Music and emotion through time
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0:01 - 0:03Well when I was asked to do this TEDTalk, I was really chuckled,
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0:03 - 0:07because, you see, my father's name was Ted,
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0:07 - 0:11and much of my life, especially my musical life,
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0:11 - 0:14is really a talk that I'm still having with him,
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0:14 - 0:18or the part of me that he continues to be.
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0:18 - 0:22Now Ted was a New Yorker, an all-around theater guy,
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0:22 - 0:26and he was a self-taught illustrator and musician.
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0:26 - 0:27He didn't read a note,
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0:27 - 0:30and he was profoundly hearing impaired.
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0:30 - 0:34Yet, he was my greatest teacher.
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0:34 - 0:37Because even through the squeaks of his hearing aids,
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0:37 - 0:40his understanding of music was profound.
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0:40 - 0:44And for him, it wasn't so much the way the music goes
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0:44 - 0:48as about what it witnesses and where it can take you.
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0:48 - 0:50And he did a painting of this experience,
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0:50 - 0:54which he called "In the Realm of Music."
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0:54 - 1:00Now Ted entered this realm every day by improvising
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1:00 - 1:03in a sort of Tin Pan Alley style like this.
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1:03 - 1:10(Music)
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1:10 - 1:13But he was tough when it came to music.
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1:13 - 1:16He said, "There are only two things that matter in music:
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1:16 - 1:18what and how.
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1:18 - 1:22And the thing about classical music,
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1:22 - 1:25that what and how, it's inexhaustible."
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1:25 - 1:27That was his passion for the music.
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1:27 - 1:29Both my parents really loved it.
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1:29 - 1:31They didn't know all that much about it,
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1:31 - 1:35but they gave me the opportunity to discover it
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1:35 - 1:37together with them.
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1:37 - 1:40And I think inspired by that memory,
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1:40 - 1:42it's been my desire to try and bring it
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1:42 - 1:43to as many other people as I can,
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1:43 - 1:47sort of pass it on through whatever means.
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1:47 - 1:52And how people get this music, how it comes into their lives,
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1:52 - 1:53really fascinates me.
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1:53 - 1:56One day in New York, I was on the street
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1:56 - 2:01and I saw some kids playing baseball between stoops and cars and fire hydrants.
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2:01 - 2:04And a tough, slouchy kid got up to bat,
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2:04 - 2:06and he took a swing and really connected.
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2:06 - 2:08And he watched the ball fly for a second,
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2:08 - 2:11and then he went, "Dah dadaratatatah.
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2:11 - 2:15Brah dada dadadadah."
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2:15 - 2:17And he ran around the bases.
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2:17 - 2:19And I thought, go figure.
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2:19 - 2:25How did this piece of 18th century Austrian aristocratic entertainment
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2:25 - 2:29turn into the victory crow of this New York kid?
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2:29 - 2:34How was that passed on? How did he get to hear Mozart?
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2:34 - 2:36Well when it comes to classical music,
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2:36 - 2:38there's an awful lot to pass on,
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2:38 - 2:42much more than Mozart, Beethoven or Tchiakovsky.
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2:42 - 2:43Because classical music
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2:43 - 2:47is an unbroken living tradition
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2:47 - 2:50that goes back over 1,000 years.
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2:50 - 2:52And every one of those years
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2:52 - 2:55has had something unique and powerful to say to us
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2:55 - 2:59about what it's like to be alive.
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2:59 - 3:01Now the raw material of it, of course,
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3:01 - 3:03is just the music of everyday life.
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3:03 - 3:06It's all the anthems and dance crazes
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3:06 - 3:08and ballads and marches.
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3:08 - 3:10But what classical music does
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3:10 - 3:15is to distill all of these musics down,
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3:15 - 3:19to condense them to their absolute essence,
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3:19 - 3:22and from that essence create a new language,
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3:22 - 3:28a language that speaks very lovingly and unflinchingly
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3:28 - 3:30about who we really are.
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3:30 - 3:33It's a language that's still evolving.
