The mad scientist of music
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0:03 - 0:06I thought if I skipped it might help my nerves,
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0:06 - 0:09but I'm actually having a paradoxical reaction to that,
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0:09 - 0:11so that was a bad idea. (Laughter)
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0:11 - 0:15Anyway, I was really delighted to receive the invitation
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0:15 - 0:19to present to you some of my music and some of my work
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0:19 - 0:22as a composer, presumably because it appeals
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0:22 - 0:26to my well-known and abundant narcissism. (Laughter)
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0:26 - 0:28And I'm not kidding, I just think we should just
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0:28 - 0:32say that and move forward. (Laughter)
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0:32 - 0:35So, but the thing is, a dilemma quickly arose,
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0:35 - 0:37and that is that I'm really bored with music,
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0:37 - 0:40and I'm really bored with the role of the composer,
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0:40 - 0:43and so I decided to put that idea, boredom,
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0:43 - 0:46as the focus of my presentation to you today.
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0:46 - 0:48And I'm going to share my music with you, but I hope
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0:48 - 0:51that I'm going to do so in a way that tells a story,
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0:51 - 0:54tells a story about how I used boredom as a catalyst
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0:54 - 0:57for creativity and invention, and how boredom
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0:57 - 1:00actually forced me to change the fundamental question
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1:00 - 1:02that I was asking in my discipline,
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1:02 - 1:04and how boredom also, in a sense,
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1:04 - 1:08pushed me towards taking on roles beyond the sort of
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1:08 - 1:11most traditional, narrow definition of a composer.
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1:11 - 1:13What I'd like to do today is to start with an excerpt
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1:13 - 1:16of a piece of music at the piano.
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1:16 - 1:26(Music)
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1:26 - 1:29Okay, I wrote that. (Laughter)
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1:29 - 1:31No, it's not — (Applause) Oh, why thank you.
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1:31 - 1:32No, no, I didn't write that.
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1:32 - 1:35In fact, that was a piece by Beethoven,
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1:35 - 1:37and so I was not functioning as a composer.
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1:37 - 1:40Just now I was functioning in the role of the interpreter,
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1:40 - 1:42and there I am, interpreter.
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1:42 - 1:45So, an interpreter of what? Of a piece of music, right?
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1:45 - 1:49But we can ask the question, "But is it music?"
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1:49 - 1:51And I say this rhetorically, because of course
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1:51 - 1:54by just about any standard we would have to concede
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1:54 - 1:56that this is, of course, a piece of music,
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1:56 - 1:58but I put this here now because,
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1:58 - 2:00just to set it in your brains for the moment,
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2:00 - 2:02because we're going to return to this question.
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2:02 - 2:04It's going to be a kind of a refrain
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2:04 - 2:06as we go through the presentation.
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2:06 - 2:08So here we have this piece of music by Beethoven,
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2:08 - 2:11and my problem with it is, it's boring.
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2:11 - 2:18I mean, you — I'm just like, a hush, huh -- It's like -- (Laughter)
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2:18 - 2:20It's Beethoven, how can you say that?
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2:20 - 2:22No, well, I don't know, it's very familiar to me.
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2:22 - 2:25I had to practice it as a kid, and I'm really sick of it. So -- (Laughter)
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2:25 - 2:27I would, so what I might like to try to do is to change it,
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2:27 - 2:30to transform it in some ways, to personalize it,
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2:30 - 2:32so I might take the opening, like this idea --
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2:32 - 2:35(Music)
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2:35 - 2:39and then I might substitute -- (Music)
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2:39 - 2:41and then I might improvise on that melody
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2:41 - 2:45that goes forward from there -- (Music)
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2:45 - 3:11(Music)
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3:11 - 3:14So that might be the kind of thing -- Why thank you.
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3:14 - 3:17(Applause)
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3:17 - 3:20That would be the kind of thing that I would do,
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3:20 - 3:22and it's not necessarily better than the Beethoven.
