WEBVTT 00:00:00.917 --> 00:00:03.280 Well when I was asked to do this TEDTalk, I was really chuckled, 00:00:03.280 --> 00:00:07.073 because, you see, my father's name was Ted, 00:00:07.073 --> 00:00:11.087 and much of my life, especially my musical life, 00:00:11.087 --> 00:00:14.208 is really a talk that I'm still having with him, 00:00:14.208 --> 00:00:17.956 or the part of me that he continues to be. NOTE Paragraph 00:00:17.956 --> 00:00:21.560 Now Ted was a New Yorker, an all-around theater guy, 00:00:21.560 --> 00:00:25.875 and he was a self-taught illustrator and musician. 00:00:25.875 --> 00:00:27.410 He didn't read a note, 00:00:27.410 --> 00:00:30.375 and he was profoundly hearing impaired. 00:00:30.375 --> 00:00:33.633 Yet, he was my greatest teacher. 00:00:33.633 --> 00:00:37.070 Because even through the squeaks of his hearing aids, 00:00:37.070 --> 00:00:40.250 his understanding of music was profound. NOTE Paragraph 00:00:40.250 --> 00:00:43.631 And for him, it wasn't so much the way the music goes 00:00:43.631 --> 00:00:47.827 as about what it witnesses and where it can take you. 00:00:47.827 --> 00:00:50.444 And he did a painting of this experience, 00:00:50.444 --> 00:00:53.533 which he called "In the Realm of Music." 00:00:53.533 --> 00:01:00.021 Now Ted entered this realm every day by improvising 00:01:00.021 --> 00:01:02.802 in a sort of Tin Pan Alley style like this. 00:01:02.802 --> 00:01:09.644 (Music) NOTE Paragraph 00:01:09.644 --> 00:01:12.998 But he was tough when it came to music. 00:01:12.998 --> 00:01:15.704 He said, "There are only two things that matter in music: 00:01:15.704 --> 00:01:17.917 what and how. 00:01:17.917 --> 00:01:21.704 And the thing about classical music, 00:01:21.704 --> 00:01:25.032 that what and how, it's inexhaustible." NOTE Paragraph 00:01:25.032 --> 00:01:27.200 That was his passion for the music. 00:01:27.200 --> 00:01:29.057 Both my parents really loved it. 00:01:29.057 --> 00:01:31.315 They didn't know all that much about it, 00:01:31.315 --> 00:01:35.042 but they gave me the opportunity to discover it 00:01:35.042 --> 00:01:36.958 together with them. 00:01:36.958 --> 00:01:40.170 And I think inspired by that memory, 00:01:40.170 --> 00:01:42.173 it's been my desire to try and bring it 00:01:42.173 --> 00:01:43.218 to as many other people as I can, 00:01:43.218 --> 00:01:46.792 sort of pass it on through whatever means. 00:01:46.792 --> 00:01:51.802 And how people get this music, how it comes into their lives, 00:01:51.802 --> 00:01:53.258 really fascinates me. NOTE Paragraph 00:01:53.258 --> 00:01:55.515 One day in New York, I was on the street 00:01:55.515 --> 00:02:00.920 and I saw some kids playing baseball between stoops and cars and fire hydrants. 00:02:00.920 --> 00:02:03.621 And a tough, slouchy kid got up to bat, 00:02:03.621 --> 00:02:06.325 and he took a swing and really connected. 00:02:06.325 --> 00:02:08.027 And he watched the ball fly for a second, 00:02:08.027 --> 00:02:11.431 and then he went, "Dah dadaratatatah. 00:02:11.431 --> 00:02:14.917 Brah dada dadadadah." 00:02:14.917 --> 00:02:16.750 And he ran around the bases. 00:02:16.750 --> 00:02:19.485 And I thought, go figure. 