How architecture helped music evolve | David Byrne

497,800 views ・ 2010-06-11

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Prevoditelj: Senzos Osijek Recezent: Tilen Pigac - EFZG
00:16
This is the venue
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Ovo je mjesto
00:18
where, as a young man,
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gdje sam, kao mladić,
00:20
some of the music that I wrote was first performed.
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prvi put izveo neke od pjesama koje sam napisao.
00:23
It was, remarkably,
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Začudo, ta je prostorija
00:25
a pretty good sounding room.
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imala zaista dobru akustiku.
00:27
With all the uneven walls and all the crap everywhere,
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S neravnim zidovima i svim tim smećem uokolo,
00:29
it actually sounded pretty good.
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zapravo je zvučala jako dobro.
00:31
This is a song that was recorded there.
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Ovo je pjesma koja je ondje snimljena.
00:34
(Music)
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(Glazba)
00:36
This is not Talking Heads,
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Ovo nisu Talking Heads,
00:39
in the picture anyway.
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barem ne na slici.
00:41
(Music: "A Clean Break (Let's Work)" by Talking Heads)
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(Glazba: „ A Clean Break (Let's Work)“ izvođač Talking Heads)
00:49
So the nature of the room
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Priroda te prostorije
00:51
meant that words could be understood.
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omogućila je riječima da budu razumljive.
00:53
The lyrics of the songs could be pretty much understood.
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Riječi pjesama poprilično su se mogle shvatiti.
00:55
The sound system was kind of decent.
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Ozvučenje je bilo pristojno.
00:58
And there wasn't a lot of reverberation in the room.
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I nije bilo puno jeke u prostoriji
01:01
So the rhythms
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pa su i ritmovi
01:03
could be pretty intact too,
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mogli biti poprilično netaknuti,
01:05
pretty concise.
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poprilično jezgroviti.
01:07
Other places around the country had similar rooms.
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Diljem zemlje i druga su mjesta imala slične prostore.
01:09
This is Tootsie's Orchid Lounge in Nashville.
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Ovo je Tootsie's Orchid Lounge u Nashville-u.
01:12
The music was in some ways different,
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Glazba je bila na neke načine različita,
01:14
but in structure and form,
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ali u strukturi i formi,
01:17
very much the same.
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veoma slična.
01:19
The clientele behavior was very much the same too.
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Ponašanje klijentele je također bilo više manje isto.
01:24
And so the bands at Tootsie's
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I tako su bendovi u Tootsie's Lounge-u
01:26
or at CBGB's
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ili u CBGB-u
01:28
had to play loud enough --
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morali svirati dovoljno glasno --
01:31
the volume had to be loud enough to overcome
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jačina zvuka je morala biti dovoljno glasna kako bi nadvladala
01:33
people falling down, shouting out
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padanje ljudi, njihovo vikanje
01:35
and doing whatever else they were doing.
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i sve drugo što su radili.
01:37
Since then, I've played other places
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Od tada, svirao sam i na drugim mjestima
01:39
that are much nicer.
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koja su mnogo ugodnija.
01:41
I've played the Disney Hall here
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Svirao sam u Disney Hallu ovdje
01:44
and Carnegie Hall and places like that.
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i Carnegie Hallu i takvim mjestima.
01:47
And it's been very exciting.
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I bilo je to veoma uzbudljivo.
01:49
But I also noticed that sometimes the music
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Također sam primijetio da ponekad glazba
01:51
that I had written,
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koju sam napisao,
01:53
or was writing at the time,
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ili sam pisao u to vrijeme,
01:55
didn't sound all that great
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nije zvučala posve dobro
01:57
in some of those halls.
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u nekima od tih dvorana.
01:59
We managed,
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Snalazili smo se,
02:01
but sometimes those halls didn't seem exactly suited
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ali katkad se te dvorane nisu činile posve prikladne
02:04
to the music I was making
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za glazbu koju sam radio
02:06
or had made.
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ili sam napravio.
02:08
So I asked myself:
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Pa sam se upitao:
02:10
Do I write stuff
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Pišem li stvari
02:11
for specific rooms?
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za određene prostorije?
02:13
Do I have a place, a venue,
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Imam li na umu mjesto ili prostor
02:15
in mind when I write?
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kada pišem?
02:17
Is that a kind of model for creativity?
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Je li to model za kreativnost?