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3:33 - 3:36Now over the centuries it grew into the big pieces we always think of,
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3:36 - 3:39like concertos and symphonies,
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3:39 - 3:42but even the most ambitious masterpiece
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3:42 - 3:45can have as its central mission
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3:45 - 3:49to bring you back to a fragile and personal moment --
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3:49 - 3:53like this one from the Beethoven Violin Concerto.
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3:53 - 4:15(Music)
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4:15 - 4:21It's so simple, so evocative.
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4:21 - 4:24So many emotions seem to be inside of it.
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4:24 - 4:26Yet, of course, like all music,
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4:26 - 4:28it's essentially not about anything.
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4:28 - 4:32It's just a design of pitches and silence and time.
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4:32 - 4:36And the pitches, the notes, as you know, are just vibrations.
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4:36 - 4:39They're locations in the spectrum of sound.
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4:39 - 4:43And whether we call them 440 per second, A,
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4:43 - 4:50or 3,729, B flat -- trust me, that's right --
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4:50 - 4:54they're just phenomena.
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4:54 - 4:58But the way we react to different combinations of these phenomena
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4:58 - 5:01is complex and emotional and not totally understood.
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5:01 - 5:05And the way we react to them has changed radically over the centuries,
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5:05 - 5:08as have our preferences for them.
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5:08 - 5:11So for example, in the 11th century,
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5:11 - 5:15people liked pieces that ended like this.
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5:15 - 5:26(Music)
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5:26 - 5:32And in the 17th century, it was more like this.
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5:32 - 5:37(Music)
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5:37 - 5:41And in the 21st century ...
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5:41 - 5:48(Music)
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5:48 - 5:54Now your 21st century ears are quite happy with this last chord,
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5:54 - 5:57even though a while back it would have puzzled or annoyed you
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5:57 - 5:59or sent some of you running from the room.
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5:59 - 6:00And the reason you like it
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6:00 - 6:02is because you've inherited, whether you knew it or not,
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6:02 - 6:05centuries-worth of changes
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6:05 - 6:08in musical theory, practice and fashion.
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6:08 - 6:14And in classical music we can follow these changes very, very accurately
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6:14 - 6:18because of the music's powerful silent partner,
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6:18 - 6:21the way it's been passed on: notation.
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6:21 - 6:23Now the impulse to notate,
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6:23 - 6:26or, more exactly I should say, encode music
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6:26 - 6:29has been with us for a very long time.
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6:29 - 6:33In 200 B.C., a man named Sekulos
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6:33 - 6:36wrote this song for his departed wife
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6:36 - 6:37and inscribed it on her gravestone
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6:37 - 6:40in the notational system of the Greeks.
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6:40 - 7:07(Music)
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7:07 - 7:10And a thousand years later,
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7:10 - 7:14this impulse to notate took an entirely different form.
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7:14 - 7:15And you can see how this happened
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7:15 - 7:22in these excerpts from the Christmas mass "Puer Natus est nobis,"
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7:22 - 7:24"For Us is Born."
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7:24 - 7:29(Music)
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7:29 - 7:31In the 10th century, little squiggles were used
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7:31 - 7:34just to indicate the general shape of the tune.
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7:34 - 7:41And in the 12th century, a line was drawn, like a musical horizon line,
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7:41 - 7:45to better pinpoint the pitch's location.
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7:45 - 7:53And then in the 13th century, more lines and new shapes of notes
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7:53 - 7:57locked in the concept of the tune exactly,
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7:57 - 7:59and that led to the kind of notation we have today.
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7:59 - 8:03Well notation not only passed the music on,
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8:03 - 8:08notating and encoding the music changed its priorities entirely,
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8:08 - 8:10because it enabled the musicians
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8:10 - 8:13to imagine music on a much vaster scale.
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8:13 - 8:17Now inspired moves of improvisation
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8:17 - 8:21could be recorded, saved, considered, prioritized,
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8:21 - 8:23made into intricate designs.
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8:23 - 8:26And from this moment, classical music became
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8:26 - 8:29what it most essentially is,
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8:29 - 8:34a dialogue between the two powerful sides of our nature:
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8:34 - 8:36instinct and intelligence.