00:02:19.485 --> 00:02:24.566 How did this piece of 18th century Austrian aristocratic entertainment 00:02:24.566 --> 00:02:29.238 turn into the victory crow of this New York kid? 00:02:29.238 --> 00:02:33.640 How was that passed on? How did he get to hear Mozart? NOTE Paragraph 00:02:33.640 --> 00:02:35.561 Well when it comes to classical music, 00:02:35.561 --> 00:02:37.817 there's an awful lot to pass on, 00:02:37.817 --> 00:02:41.554 much more than Mozart, Beethoven or Tchiakovsky. 00:02:41.554 --> 00:02:43.166 Because classical music 00:02:43.166 --> 00:02:46.583 is an unbroken living tradition 00:02:46.583 --> 00:02:49.833 that goes back over 1,000 years. 00:02:49.833 --> 00:02:51.877 And every one of those years 00:02:51.877 --> 00:02:55.375 has had something unique and powerful to say to us 00:02:55.375 --> 00:02:58.600 about what it's like to be alive. NOTE Paragraph 00:02:58.600 --> 00:03:01.159 Now the raw material of it, of course, 00:03:01.159 --> 00:03:02.875 is just the music of everyday life. 00:03:02.875 --> 00:03:05.908 It's all the anthems and dance crazes 00:03:05.908 --> 00:03:07.643 and ballads and marches. 00:03:07.643 --> 00:03:10.333 But what classical music does 00:03:10.333 --> 00:03:15.193 is to distill all of these musics down, 00:03:15.193 --> 00:03:18.879 to condense them to their absolute essence, 00:03:18.879 --> 00:03:22.167 and from that essence create a new language, 00:03:22.167 --> 00:03:27.652 a language that speaks very lovingly and unflinchingly 00:03:27.652 --> 00:03:29.752 about who we really are. 00:03:29.752 --> 00:03:32.596 It's a language that's still evolving. NOTE Paragraph 00:03:32.596 --> 00:03:36.167 Now over the centuries it grew into the big pieces we always think of, 00:03:36.167 --> 00:03:39.167 like concertos and symphonies, 00:03:39.167 --> 00:03:42.498 but even the most ambitious masterpiece 00:03:42.498 --> 00:03:44.917 can have as its central mission 00:03:44.917 --> 00:03:49.417 to bring you back to a fragile and personal moment -- 00:03:49.417 --> 00:03:52.625 like this one from the Beethoven Violin Concerto. 00:03:52.625 --> 00:04:15.011 (Music) 00:04:15.011 --> 00:04:20.995 It's so simple, so evocative. 00:04:20.995 --> 00:04:23.855 So many emotions seem to be inside of it. 00:04:23.855 --> 00:04:25.583 Yet, of course, like all music, 00:04:25.583 --> 00:04:28.042 it's essentially not about anything. 00:04:28.042 --> 00:04:31.825 It's just a design of pitches and silence and time. NOTE Paragraph 00:04:31.825 --> 00:04:35.917 And the pitches, the notes, as you know, are just vibrations. 00:04:35.917 --> 00:04:38.870 They're locations in the spectrum of sound. 00:04:38.870 --> 00:04:42.971 And whether we call them 440 per second, A, 00:04:42.971 --> 00:04:49.689 or 3,729, B flat -- trust me, that's right -- 00:04:49.689 --> 00:04:53.785 they're just phenomena. 00:04:53.785 --> 00:04:57.542 But the way we react to different combinations of these phenomena 00:04:57.542 --> 00:05:01.336 is complex and emotional and not totally understood. 00:05:01.336 --> 00:05:05.167 And the way we react to them has changed radically over the centuries, 00:05:05.167 --> 00:05:07.542 as have our preferences for them. NOTE Paragraph 00:05:07.542 --> 00:05:10.833 So for example, in the 11th century, 00:05:10.833 --> 00:05:14.673 people liked pieces that ended like this. 00:05:14.673 --> 00:05:26.406 (Music) 00:05:26.406 --> 00:05:31.562 And in the 17th century, it was more like this. 00:05:31.562 --> 00:05:37.000 (Music) 00:05:37.000 --> 00:05:40.842 And in the 21st century ... 