne elemente,
10:33
and I often perform them. I want to show you a clip
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a ja ih često izvodim.
Želim da vam pokažem snimak
Želim da vam pokažem snimak
10:35
from a piece called "Echolalia."
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iz dela pod imenom „Ekolalia".
10:37
This is actually being performed by Brian McWhorter,
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Izvodi ga Brajan MekVorter,
10:40
who is an extraordinary performer.
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koji je izuzetan izvođač.
10:41
Let's watch a little bit of this, and please notice the instrumentation.
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Pogledajmo malo ovo
i molim vas, primetite instrumentaciju.
i molim vas, primetite instrumentaciju.
10:45
(Music)
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(Muzika)
11:14
Okay, I hear you were laughing nervously because
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OK, čujem da se nervozno smejete
11:15
you too could hear that the drill was a little bit sharp,
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jer ste i vi čuli da je bušilica
previše oštra;
previše oštra;
11:18
the intonation was a little questionable. (Laughter)
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intonacija je malo upitna. (Smeh)
11:20
Let's watch just another clip.
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Hajde da odgledamo još jedan snimak.
11:22
(Music)
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(Muzika)
11:32
You can see the mayhem continues, and there's, you know,
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Možete videti da se haos nastavlja.
11:35
there were no clarinets and trumpets
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Nema klarineta i truba,
11:37
and flutes and violins. Here's a piece that has
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1904
flauta i violina. Evo dela koje ima
11:39
an even more unusual, more peculiar instrumentation.
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još neobičniju, čudniju instrumentaciju.
11:41
This is "Tlön," for three conductors and no players. (Laughter)
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Ovo je „Tlön" za tri dirigenta
i bez izvođača. (Smeh)
i bez izvođača. (Smeh)
11:58
This was based on the experience of actually watching
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Bazirano je na iskustvu posmatranja
12:00
two people having a virulent argument in sign language,
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dvoje ljudi koji se žestoko svađaju
na znakovnom jeziku,
na znakovnom jeziku,
12:02
which produced no decibels to speak of,
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što ne proizvodi decibele,
12:04
but affectively, psychologically, was a very loud experience.
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ali je afektivno, psihološki,
bilo veoma glasno iskustvo.
bilo veoma glasno iskustvo.
12:07
So, yeah, I get it, with, like, the weird appliances
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Da, kontam, sa svim tim čudnim uređajima
12:11
and then the total absence of conventional instruments
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i potpunim odsustvom
konvencionalnih instrumenata
konvencionalnih instrumenata
12:15
and this glut of conductors, people might, you know,
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i gomilom dirigenata, ljudi bi se
mogli zapitati:
mogli zapitati:
12:18
wonder, yeah, "Is this music?"
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„Da li je ovo muzika?"
12:21
But let's move on to a piece where clearly I'm behaving myself,
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Hajde da nastavimo sa delom gde se
lepo ponašam,
lepo ponašam,
12:25
and that is my "Concerto for Orchestra."
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a to je moj „Koncert za orkestar".
12:27
You're going to notice a lot of conventional instruments
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Primetićete puno konvencionalnih
instrumenata
instrumenata
12:29
in this clip. (Music)
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u snimku.
12:33
(Music)
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(Muzika)
12:46
This, in fact, is not the title of this piece.
225
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U stvari, ovo nije naziv ovog dela.
12:48
I was a bit mischievous. In fact, to make it more interesting,
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Malo sam bio nestašan.
Da bi bilo interesantnije,
Da bi bilo interesantnije,
12:50
I put a space right in here, and this is the actual title of the piece.
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ostavio sam prazno mesto ovde,
a ovo je pravi naslov dela.
a ovo je pravi naslov dela.
12:55
Let's continue with that same excerpt.
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Nastavimo sa istim isečkom.
12:57
(Music)
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(Muzika)
13:07
It's better with a florist, right? (Laughter) (Music)
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Bolje je sa cvećarom, zar ne?
(Smeh) (Muzika)
(Smeh) (Muzika)
13:15
Or at least it's less boring. Let's watch a couple more clips.
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Bar je manje dosadno.
Hajde da odgledamo još par snimaka.
Hajde da odgledamo još par snimaka.
13:17
(Music)
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(Muzika)
13:31
So with all these theatric elements, this pushes me in another role,
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Sa svim pozorišnim elementima,
ovo me stavlja u još jednu ulogu,
ovo me stavlja u još jednu ulogu,
13:34
and that would be, possibly, the dramaturge.
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a to je, moguće, dramaturg.
13:37
I was playing nice. I had to write the orchestra bits, right?
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Lepo sam se ponašao. Morao sam da napišem
delove za orkestar, zar ne?
delove za orkestar, zar ne?
OK? Međutim, postojale su
i ove druge stvari, zar ne?
i ove druge stvari, zar ne?
13:42
Okay? But then there was this other stuff, right?
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13:44
There was the florist, and I can understand that,
237
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Tu je cvećar i mogu razumeti
13:46
once again, we're putting pressure on the ontology of music
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da, ponovo, stavljamo pritisak
na ontologiju muzike
na ontologiju muzike
13:49
as we know it conventionally,
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kakvu tradicionalno poznajemo.
13:52
but let's look at one last piece today I'm going to share with you.
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Pogledajmo poslednje delo za danas
koje ću podeliti sa vama.
koje ću podeliti sa vama.