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8:36 - 8:40And there began to be a real difference at this point
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8:40 - 8:43between the art of improvisation
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8:43 - 8:44and the art of composition.
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8:44 - 8:49Now an improviser senses and plays the next cool move,
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8:49 - 8:52but a composer is considering all possible moves,
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8:52 - 8:56testing them out, prioritizing them out,
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8:56 - 9:00until he sees how they can form a powerful and coherent design
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9:00 - 9:04of ultimate and enduring coolness.
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9:04 - 9:06Now some of the greatest composers, like Bach,
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9:06 - 9:08were combinations of these two things.
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9:08 - 9:13Bach was like a great improviser with a mind of a chess master.
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9:13 - 9:14Mozart was the same way.
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9:14 - 9:18But every musician strikes a different balance
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9:18 - 9:22between faith and reason, instinct and intelligence.
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9:22 - 9:26And every musical era had different priorities of these things,
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9:26 - 9:30different things to pass on, different 'whats' and 'hows'.
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9:30 - 9:35So in the first eight centuries or so of this tradition
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9:35 - 9:38the big 'what' was to praise God.
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9:38 - 9:40And by the 1400s, music was being written
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9:40 - 9:45that tried to mirror God's mind
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9:45 - 9:48as could be seen in the design of the night sky.
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9:48 - 9:52The 'how' was a style called polyphony,
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9:52 - 9:56music of many independently moving voices
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9:56 - 9:58that suggested the way the planets seemed to move
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9:58 - 10:01in Ptolemy's geocentric universe.
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10:01 - 10:05This was truly the music of the spheres.
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10:05 - 10:34(Music)
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10:34 - 10:39This is the kind of music that Leonardo DaVinci would have known.
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10:39 - 10:43And perhaps its tremendous intellectual perfection and serenity
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10:43 - 10:46meant that something new had to happen --
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10:46 - 10:50a radical new move, which in 1600 is what did happen.
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10:50 - 10:57(Music) Singer: Ah, bitter blow!
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10:57 - 11:01Ah, wicked, cruel fate!
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11:01 - 11:08Ah, baleful stars!
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11:08 - 11:15Ah, avaricious heaven!
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11:15 - 11:19MTT: This, of course, was the birth of opera,
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11:19 - 11:22and its development put music on a radical new course.
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11:22 - 11:26The what now was not to mirror the mind of God,
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11:26 - 11:29but to follow the emotion turbulence of man.
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11:29 - 11:32And the how was harmony,
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11:32 - 11:35stacking up the pitches to form chords.
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11:35 - 11:37And the chords, it turned out,
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11:37 - 11:41were capable of representing incredible varieties of emotions.
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11:41 - 11:46And the basic chords were the ones we still have with us,
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11:46 - 11:47the triads,
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11:47 - 11:51either the major one,
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11:51 - 11:55which we think is happy,
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11:55 - 11:59or the minor one,
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11:59 - 12:02which we perceive as sad.
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12:02 - 12:06But what's the actual difference between these two chords?
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12:06 - 12:08It's just these two notes in the middle.
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12:08 - 12:11It's either E natural,
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12:11 - 12:16and 659 vibrations per second,
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12:16 - 12:20or E flat, at 622.
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12:20 - 12:26So the big difference between human happiness and sadness?
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12:26 - 12:2937 freakin' vibrations.
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12:29 - 12:33So you can see in a system like this
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12:33 - 12:35there was enormous subtle potential
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12:35 - 12:37of representing human emotions.
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12:37 - 12:40And in fact, as man began to understand more
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12:40 - 12:42his complex and ambivalent nature,
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12:42 - 12:45harmony grew more complex to reflect it.
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12:45 - 12:49Turns out it was capable of expressing emotions
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12:49 - 12:51beyond the ability of words.
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12:51 - 12:54Now with all this possibility,
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12:54 - 12:58classical music really took off.
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12:58 - 13:02It's the time in which the big forms began to arise.