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3:22 - 3:25In fact, I think it's not better than it. The thing is -- (Laughter) --
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3:25 - 3:31it's more interesting to me. It's less boring for me.
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3:31 - 3:34I'm really leaning into me, because I, because I have
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3:34 - 3:37to think about what decisions I'm going to make on the fly
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3:37 - 3:41as that Beethoven text is running in time through my head
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3:41 - 3:43and I'm trying to figure out what kinds of transformations
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3:43 - 3:44I'm going to make to it.
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3:44 - 3:47So this is an engaging enterprise for me, and
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3:47 - 3:52I've really leaned into that first person pronoun thing there,
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3:52 - 3:54and now my face appears twice, so I think we can agree
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3:54 - 3:58that this is a fundamentally solipsistic enterprise. (Laughter)
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3:58 - 4:00But it's an engaging one, and it's interesting to me
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4:00 - 4:03for a while, but then I get bored with it, and by it,
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4:03 - 4:05I actually mean, the piano, because it becomes,
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4:05 - 4:08it's this familiar instrument, it's timbral range is actually
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4:08 - 4:11pretty compressed, at least when you play on the keyboard,
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4:11 - 4:14and if you're not doing things like listening to it
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4:14 - 4:16after you've lit it on fire or something like that, you know.
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4:16 - 4:18It gets a little bit boring, and so pretty soon
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4:18 - 4:20I go through other instruments, they become familiar,
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4:20 - 4:23and eventually I find myself designing and constructing
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4:23 - 4:27my own instrument, and I brought one with me today,
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4:27 - 4:30and I thought I would play a little bit on it for you
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4:30 - 4:32so you can hear what it sounds like.
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4:32 - 4:44(Music)
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4:44 - 4:50You gotta have doorstops, that's important. (Laughter)
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4:50 - 4:53I've got combs. They're the only combs that I own. (Music)
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4:53 - 4:56They're all mounted on my instruments. (Laughter)
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4:56 - 5:05(Music)
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5:05 - 5:07I can actually do all sorts of things. I can play
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5:07 - 5:10with a violin bow. I don't have to use the chopsticks.
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5:10 - 5:18So we have this sound. (Music)
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5:18 - 5:20And with a bank of live electronics,
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5:20 - 5:24I can change the sounds radically. (Music)
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5:24 - 5:33(Music)
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5:33 - 5:39Like that, and like this. (Music)
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5:39 - 5:41And so forth.
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5:41 - 5:44So this gives you a little bit of an idea of the sound world
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5:44 - 5:46of this instrument, which I think is quite interesting
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5:46 - 5:50and it puts me in the role of the inventor, and the nice thing about —
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5:50 - 5:53This instrument is called the Mouseketeer ... (Laughter)
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5:53 - 5:55and the cool thing about it is
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5:55 - 5:59I'm the world's greatest Mouseketeer player. (Laughter)
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5:59 - 6:01Okay? (Applause)
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6:01 - 6:04So in that regard, this is one of the things,
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6:04 - 6:06this is one of the privileges of being,
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6:06 - 6:09and here's another role, the inventor, and by the way,
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6:09 - 6:11when I told you that I'm the world's greatest,
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6:11 - 6:15if you're keeping score, we've had narcissism and solipsism
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6:15 - 6:17and now a healthy dose of egocentricism.
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6:17 - 6:20I know some of you are just, you know, bingo! Or, I don't know. (Laughter)
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6:20 - 6:26Anyway, so this is also a really enjoyable role.
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6:26 - 6:29I should concede also that I'm the world's worst Mouseketeer player,
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6:29 - 6:31and it was this distinction that I was most worried about
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6:31 - 6:34when I was on that prior side of the tenure divide.
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6:34 - 6:36I'm glad I'm past that. We're not going to go into that.
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6:36 - 6:39I'm crying on the inside. There are still scars.