13:56
This is going to be a piece called "Aphasia,"
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Ovo je delo pod nazivom „Afazija"
13:59
and it's for hand gestures synchronized to sound,
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za pokrete ruke koji su
usinhronizovani sa zvukom,
usinhronizovani sa zvukom,
14:03
and this invites yet another role, and final one
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a ovo predstavlja još jednu ulogu,
14:05
I'll share with you, which is that of the choreographer.
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poslednju koju ću podeliti sa vama,
a to je koreograf.
a to je koreograf.
14:08
And the score for the piece looks like this,
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Note za delo izgledaju ovako,
14:10
and it instructs me, the performer, to make
246
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što meni, izvođaču, daje instrukcije
14:15
various hand gestures at very specific times
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o različitim pokretima ruku
u određenim trenucima
u određenim trenucima
14:17
synchronized with an audio tape, and that audio tape
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koji su sinhronizovani sa audio trakom,
a ona je napravljena isključivo
14:20
is made up exclusively of vocal samples.
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2877
od vokalnih uzoraka.
14:23
I recorded an awesome singer,
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Usnimio sam sjajnog pevača
14:25
and I took the sound of his voice in my computer,
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i prebacio zvuk njegovog glasa
u svoj kompjuter
u svoj kompjuter
14:27
and I warped it in countless ways to come up with
252
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i izvitoperio ga na bezbrojne načine
da bih dobio
da bih dobio
14:30
the soundtrack that you're about to hear.
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snimak koji ćete čuti.
14:32
And I'll perform just an excerpt of "Aphasia" for you here. Okay?
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Izvešću samo deo „Afazije" za vas.
U redu?
U redu?
14:37
(Music)
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(Muzika)
15:16
So that gives you a little taste of that piece. (Applause)
256
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To vam daje mali uvid u to delo. (Aplauz)
15:22
Yeah, okay, that's kind of weird stuff.
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2284
Da, OK, to je malo uvrnuto.
15:24
Is it music? Here's how I want to conclude.
258
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2239
Da li je to muzika?
Evo kako želim da zaključim.
Evo kako želim da zaključim.
15:27
I've decided, ultimately, that this is the wrong question,
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Odlučio sam, na kraju, da je ovo
pogrešno pitanje,
pogrešno pitanje,
15:29
that this is not the important question.
260
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1958
da ovo nije važno pitanje.
15:31
The important question is, "Is it interesting?"
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Važno pitanje je:
„Da li je interesantno?",
„Da li je interesantno?",
15:34
And I follow this question, not worrying about "Is it music?" --
262
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2892
a ja pravim ovo pitanje, ne brinući
o tome „Da li je muzika?" -
o tome „Da li je muzika?" -
15:37
not worrying about the definition of the thing that I'm making.
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2486
o definiciji stvari koju kreiram.
15:39
I allow my creativity to push me
264
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2453
Dozvoljavam svojoj kreativnosti
15:42
in directions that are simply interesting to me,
265
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da me pogura u pravcu
koji mi je interesantan
koji mi je interesantan
15:44
and I don't worry about the likeness of the result
266
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3049
i ne brinem o tome da li rezultat liči
15:47
to some notion, some paradigm,
267
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2056
na neku ideju, paradigmu
15:49
of what music composition is supposed to be,
268
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2989
o tome šta bi muzička kompozicija
trebalo da bude
trebalo da bude
15:52
and that has actually urged me, in a sense,
269
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2443
i to me je u određenom smislu podstaklo
15:54
to take on a whole bunch of different roles,
270
939049
1735
da preuzmem gomilu različitih uloga.
15:56
and so what I want you to think about is,
271
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2135
Ono o čemu bih voleo da razmislite je
15:58
to what extent might you change the fundamental question
272
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3218
dokle biste vi mogli da promenite
16:02
in your discipline, and, okay,
273
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2723
osnovno pitanje u vašoj disciplini.
16:04
I'm going to put one extra little footnote in here,
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Staviću još jednu dodatnu belešku ovde
16:07
because, like, I realized I mentioned
275
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jer sam shvatio da sam pomenuo
16:08
some psychological defects earlier, and we also,
276
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2935
neke psihološke defekte ranije
16:11
along the way, had a fair amount of obsessive behavior,
277
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3743
i da smo usput imali priličnu količinu
opsesivnog ponašanja,
opsesivnog ponašanja,
16:15
and there was some delusional behavior and things like that,
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2161
deluzionih poremećaja i sličnih stvari,
16:17
and here I think we could say that this is an argument
279
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2981
pa mislim da bismo mogli reći
da je ovo argument
da je ovo argument
16:20
for self-loathing and a kind of schizophrenia,
280
964674
1979
za samopreziranje i vrstu šizofrenije,
16:22
at least in the popular use of the term,
281
966653
1936
bar u popularnoj upotrebi ovih termina,
16:24
and I really mean dissociative identity disorder, okay. (Laughter)
282
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2234
a stvarno mislim kad kažem
disocijativni poremećaj ličnosti.
(Smeh)
(Smeh)
16:26
Anyway, despite those perils, I would urge you
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3063
Uprkos tim opasnostima, zamolio bih vas
16:29
to think about the possibility that you might take on roles
284
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2575
da razmislite o tome
šta biste preuzeli od uloga
u vašem radu, bilo da su srodne
16:32
in your own work, whether they are neighboring
285
976461
2091
16:34
or far-flung from your professional definition.
286
978552
2498
ili daleke od vaše
profesionalne definicije.
profesionalne definicije.
16:36
And with that, I thank you very much. (Applause)
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1777
Sa tim, hvala vam. (Aplauz)
16:38
(Applause)
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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