00:05:40.842 --> 00:05:48.250 (Music) NOTE Paragraph 00:05:48.250 --> 00:05:53.569 Now your 21st century ears are quite happy with this last chord, 00:05:53.569 --> 00:05:57.042 even though a while back it would have puzzled or annoyed you 00:05:57.042 --> 00:05:58.542 or sent some of you running from the room. 00:05:58.542 --> 00:05:59.958 And the reason you like it 00:05:59.958 --> 00:06:02.446 is because you've inherited, whether you knew it or not, 00:06:02.446 --> 00:06:05.000 centuries-worth of changes 00:06:05.000 --> 00:06:08.500 in musical theory, practice and fashion. NOTE Paragraph 00:06:08.500 --> 00:06:13.590 And in classical music we can follow these changes very, very accurately 00:06:13.590 --> 00:06:17.573 because of the music's powerful silent partner, 00:06:17.573 --> 00:06:21.202 the way it's been passed on: notation. 00:06:21.202 --> 00:06:23.167 Now the impulse to notate, 00:06:23.167 --> 00:06:25.958 or, more exactly I should say, encode music 00:06:25.958 --> 00:06:29.016 has been with us for a very long time. 00:06:29.016 --> 00:06:32.917 In 200 B.C., a man named Sekulos 00:06:32.917 --> 00:06:35.867 wrote this song for his departed wife 00:06:35.867 --> 00:06:37.458 and inscribed it on her gravestone 00:06:37.458 --> 00:06:40.083 in the notational system of the Greeks. 00:06:40.083 --> 00:07:07.458 (Music) NOTE Paragraph 00:07:07.458 --> 00:07:09.875 And a thousand years later, 00:07:09.875 --> 00:07:13.885 this impulse to notate took an entirely different form. 00:07:13.885 --> 00:07:15.250 And you can see how this happened 00:07:15.250 --> 00:07:21.833 in these excerpts from the Christmas mass "Puer Natus est nobis," 00:07:21.833 --> 00:07:24.208 "For Us is Born." 00:07:24.208 --> 00:07:28.841 (Music) 00:07:28.841 --> 00:07:31.083 In the 10th century, little squiggles were used 00:07:31.083 --> 00:07:34.125 just to indicate the general shape of the tune. 00:07:34.125 --> 00:07:41.167 And in the 12th century, a line was drawn, like a musical horizon line, 00:07:41.167 --> 00:07:44.745 to better pinpoint the pitch's location. NOTE Paragraph 00:07:44.745 --> 00:07:53.075 And then in the 13th century, more lines and new shapes of notes 00:07:53.090 --> 00:07:56.708 locked in the concept of the tune exactly, 00:07:56.708 --> 00:07:59.375 and that led to the kind of notation we have today. 00:07:59.375 --> 00:08:03.046 Well notation not only passed the music on, 00:08:03.046 --> 00:08:07.727 notating and encoding the music changed its priorities entirely, 00:08:07.727 --> 00:08:09.683 because it enabled the musicians 00:08:09.683 --> 00:08:13.339 to imagine music on a much vaster scale. NOTE Paragraph 00:08:13.339 --> 00:08:16.667 Now inspired moves of improvisation 00:08:16.667 --> 00:08:20.667 could be recorded, saved, considered, prioritized, 00:08:20.667 --> 00:08:23.208 made into intricate designs. 00:08:23.208 --> 00:08:26.448 And from this moment, classical music became 00:08:26.448 --> 00:08:29.042 what it most essentially is, 00:08:29.042 --> 00:08:34.083 a dialogue between the two powerful sides of our nature: 00:08:34.083 --> 00:08:36.458 instinct and intelligence. NOTE Paragraph 00:08:36.458 --> 00:08:39.833 And there began to be a real difference at this point 00:08:39.833 --> 00:08:42.750 between the art of improvisation 00:08:42.750 --> 00:08:44.158 and the art of composition. 