Test yourself: Can you tell the difference between music and noise? - Hanako Sawada

547,236 views ・ 2023-06-01

TED-Ed


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譯者: Lilian Chiu 審譯者: Helen Chang
00:07
In 1960, American composer John Cage went on national television
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1960 年,
美國作曲家約翰‧凱吉
上全國電視網分享他最新的作品。
00:12
to share his latest work.
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00:14
But rather than employing traditional instruments,
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但凱吉用的不是傳統樂器,
00:17
Cage appeared surrounded by household clutter,
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他帶出場的是家中的雜物,
00:19
including a bathtub, ice cubes, a toy fish, a pressure cooker,
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包括一個澡盆、冰塊、
一隻玩具魚、一個壓力鍋、
00:24
a rubber duck, and several radios.
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一隻橡膠鴨子,以及幾台收音機。
00:27
Armed with these tools and a stopwatch, he performed “Water Walk,”
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他用這些工具和一個碼錶,
演奏了《水之行》,
00:32
setting off a series of sounds with a serious expression
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他面帶嚴肅的表情, 以不可思議的精確度
00:36
and incredible precision.
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觸發了一連串的聲音。
00:38
Some viewers found the performance hysterical,
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有些觀眾覺得這場表演很歡鬧,
00:40
while others thought it was completely absurd.
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其他觀眾則覺得根本荒唐至極。
00:43
But most people watching likely shared the same question:
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但大部分看表演的人 心中都有一個問題:
00:47
is this even music?
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這算得上是音樂嗎?
00:50
This question is harder to answer than you might think.
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這個問題可能比你 想像的還要難回答。
00:53
What we determine as music often depends on our expectations.
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我們對音樂的認定, 通常取決於我們的期望。
00:57
For example, imagine you’re in a jazz club listening
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比如,想像你在一間爵士俱樂部裡,
01:00
to the rhythmic honking of horns.
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聽著有節奏的喇叭聲,
01:02
Most people would agree that this is music.
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大部分人會認同這是音樂。
01:05
But if you were on the highway hearing the same thing, many would call it noise.
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但如果你在高速公路上 聽到同樣的聲音,
許多人會稱之為噪音。
01:11
After all, car horns aren’t instruments
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畢竟,汽車喇叭不是樂器,
01:13
and these drivers aren’t musicians... right?
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且這些駕駛不是音樂家……對吧?
01:16
Expectations like these influence how we categorize everything we hear.
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像這樣的期望,會影響 我們如何將聽到的聲音分類。
01:21
We typically think something sounds more musical
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我們通常會認為 有這些條件才是有音樂性:
01:24
if it uses a recognizable structure or popular sounds
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使用可識別的結構
或常見的聲音
01:28
arranged in well-known patterns.
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用眾所皆知的模式來編排。
01:30
And even within the realm of music,
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就連在音樂界,
01:32
we expect certain genres to use specific instruments and harmonies.
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我們也會預期某些類型的音樂 要用特定的樂器與和音。
01:36
These expectations are based on existing musical traditions,
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這些期望的根據是既有的音樂傳統,
01:40
but those traditions aren't set in stone.
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但那些傳統並非一成不變的。
01:43
They vary across different cultures and time periods.
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在不同的文化和時代中, 那些傳統也有所不同。
01:46
And in the early 20th century,
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在二十世紀初,
01:48
when many artists were pushing the boundaries of their fields,
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許多藝術家在突破自己領域的界線,
01:51
John Cage wanted to discover what new kinds of music might exist
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約翰‧凱吉想要去探索
在那些限制之外可能存在有 什麼樣的新型音樂,
01:55
beyond those constraints.
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01:57
He began pioneering new instruments that blurred the lines
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他開始帶頭創造新樂器,
模糊了藝術和日常生活之間的界線,
02:00
between art and everyday life,
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02:02
and used surprising objects to reinvent existing instruments.
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也用讓人意想不到的物品
來重新發明既有的樂器。
02:08
He also explored new ways for music to mingle with other art forms.
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他也去探索音樂和其他 藝術形式交融的新方式。
02:12
He and his creative and romantic partner, Merce Cunningham,
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他和他的創意夥伴 兼伴侶摩斯‧康寧漢
02:16
held recitals where Cage’s music and Cunningham’s choreography
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會舉辦表演,且凱吉的 音樂和康寧漢的編舞
02:20