02:19
Do we all make things with
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Radimo li svi pjesme
02:21
a venue, a context, in mind?
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s mjestom, kontekstom na umu?
02:25
Okay, Africa.
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Ok, Afrika.
02:27
(Music: "Wenlenga" / Various artists)
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(Glazba: „Wenlenga“ različiti izvođači)
02:34
Most of the popular music that we know now
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Većina popularne glazbe danas
02:37
has a big part of its roots in West Africa.
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ima velik dio svojih korijena u zapadnoj Africi.
02:40
And the music there,
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I glazba tamo,
02:42
I would say, the instruments,
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instrumenti,
02:44
the intricate rhythms,
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zamršeni ritmovi,
02:46
the way it's played, the setting, the context,
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način na koji se svira, okruženje, kontekst,
02:49
it's all perfect. It all works perfect.
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sve je savršeno. Funkcionira savršeno.
02:51
The music works perfectly in that setting.
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Glazba u tom okruženju funkcionira savršeno.
02:54
There's no big room
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Nema velike prostorije
02:56
to create reverberation and confuse the rhythms.
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koja bi stvarala jeku i pomiješala ritmove.
02:59
The instruments are loud enough
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Instrumenti su dovoljno glasni
03:01
that they can be heard without amplification, etc., etc.
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da se mogu čuti bez pojačavanja itd. itd.
03:03
It's no accident.
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To nije slučajnost.
03:05
It's perfect for that particular context.
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Savršeno je za taj određeni kontekst.
03:08
And it would be a mess
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I bilo bi katastrofa
03:10
in a context like this. This is a gothic cathedral.
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u ovakvom kontekstu. Ovo je gotička katedrala.
03:13
(Music: "Spem In Alium" by Thomas Tallis)
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(Glazba: „Spem In Alium“ autor Thomas Tallis)
03:19
In a gothic cathedral, this kind of music is perfect.
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U gotičkoj katedrali, ovakva je glazba savršena.
03:25
It doesn't change key, the notes are long,
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Nema promjene ključa, note su duge,
03:27
there's almost no rhythm whatsoever,
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gotovo pa uopće nema ritma
03:32
and the room flatters the music.
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i prostor pogoduje glazbi.
03:34
It actually improves it.
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Zapravo ju poboljšava.
03:36
This is the room that Bach
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Ovo je prostor za koji je Bach
03:38
wrote some of his music for. This is the organ.
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pisao neke od svojih skladbi. Ovo su orgulje.
03:41
It's not as big as a gothic cathedral,
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Nije veliko poput gotičke katedrale,
03:43
so he can write things that are a little bit more intricate.
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pa može pisati neke malo zamršenije skladbe.
03:46
He can, very innovatively,
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On može, veoma inovativno,
03:48
actually change keys
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zapravo mijenjati ključ
03:50
without risking huge dissonances.
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bez riskiranja velike disonance.
03:52
(Music: "Fantasia On Jesu, Mein Freunde" by Johann S. Bach)
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(Glazba: „ Fantasia On Jesu, Mein Freunde“ autor Johann S. Bach)
04:00
This is a little bit later.
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Ovo je malo kasnije.
04:02
This is the kind of rooms that Mozart wrote in.
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Ovo su prostorije poput one u kojoj je Mozart skladao.
04:05
I think we're in like 1770, somewhere around there.
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Mislim da se nalazimo otprilike u 1770. godini.
04:08
They're smaller, even less reverberant,
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Prostorije su manje, još manje odjekuju,
04:10
so he can write really frilly music
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pa on može pisati veoma ukrašenu
04:12
that's very intricate -- and it works.
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i zamršenu glazbu -- i to funkcionira.
04:16
(Music: "Sonata in F," KV 13, by Wolfgang A. Mozart)
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(Glazba: „Sonata u F-duru“ KV 13 autor Wolfgang A. Mozart)
04:19
It fits the room perfectly.
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Savršeno se uklapa u prostoriju.
04:25
This is La Scala.
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Ovo je La Scala.
04:27
It's around the same time,
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To je otprilike isto vrijeme,
04:29
I think it was built around 1776.
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mislim da je sagrađena otprilike 1776.
04:31
People in the audience in these opera houses, when they were built,
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Ljudi u publici u tim opernim kućama, kada su sagrađene,
04:34
they used to yell out to one another.
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običavali su dovikivati se.