00:08:44.158 --> 00:08:48.675 Now an improviser senses and plays the next cool move, 00:08:48.675 --> 00:08:52.292 but a composer is considering all possible moves, 00:08:52.292 --> 00:08:55.611 testing them out, prioritizing them out, 00:08:55.611 --> 00:09:00.083 until he sees how they can form a powerful and coherent design 00:09:00.083 --> 00:09:04.490 of ultimate and enduring coolness. 00:09:04.490 --> 00:09:06.042 Now some of the greatest composers, like Bach, 00:09:06.042 --> 00:09:08.271 were combinations of these two things. 00:09:08.271 --> 00:09:12.556 Bach was like a great improviser with a mind of a chess master. 00:09:12.556 --> 00:09:14.500 Mozart was the same way. NOTE Paragraph 00:09:14.500 --> 00:09:17.746 But every musician strikes a different balance 00:09:17.746 --> 00:09:21.542 between faith and reason, instinct and intelligence. 00:09:21.542 --> 00:09:26.450 And every musical era had different priorities of these things, 00:09:26.450 --> 00:09:30.417 different things to pass on, different 'whats' and 'hows'. 00:09:30.417 --> 00:09:34.985 So in the first eight centuries or so of this tradition 00:09:34.985 --> 00:09:37.833 the big 'what' was to praise God. 00:09:37.833 --> 00:09:40.458 And by the 1400s, music was being written 00:09:40.458 --> 00:09:44.542 that tried to mirror God's mind 00:09:44.542 --> 00:09:48.458 as could be seen in the design of the night sky. 00:09:48.458 --> 00:09:51.750 The 'how' was a style called polyphony, 00:09:51.750 --> 00:09:55.500 music of many independently moving voices 00:09:55.500 --> 00:09:58.208 that suggested the way the planets seemed to move 00:09:58.208 --> 00:10:00.837 in Ptolemy's geocentric universe. 00:10:00.837 --> 00:10:04.623 This was truly the music of the spheres. 00:10:04.623 --> 00:10:33.917 (Music) NOTE Paragraph 00:10:33.917 --> 00:10:39.167 This is the kind of music that Leonardo DaVinci would have known. 00:10:39.167 --> 00:10:42.765 And perhaps its tremendous intellectual perfection and serenity 00:10:42.765 --> 00:10:45.625 meant that something new had to happen -- 00:10:45.625 --> 00:10:49.750 a radical new move, which in 1600 is what did happen. 00:10:49.750 --> 00:10:56.583 (Music) Singer: Ah, bitter blow! 00:10:56.583 --> 00:11:01.375 Ah, wicked, cruel fate! 00:11:01.375 --> 00:11:08.292 Ah, baleful stars! 00:11:08.292 --> 00:11:15.250 Ah, avaricious heaven! NOTE Paragraph 00:11:15.250 --> 00:11:18.958 MTT: This, of course, was the birth of opera, 00:11:18.958 --> 00:11:21.570 and its development put music on a radical new course. 00:11:21.570 --> 00:11:25.910 The what now was not to mirror the mind of God, 00:11:25.925 --> 00:11:28.875 but to follow the emotion turbulence of man. 00:11:28.875 --> 00:11:32.167 And the how was harmony, 00:11:32.167 --> 00:11:35.458 stacking up the pitches to form chords. NOTE Paragraph 00:11:35.458 --> 00:11:37.208 And the chords, it turned out, 00:11:37.208 --> 00:11:41.292 were capable of representing incredible varieties of emotions. 00:11:41.292 --> 00:11:46.091 And the basic chords were the ones we still have with us, 00:11:46.091 --> 00:11:47.352 the triads, 00:11:47.352 --> 00:11:50.611 either the major one, 00:11:50.611 --> 00:11:55.219 which we think is happy, 00:11:55.219 --> 00:11:58.564 or the minor one, 00:11:58.564 --> 00:12:02.500 which we perceive as sad. 00:12:02.500 --> 00:12:05.769 But what's the actual difference between these two chords? 