would be created independently before being performed together.
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是先獨立創作再一起呈現的。
02:25
But whatever his approach,
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不論用什麼方式,
02:27
Cage gleefully dared listeners to question the boundaries between music and noise,
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凱吉欣然挑戰聽眾, 去質疑音樂和噪音間的界線,
02:31
as well as sound and silence.
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以及聲音和寂靜間的界線。
02:33
Perhaps the best example is one of Cage’s most famous compositions—
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最好的例子可能是凱吉 最著名的作品之一——
02:37
a solo piano piece consisting of nothing but musical rests
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一首鋼琴獨奏曲,
單單由音樂休止符組成,
02:42
for four minutes and 33 seconds.
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整整四分鐘三十三秒皆是如此。
02:45
This wasn’t intended as a prank, but rather, as a question.
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它不是個惡作劇,而是個問題。
02:48
Could the opening and closing of a piano lid be music?
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打開和閡上鋼琴蓋子的聲音 可以成為音樂嗎?
02:52
What about the click of a stopwatch?
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碼錶的滴答聲呢?
02:54
The rustling, and perhaps even the complaining, of a crowd?
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群眾的喧嘩聲,甚至抱怨聲呢?
02:59
Like the white canvases of his painting peers,
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如同他同輩的畫家使用的白畫布,
03:02
Cage asked the audience to question their expectations about what music was.
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凱吉要聽眾去質疑 他們對於音樂樣貌的期望。
03:06
And while the piece didn’t evoke the drama of some traditional compositions,
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雖然這件作品沒有引起 傳統作品的戲劇效果,
03:10
it certainly elicited a strong emotional response.
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但它確實引發了強烈的情緒反應。
03:14
Cage’s work frequently prioritized these spontaneous, ephemeral experiences
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凱吉的創作通常會優先考量 這些即興、短暫的體驗,
03:19
over precise, predictable performances.
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而非精準、可預測的演出。
03:22
He even developed processes that left some compositional decisions up to chance.
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他甚至開發出流程,將一些 作曲決策交到機運的手中。
03:27
One of his favorite such systems was the I Ching,
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這類系統中,他最喜歡的 其中之一是《易經》,
03:30
an ancient Chinese divination text.
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中國古代的占卜經文。
03:32
Using just a handful of coins,
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易經只要用幾個硬幣就能讓讀者
03:34
the I Ching allows readers to produce a pattern of lines
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產生出線條的模式,
03:38
which can be interpreted to answer questions and offer fortunes.
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詮釋這個模式就可以 解答問題和提供運勢。
03:42
But Cage adapted these patterns into a series of tables
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但凱吉把這些模式 改編成一連串的表格,
03:45
that generated different musical durations, tempos, and dynamics.
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產生出不同的音樂 時間長度、速度,和動態。
03:49
Eventually, he even used early computers to help produce these random parameters.
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最終,他甚至用早期的電腦 來協助產生這些隨機參數。
03:54
For some pieces, Cage went even further,
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在一些作品中,凱吉還更進一步,
03:57
offering musicians incomplete compositions notated with broad instructions,
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提供不完整的樂曲給音樂家,
用廣泛的指示來譜曲,
04:02
allowing them to compose on the fly with the help of his guidelines.
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讓他們根據他的指南來即興創作。
04:07
Some composers rejected Cage's seemingly careless approach.
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有些作曲家會抵制凱吉 這種看似草率的方式,
04:10
They believed it was the composer’s job to organize sound and time
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他們相信作曲家的工作本來就包括
針對特定且有意義的目的 來組織編排聲音和時間,
04:14
for a specific, intentional purpose.
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04:17
After all, if these strange compositions were music,
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畢竟,若這些奇怪的創作算是音樂,
04:20
then where do we draw the line?
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那我們該如何劃界線?
04:22
But like a bold explorer, Cage didn't want to be bound by restrictions,
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但,就如同大膽的探險家,
凱吉不想被限制給束縛,
04:27
and he certainly didn't want to follow old rules.
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他肯定不想因循舊規則。
04:30
He dedicated himself to shattering our expectations,
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他致力於打破我們的預期,
04:34
creating a series of once in a lifetime experiences
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創造一連串一生只有一次的體驗,
04:37
that continue encouraging musicians and audiences
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持續鼓勵音樂家和觀眾
04:40
to embrace the unexpected.
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去擁抱意想不到的事物。
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