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6:39 - 6:43Anyway, but I guess my point is that all of these enterprises
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6:43 - 6:47are engaging to me in their multiplicity, but as I've presented them
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6:47 - 6:50to you today, they're actually solitary enterprises,
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6:50 - 6:53and so pretty soon I want to commune with other people, and so
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6:53 - 6:56I'm delighted that in fact I get to compose works for them.
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6:56 - 6:59I get to write, sometimes for soloists and I get to work with one person,
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6:59 - 7:02sometimes full orchestras, and I work with a lot of people,
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7:02 - 7:06and this is probably the capacity, the role creatively
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7:06 - 7:09for which I'm probably best known professionally.
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7:09 - 7:12Now, some of my scores as a composer look like this,
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7:12 - 7:14and others look like this,
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7:14 - 7:16and some look like this,
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7:16 - 7:19and I make all of these by hand, and it's really tedious.
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7:19 - 7:22It takes a long, long time to make these scores,
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7:22 - 7:24and right now I'm working on a piece
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7:24 - 7:26that's 180 pages in length,
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7:26 - 7:30and it's just a big chunk of my life, and I'm just pulling out hair.
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7:30 - 7:32I have a lot of it, and that's a good thing I suppose. (Laughter)
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7:32 - 7:36So this gets really boring and really tiresome for me,
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7:36 - 7:39so after a while the process of notating is not only boring,
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7:39 - 7:42but I actually want the notation to be more interesting,
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7:42 - 7:45and so that's pushed me to do other projects like this one.
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7:45 - 7:47This is an excerpt from a score called
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7:47 - 7:49"The Metaphysics of Notation."
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7:49 - 7:52The full score is 72 feet wide.
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7:52 - 7:54It's a bunch of crazy pictographic notation.
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7:54 - 7:57Let's zoom in on one section of it right here. You can see
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7:57 - 8:01it's rather detailed. I do all of this with drafting templates,
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8:01 - 8:05with straight edges, with French curves, and by freehand,
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8:05 - 8:07and the 72 feet was actually split
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8:07 - 8:10into 12 six-foot-wide panels that were installed
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8:10 - 8:15around the Cantor Arts Center Museum lobby balcony,
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8:15 - 8:19and it appeared for one year in the museum,
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8:19 - 8:22and during that year, it was experienced as visual art
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8:22 - 8:24most of the week, except, as you can see in these pictures,
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8:24 - 8:27on Fridays, from noon til one, and only during that time,
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8:27 - 8:30various performers came and interpreted these strange
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8:30 - 8:34and undefined pictographic glyphs. (Laughter)
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8:34 - 8:37Now this was a really exciting experience for me.
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8:37 - 8:39It was gratifying musically, but I think
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8:39 - 8:42the more important thing is it was exciting because I got to take on
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8:42 - 8:44another role, especially given that it appeared in a museum,
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8:44 - 8:48and that is as visual artist. (Laughter)
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8:48 - 8:50We're going to fill up the whole thing, don't worry. (Laughter)
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8:50 - 8:52I am multitudes. (Laughter)
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8:52 - 8:55So one of the things is that, I mean, some people
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8:55 - 8:57would say, like, "Oh, you're being a dilettante,"
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8:57 - 9:00and maybe that's true. I can understand how, I mean,
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9:00 - 9:02because I don't have a pedigree in visual art
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9:02 - 9:04and I don't have any training, but it's just something
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9:04 - 9:06that I wanted to do as an extension of my composition,
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9:06 - 9:09as an extension of a kind of creative impulse.
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9:09 - 9:12I can understand the question, though. "But is it music?"
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9:12 - 9:14I mean, there's not any traditional notation.
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9:14 - 9:17I can also understand that sort of implicit criticism
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9:17 - 9:20in this piece, "S-tog," which I made when I was living in Copenhagen.
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9:20 - 9:22I took the Copenhagen subway map and
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9:22 - 9:25I renamed all the stations to abstract musical provocations,
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9:25 - 9:28and the players, who are synchronized with stopwatches,
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9:28 - 9:31follow the timetables, which are listed in minutes past the hour.