00:12:05.769 --> 00:12:08.006 It's just these two notes in the middle. 00:12:08.006 --> 00:12:10.971 It's either E natural, 00:12:10.971 --> 00:12:15.671 and 659 vibrations per second, 00:12:15.687 --> 00:12:20.375 or E flat, at 622. 00:12:20.375 --> 00:12:26.000 So the big difference between human happiness and sadness? 00:12:26.000 --> 00:12:28.750 37 freakin' vibrations. NOTE Paragraph 00:12:28.750 --> 00:12:32.667 So you can see in a system like this 00:12:32.667 --> 00:12:34.696 there was enormous subtle potential 00:12:34.696 --> 00:12:36.571 of representing human emotions. 00:12:36.571 --> 00:12:40.304 And in fact, as man began to understand more 00:12:40.304 --> 00:12:42.467 his complex and ambivalent nature, 00:12:42.467 --> 00:12:45.125 harmony grew more complex to reflect it. 00:12:45.125 --> 00:12:49.184 Turns out it was capable of expressing emotions 00:12:49.184 --> 00:12:50.917 beyond the ability of words. NOTE Paragraph 00:12:50.917 --> 00:12:54.250 Now with all this possibility, 00:12:54.250 --> 00:12:58.333 classical music really took off. 00:12:58.333 --> 00:13:01.729 It's the time in which the big forms began to arise. 00:13:01.729 --> 00:13:06.333 And the effects of technology began to be felt also, 00:13:06.333 --> 00:13:10.769 because printing put music, the scores, the codebooks of music, 00:13:10.769 --> 00:13:12.779 into the hands of performers everywhere. 00:13:12.779 --> 00:13:15.000 And new and improved instruments 00:13:15.000 --> 00:13:18.292 made the age of the virtuoso possible. 00:13:18.292 --> 00:13:21.542 This is when those big forms arose -- 00:13:21.542 --> 00:13:24.661 the symphonies, the sonatas, the concertos. NOTE Paragraph 00:13:24.661 --> 00:13:28.667 And in these big architectures of time, 00:13:28.667 --> 00:13:34.375 composers like Beethoven could share the insights of a lifetime. 00:13:34.375 --> 00:13:36.835 A piece like Beethoven's Fifth 00:13:36.835 --> 00:13:41.193 basically witnessing how it was possible 00:13:41.193 --> 00:13:46.710 for him to go from sorrow and anger, 00:13:46.710 --> 00:13:50.417 over the course of a half an hour, 00:13:50.417 --> 00:13:54.208 step by exacting step of his route, 00:13:54.208 --> 00:13:58.548 to the moment when he could make it across to joy. 00:13:58.548 --> 00:14:21.042 (Music) NOTE Paragraph 00:14:21.042 --> 00:14:26.083 And it turned out the symphony could be used for more complex issues, 00:14:26.083 --> 00:14:28.710 like gripping ones of culture, 00:14:28.710 --> 00:14:31.458 such as nationalism or quest for freedom 00:14:31.458 --> 00:14:35.329 or the frontiers of sensuality. 00:14:35.329 --> 00:14:39.100 But whatever direction the music took, 00:14:39.100 --> 00:14:41.638 one thing until recently was always the same, 00:14:41.638 --> 00:14:44.667 and that was when the musicians stopped playing, 00:14:44.667 --> 00:14:47.042 the music stopped. NOTE Paragraph 00:14:47.042 --> 00:14:50.405 Now this moment so fascinates me. 00:14:50.405 --> 00:14:52.316 I find it such a profound one. 00:14:52.316 --> 00:14:53.683 What happens when the music stops? 00:14:53.683 --> 00:14:57.125 Where does it go? What's left? 00:14:57.125 --> 00:15:00.413 What sticks with people in the audience at the end of a performance? 00:15:00.413 --> 00:15:02.185 Is it a melody or a rhythm 00:15:02.185 --> 00:15:04.965 or a mood or an attitude? 