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13:02 - 13:06And the effects of technology began to be felt also,
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13:06 - 13:11because printing put music, the scores, the codebooks of music,
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13:11 - 13:13into the hands of performers everywhere.
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13:13 - 13:15And new and improved instruments
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13:15 - 13:18made the age of the virtuoso possible.
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13:18 - 13:22This is when those big forms arose --
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13:22 - 13:25the symphonies, the sonatas, the concertos.
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13:25 - 13:29And in these big architectures of time,
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13:29 - 13:34composers like Beethoven could share the insights of a lifetime.
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13:34 - 13:37A piece like Beethoven's Fifth
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13:37 - 13:41basically witnessing how it was possible
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13:41 - 13:47for him to go from sorrow and anger,
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13:47 - 13:50over the course of a half an hour,
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13:50 - 13:54step by exacting step of his route,
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13:54 - 13:59to the moment when he could make it across to joy.
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13:59 - 14:21(Music)
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14:21 - 14:26And it turned out the symphony could be used for more complex issues,
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14:26 - 14:29like gripping ones of culture,
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14:29 - 14:31such as nationalism or quest for freedom
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14:31 - 14:35or the frontiers of sensuality.
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14:35 - 14:39But whatever direction the music took,
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14:39 - 14:42one thing until recently was always the same,
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14:42 - 14:45and that was when the musicians stopped playing,
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14:45 - 14:47the music stopped.
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14:47 - 14:50Now this moment so fascinates me.
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14:50 - 14:52I find it such a profound one.
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14:52 - 14:54What happens when the music stops?
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14:54 - 14:57Where does it go? What's left?
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14:57 - 15:00What sticks with people in the audience at the end of a performance?
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15:00 - 15:02Is it a melody or a rhythm
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15:02 - 15:05or a mood or an attitude?
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15:05 - 15:07And how might that change their lives?
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15:07 - 15:11To me this is the intimate, personal side of music.
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15:11 - 15:16It's the passing on part. It's the 'why' part of it.
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15:16 - 15:19And to me that's the most essential of all.
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15:19 - 15:23Mostly it's been a person-to-person thing,
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15:23 - 15:26a teacher-student, performer-audience thing,
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15:26 - 15:28and then around 1880 came this new technology
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15:28 - 15:31that first mechanically then through analogs then digitally
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15:31 - 15:35created a new and miraculous way of passing things on,
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15:35 - 15:37albeit an impersonal one.
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15:37 - 15:41People could now hear music all the time,
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15:41 - 15:42even though it wasn't necessary
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15:42 - 15:46for them to play an instrument, read music or even go to concerts.
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15:46 - 15:52And technology democratized music by making everything available.
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15:52 - 15:53It spearheaded a cultural revolution
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15:53 - 15:58in which artists like Caruso and Bessie Smith were on the same footing.
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15:58 - 16:02And technology pushed composers to tremendous extremes,
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16:02 - 16:04using computers and synthesizers
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16:04 - 16:07to create works of intellectually impenetrable complexity
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16:07 - 16:11beyond the means of performers and audiences.
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16:11 - 16:14At the same time technology,
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16:14 - 16:17by taking over the role that notation had always played,
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16:17 - 16:22shifted the balance within music between instinct and intelligence
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16:22 - 16:25way over to the instinctive side.
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16:25 - 16:27The culture in which we live now
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16:27 - 16:30is awash with music of improvisation
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16:30 - 16:31that's been sliced, diced, layered
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16:31 - 16:35and, God knows, distributed and sold.
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16:35 - 16:38What's the long-term effect of this on us or on music?
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16:38 - 16:39Nobody knows.
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16:39 - 16:43The question remains: What happens when the music stops?
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16:43 - 16:45What sticks with people?
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16:45 - 16:49Now that we have unlimited access to music, what does stick with us?
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16:49 - 16:52Well let me show you a story of what I mean
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16:52 - 16:53by "really sticking with us."
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16:53 - 16:56I was visiting a cousin of mine in an old age home,
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16:56 - 17:00and I spied a very shaky old man
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17:00 - 17:02making his way across the room on a walker.