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9:31 - 9:34So this is a case of actually adapting something,
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9:34 - 9:36or maybe stealing something,
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9:36 - 9:38and then turning it into a musical notation.
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9:38 - 9:40Another adaptation would be this piece.
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9:40 - 9:44I took the idea of the wristwatch, and I turned it into a musical score.
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9:44 - 9:47I made my own faces, and had a company fabricate them,
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9:47 - 9:49and the players follow these scores.
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9:49 - 9:51They follow the second hands, and as they pass over
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9:51 - 9:54the various symbols, the players respond musically.
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9:54 - 9:56Here's another example from another piece,
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9:56 - 9:58and then its realization.
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9:58 - 10:01So in these two capacities, I've been scavenger,
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10:01 - 10:03in the sense of taking, like, the subway map, right,
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10:03 - 10:06or thief maybe, and I've also been designer,
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10:06 - 10:08in the case of making the wristwatches.
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10:08 - 10:12And once again, this is, for me, interesting.
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10:12 - 10:15Another role that I like to take on is that of the performance artist.
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10:15 - 10:18Some of my pieces have these kind of weird theatric elements,
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10:18 - 10:20and I often perform them. I want to show you a clip
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10:20 - 10:22from a piece called "Echolalia."
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10:22 - 10:25This is actually being performed by Brian McWhorter,
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10:25 - 10:26who is an extraordinary performer.
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10:26 - 10:29Let's watch a little bit of this, and please notice the instrumentation.
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10:29 - 10:58(Music)
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10:58 - 11:00Okay, I hear you were laughing nervously because
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11:00 - 11:02you too could hear that the drill was a little bit sharp,
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11:02 - 11:04the intonation was a little questionable. (Laughter)
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11:04 - 11:06Let's watch just another clip.
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11:06 - 11:17(Music)
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11:17 - 11:20You can see the mayhem continues, and there's, you know,
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11:20 - 11:22there were no clarinets and trumpets
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11:22 - 11:23and flutes and violins. Here's a piece that has
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11:23 - 11:26an even more unusual, more peculiar instrumentation.
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11:26 - 11:30This is "Tlön," for three conductors and no players. (Laughter)
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11:42 - 11:44This was based on the experience of actually watching
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11:44 - 11:47two people having a virulent argument in sign language,
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11:47 - 11:49which produced no decibels to speak of,
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11:49 - 11:52but affectively, psychologically, was a very loud experience.
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11:52 - 11:56So, yeah, I get it, with, like, the weird appliances
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11:56 - 12:00and then the total absence of conventional instruments
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12:00 - 12:03and this glut of conductors, people might, you know,
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12:03 - 12:06wonder, yeah, "Is this music?"
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12:06 - 12:09But let's move on to a piece where clearly I'm behaving myself,
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12:09 - 12:12and that is my "Concerto for Orchestra."
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12:12 - 12:14You're going to notice a lot of conventional instruments
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12:14 - 12:18in this clip. (Music)
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12:18 - 12:30(Music)
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12:30 - 12:33This, in fact, is not the title of this piece.
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12:33 - 12:35I was a bit mischievous. In fact, to make it more interesting,
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12:35 - 12:39I put a space right in here, and this is the actual title of the piece.
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12:39 - 12:41Let's continue with that same excerpt.
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12:41 - 12:52(Music)
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12:52 - 13:00It's better with a florist, right? (Laughter) (Music)
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13:00 - 13:02Or at least it's less boring. Let's watch a couple more clips.
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13:02 - 13:16(Music)
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13:16 - 13:19So with all these theatric elements, this pushes me in another role,
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13:19 - 13:22and that would be, possibly, the dramaturge.
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13:22 - 13:26I was playing nice. I had to write the orchestra bits, right?
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13:26 - 13:29Okay? But then there was this other stuff, right?
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13:29 - 13:31There was the florist, and I can understand that,
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13:31 - 13:34once again, we're putting pressure on the ontology of music
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13:34 - 13:37as we know it conventionally,
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13:37 - 13:41but let's look at one last piece today I'm going to share with you.