00:15:04.965 --> 00:15:07.234 And how might that change their lives? NOTE Paragraph 00:15:07.234 --> 00:15:11.167 To me this is the intimate, personal side of music. 00:15:11.167 --> 00:15:15.708 It's the passing on part. It's the 'why' part of it. 00:15:15.708 --> 00:15:18.966 And to me that's the most essential of all. 00:15:18.966 --> 00:15:22.925 Mostly it's been a person-to-person thing, 00:15:22.925 --> 00:15:25.532 a teacher-student, performer-audience thing, 00:15:25.532 --> 00:15:28.309 and then around 1880 came this new technology 00:15:28.309 --> 00:15:31.000 that first mechanically then through analogs then digitally 00:15:31.000 --> 00:15:35.287 created a new and miraculous way of passing things on, 00:15:35.287 --> 00:15:37.075 albeit an impersonal one. 00:15:37.075 --> 00:15:40.792 People could now hear music all the time, 00:15:40.792 --> 00:15:41.667 even though it wasn't necessary 00:15:41.667 --> 00:15:46.208 for them to play an instrument, read music or even go to concerts. NOTE Paragraph 00:15:46.208 --> 00:15:51.512 And technology democratized music by making everything available. 00:15:51.512 --> 00:15:53.273 It spearheaded a cultural revolution 00:15:53.273 --> 00:15:58.133 in which artists like Caruso and Bessie Smith were on the same footing. 00:15:58.133 --> 00:16:02.054 And technology pushed composers to tremendous extremes, 00:16:02.054 --> 00:16:03.754 using computers and synthesizers 00:16:03.754 --> 00:16:06.673 to create works of intellectually impenetrable complexity 00:16:06.673 --> 00:16:11.208 beyond the means of performers and audiences. NOTE Paragraph 00:16:11.208 --> 00:16:13.708 At the same time technology, 00:16:13.708 --> 00:16:17.000 by taking over the role that notation had always played, 00:16:17.000 --> 00:16:21.542 shifted the balance within music between instinct and intelligence 00:16:21.542 --> 00:16:24.833 way over to the instinctive side. 00:16:24.833 --> 00:16:26.723 The culture in which we live now 00:16:26.723 --> 00:16:29.792 is awash with music of improvisation 00:16:29.792 --> 00:16:31.417 that's been sliced, diced, layered 00:16:31.417 --> 00:16:35.167 and, God knows, distributed and sold. 00:16:35.167 --> 00:16:38.454 What's the long-term effect of this on us or on music? 00:16:38.454 --> 00:16:39.461 Nobody knows. NOTE Paragraph 00:16:39.461 --> 00:16:43.183 The question remains: What happens when the music stops? 00:16:43.183 --> 00:16:45.134 What sticks with people? 00:16:45.165 --> 00:16:49.117 Now that we have unlimited access to music, what does stick with us? NOTE Paragraph 00:16:49.117 --> 00:16:51.537 Well let me show you a story of what I mean 00:16:51.537 --> 00:16:53.329 by "really sticking with us." 00:16:53.329 --> 00:16:56.417 I was visiting a cousin of mine in an old age home, 00:16:56.417 --> 00:16:59.752 and I spied a very shaky old man 00:16:59.752 --> 00:17:02.029 making his way across the room on a walker. 00:17:02.029 --> 00:17:04.545 He came over to a piano that was there, 00:17:04.545 --> 00:17:08.875 and he balanced himself and began playing something like this. 00:17:08.875 --> 00:17:13.410 (Music) NOTE Paragraph 00:17:13.410 --> 00:17:22.273 And he said something like, "Me ... boy ... symphony ... Beethoven." 