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17:02 - 17:05He came over to a piano that was there,
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17:05 - 17:09and he balanced himself and began playing something like this.
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17:09 - 17:13(Music)
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17:13 - 17:22And he said something like, "Me ... boy ... symphony ... Beethoven."
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17:22 - 17:24And I suddenly got it,
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17:24 - 17:27and I said, "Friend, by any chance are you trying to play this?"
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17:27 - 17:32(Music)
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17:32 - 17:34And he said, "Yes, yes. I was a little boy.
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17:34 - 17:39The symphony: Isaac Stern, the concerto, I heard it."
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17:39 - 17:40And I thought, my God,
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17:40 - 17:43how much must this music mean to this man
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17:43 - 17:47that he would get himself out of his bed, across the room
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17:47 - 17:51to recover the memory of this music
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17:51 - 17:54that, after everything else in his life is sloughing away,
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17:54 - 17:56still means so much to him?
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17:56 - 18:00Well, that's why I take every performance so seriously,
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18:00 - 18:02why it matters to me so much.
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18:02 - 18:05I never know who might be there, who might be absorbing it
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18:05 - 18:07and what will happen to it in their life.
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18:07 - 18:12But now I'm excited that there's more chance than ever before possible
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18:12 - 18:13of sharing this music.
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18:13 - 18:15That's what drives my interest in projects
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18:15 - 18:18like the TV series "Keeping Score" with the San Francisco Symphony
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18:18 - 18:21that looks at the backstories of music,
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18:21 - 18:24and working with the young musicians at the New World Symphony
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18:24 - 18:26on projects that explore the potential
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18:26 - 18:29of the new performing arts centers
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18:29 - 18:31for both entertainment and education.
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18:31 - 18:33And of course, the New World Symphony
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18:33 - 18:37led to the YouTube Symphony and projects on the internet
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18:37 - 18:40that reach out to musicians and audiences all over the world.
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18:40 - 18:45And the exciting thing is all this is just a prototype.
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18:45 - 18:47There's just a role here for so many people --
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18:47 - 18:50teachers, parents, performers --
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18:50 - 18:53to be explorers together.
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18:53 - 18:56Sure, the big events attract a lot of attention,
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18:56 - 18:59but what really matters is what goes on every single day.
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18:59 - 19:04We need your perspectives, your curiosity, your voices.
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19:04 - 19:07And it excites me now to meet people
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19:07 - 19:10who are hikers, chefs, code writers, taxi drivers,
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19:10 - 19:12people I never would have guessed who loved the music
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19:12 - 19:14and who are passing it on.
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19:14 - 19:17You don't need to worry about knowing anything.
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19:17 - 19:21If you're curious, if you have a capacity for wonder, if you're alive,
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19:21 - 19:24you know all that you need to know.
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19:24 - 19:26You can start anywhere. Ramble a bit.
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19:26 - 19:30Follow traces. Get lost. Be surprised, amused inspired.
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19:30 - 19:35All that 'what', all that 'how' is out there
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19:35 - 19:38waiting for you to discover its 'why',
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19:38 - 19:41to dive in and pass it on.
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19:41 - 19:43Thank you.
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19:43 - 19:50(Applause)
- Title:
- Music and emotion through time
- Speaker:
- Michael Tilson Thomas
- Description:
-
In this epic overview, Michael Tilson Thomas traces the development of classical music through the development of written notation, the record, and the re-mix.
- Video Language:
- English
- Team:
- closed TED
- Project:
- TEDTalks
- Duration:
- 20:13
Jenny Zurawell edited English subtitles for Music and emotion through time | ||
Jenny Zurawell approved English subtitles for Music and emotion through time | ||
Jenny Zurawell edited English subtitles for Music and emotion through time | ||
Morton Bast accepted English subtitles for Music and emotion through time | ||
Morton Bast edited English subtitles for Music and emotion through time | ||
Timothy Covell edited English subtitles for Music and emotion through time | ||
Timothy Covell edited English subtitles for Music and emotion through time | ||
Timothy Covell edited English subtitles for Music and emotion through time |