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13:41 - 13:44This is going to be a piece called "Aphasia,"
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13:44 - 13:47and it's for hand gestures synchronized to sound,
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13:47 - 13:50and this invites yet another role, and final one
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13:50 - 13:52I'll share with you, which is that of the choreographer.
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13:52 - 13:55And the score for the piece looks like this,
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13:55 - 13:59and it instructs me, the performer, to make
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13:59 - 14:02various hand gestures at very specific times
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14:02 - 14:04synchronized with an audio tape, and that audio tape
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14:04 - 14:07is made up exclusively of vocal samples.
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14:07 - 14:10I recorded an awesome singer,
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14:10 - 14:12and I took the sound of his voice in my computer,
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14:12 - 14:15and I warped it in countless ways to come up with
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14:15 - 14:17the soundtrack that you're about to hear.
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14:17 - 14:22And I'll perform just an excerpt of "Aphasia" for you here. Okay?
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14:22 - 15:00(Music)
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15:00 - 15:07So that gives you a little taste of that piece. (Applause)
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15:07 - 15:09Yeah, okay, that's kind of weird stuff.
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15:09 - 15:11Is it music? Here's how I want to conclude.
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15:11 - 15:14I've decided, ultimately, that this is the wrong question,
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15:14 - 15:16that this is not the important question.
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15:16 - 15:19The important question is, "Is it interesting?"
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15:19 - 15:21And I follow this question, not worrying about "Is it music?" --
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15:21 - 15:24not worrying about the definition of the thing that I'm making.
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15:24 - 15:26I allow my creativity to push me
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15:26 - 15:29in directions that are simply interesting to me,
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15:29 - 15:32and I don't worry about the likeness of the result
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15:32 - 15:34to some notion, some paradigm,
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15:34 - 15:37of what music composition is supposed to be,
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15:37 - 15:39and that has actually urged me, in a sense,
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15:39 - 15:41to take on a whole bunch of different roles,
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15:41 - 15:43and so what I want you to think about is,
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15:43 - 15:46to what extent might you change the fundamental question
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15:46 - 15:49in your discipline, and, okay,
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15:49 - 15:51I'm going to put one extra little footnote in here,
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15:51 - 15:53because, like, I realized I mentioned
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15:53 - 15:56some psychological defects earlier, and we also,
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15:56 - 16:00along the way, had a fair amount of obsessive behavior,
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16:00 - 16:02and there was some delusional behavior and things like that,
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16:02 - 16:05and here I think we could say that this is an argument
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16:05 - 16:07for self-loathing and a kind of schizophrenia,
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16:07 - 16:09at least in the popular use of the term,
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16:09 - 16:11and I really mean dissociative identity disorder, okay. (Laughter)
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16:11 - 16:14Anyway, despite those perils, I would urge you
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16:14 - 16:16to think about the possibility that you might take on roles
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16:16 - 16:19in your own work, whether they are neighboring
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16:19 - 16:21or far-flung from your professional definition.
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16:21 - 16:23And with that, I thank you very much. (Applause)
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16:23 - 16:29(Applause)
- Title:
- The mad scientist of music
- Speaker:
- Mark Applebaum
- Description:
-
Mark Applebaum writes music that breaks the rules in fantastic ways, composing a concerto for a florist and crafting a musical instrument from junk and found objects. This quirky talk might just inspire you to shake up the “rules” of your own creative work. (Filmed at TEDxStanford.)
- Video Language:
- English
- Team:
- closed TED
- Project:
- TEDTalks
- Duration:
- 16:50
Thu-Huong Ha edited English subtitles for The mad scientist of music | ||
Thu-Huong Ha edited English subtitles for The mad scientist of music | ||
Thu-Huong Ha approved English subtitles for The mad scientist of music | ||
Thu-Huong Ha accepted English subtitles for The mad scientist of music | ||
Thu-Huong Ha edited English subtitles for The mad scientist of music | ||
Joseph Geni added a translation |