00:17:22.273 --> 00:17:23.825 And I suddenly got it, 00:17:23.825 --> 00:17:26.745 and I said, "Friend, by any chance are you trying to play this?" 00:17:26.745 --> 00:17:31.696 (Music) 00:17:31.696 --> 00:17:34.125 And he said, "Yes, yes. I was a little boy. 00:17:34.125 --> 00:17:38.721 The symphony: Isaac Stern, the concerto, I heard it." 00:17:38.721 --> 00:17:40.404 And I thought, my God, 00:17:40.404 --> 00:17:43.250 how much must this music mean to this man 00:17:43.250 --> 00:17:47.367 that he would get himself out of his bed, across the room 00:17:47.367 --> 00:17:50.667 to recover the memory of this music 00:17:50.667 --> 00:17:53.575 that, after everything else in his life is sloughing away, 00:17:53.575 --> 00:17:55.833 still means so much to him? NOTE Paragraph 00:17:55.833 --> 00:17:59.756 Well, that's why I take every performance so seriously, 00:17:59.756 --> 00:18:01.506 why it matters to me so much. 00:18:01.506 --> 00:18:04.958 I never know who might be there, who might be absorbing it 00:18:04.958 --> 00:18:06.708 and what will happen to it in their life. NOTE Paragraph 00:18:06.708 --> 00:18:11.795 But now I'm excited that there's more chance than ever before possible 00:18:11.795 --> 00:18:13.125 of sharing this music. 00:18:13.125 --> 00:18:14.871 That's what drives my interest in projects 00:18:14.871 --> 00:18:18.250 like the TV series "Keeping Score" with the San Francisco Symphony 00:18:18.250 --> 00:18:20.817 that looks at the backstories of music, 00:18:20.817 --> 00:18:23.994 and working with the young musicians at the New World Symphony 00:18:23.994 --> 00:18:25.588 on projects that explore the potential 00:18:25.588 --> 00:18:29.094 of the new performing arts centers 00:18:29.094 --> 00:18:31.468 for both entertainment and education. NOTE Paragraph 00:18:31.468 --> 00:18:33.435 And of course, the New World Symphony 00:18:33.435 --> 00:18:37.083 led to the YouTube Symphony and projects on the internet 00:18:37.083 --> 00:18:40.087 that reach out to musicians and audiences all over the world. 00:18:40.087 --> 00:18:44.867 And the exciting thing is all this is just a prototype. 00:18:44.867 --> 00:18:47.105 There's just a role here for so many people -- 00:18:47.121 --> 00:18:49.917 teachers, parents, performers -- 00:18:49.917 --> 00:18:52.777 to be explorers together. 00:18:52.777 --> 00:18:55.562 Sure, the big events attract a lot of attention, 00:18:55.562 --> 00:18:59.042 but what really matters is what goes on every single day. 00:18:59.042 --> 00:19:03.512 We need your perspectives, your curiosity, your voices. NOTE Paragraph 00:19:03.512 --> 00:19:06.602 And it excites me now to meet people 00:19:06.602 --> 00:19:09.700 who are hikers, chefs, code writers, taxi drivers, 00:19:09.700 --> 00:19:12.465 people I never would have guessed who loved the music 00:19:12.465 --> 00:19:13.580 and who are passing it on. 00:19:13.580 --> 00:19:17.321 You don't need to worry about knowing anything. 00:19:17.321 --> 00:19:21.083 If you're curious, if you have a capacity for wonder, if you're alive, 00:19:21.083 --> 00:19:24.143 you know all that you need to know. 00:19:24.143 --> 00:19:26.352 You can start anywhere. Ramble a bit. 00:19:26.352 --> 00:19:30.456 Follow traces. Get lost. Be surprised, amused inspired. 00:19:30.456 --> 00:19:35.075 All that 'what', all that 'how' is out there 00:19:35.075 --> 00:19:37.538 waiting for you to discover its 'why', 00:19:37.569 --> 00:19:40.627 to dive in and pass it on. NOTE Paragraph 00:19:40.627 --> 00:19:43.125 Thank you. NOTE Paragraph 00:19:43.125 --> 00:19:50.237 (Applause)