04:36
They used to eat, drink and yell out to people on the stage,
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Oni su jeli, pili i vikali prema ljudima na pozornici,
04:39
just like they do at CBGB's and places like that.
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baš kao što to čine ljudi u CBGB-u i takvim mjestima.
04:41
If they liked an aria,
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Ako im se svidjela arija,
04:43
they would holler and suggest
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oni bi uzvikivali i predložili
04:45
that it be done again as an encore,
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da se ponovi kao bis,
04:47
not at the end of the show, but immediately.
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ne na kraju priredbe već odmah.
04:50
(Laughter)
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(Smijeh)
04:54
And well, that was an opera experience.
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I to je bilo iskustvo opere.
04:57
This is the opera house that Wagner built for himself.
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Ovo je operna kuća koju je za svoje potrebe sagradio Wagner.
05:01
And the size of the room is not that big.
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Veličina prostorije nije toliko velika.
05:04
It's smaller than this.
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Manja je od ovog.
05:06
But Wagner made an innovation.
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Ali ovdje je Wagner uveo inovaciju.
05:08
He wanted a bigger band.
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Želio je veći orkestar.
05:10
He wanted a little more bombast,
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Želio je više bombastičnosti
05:12
so he increased the size of the orchestra pit
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pa je povećao veličinu orkestralne rupe
05:14
so he could get more low-end instruments in there.
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kako bi ondje mogao smjestiti više instrumenata za niske lage.
05:17
(Music: "Lohengrin / Prelude to Act III" by Richard Wagner)
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(Glazba: „Lohengrin/ preludij III. čina“ autor: Richard Wagner)
05:27
Okay.
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Ok.
05:30
This is Carnegie Hall.
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Ovo je Carnegie Hall.
05:33
Obviously, this kind of thing became popular.
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Očito, ovo je postalo popularno.
05:35
The halls got bigger. Carnegie Hall's fair-sized.
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Dvorane su postale veće. Carnegie Hall je poštene veličine.
05:38
It's larger than some of the other symphony halls.
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Veća je od nekih drugih simfonijskih dvorana.
05:41
And they're a lot more reverberant
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One odjekuju puno više
05:43
than La Scala.
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nego La Scala.
05:45
Around the same,
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Otprilike u to vrijeme,
05:47
according to Alex Ross who writes for the New Yorker,
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prema Alexu Rossu koji piše za New Yorker,
05:50
this kind of rule came into effect
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pojavilo se pravilo
05:53
that audiences had to be quiet --
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da publika mora biti tiha --
05:55
no more eating, drinking and yelling at the stage,
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nema više jedenja, pijenja, vikanja prema pozornici
05:57
or gossiping with one another
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ili tračanja jednih s drugima
05:59
during the show.
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tijekom predstave.
06:01
They had to be very quiet.
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Morali su biti vrlo tihi.
06:03
So those two things combined meant that
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Dakle, te su dvije stvari kombinirano značile
06:05
a different kind of music
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da je drugačija vrsta glazbe
06:07
worked best in these kind of halls.
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najbolje funkcionirala u takvim dvoranama.
06:10
It meant that there could be extreme dynamics,
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To je značilo da može biti ekstremne dinamike,
06:12
which there weren't in some of these
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koje nije bilo u nekim drugim
06:14
other kinds of music.
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vrstama glazbe.
06:16
Quiet parts could be heard
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Tihi dijelovi,
06:18
that would have been drowned out
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koji bi prije bili ugušeni
06:20
by all the gossiping and shouting.
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tračanjem i vikanjem, sada su se mogli čuti.
06:22
But because of the reverberation
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Zbog jeke
06:24
in those rooms like Carnegie Hall,
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u takvim prostorima poput Carnegie Halla,
06:26
the music had to be maybe a little less rhythmic
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glazba je morala biti možda malo manje ritmična
06:28
and a little more textural.
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i malo više teksturalna.
06:30
(Music: "Symphony No. 8 in E Flat Major" by Gustav Mahler)
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(Glazba: „Simfonija br. 8 u Es-duru“ autor Gustav Mahler)
06:33
This is Mahler.
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Ovo je Mahler.
06:36
It looks like Bob Dylan, but it's Mahler.
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Izgeda kao Bob Dylan, ali je Mahler.
06:41
That was Bob's last record, yeah.
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To je zadnja Bobova ploča, da.
06:44
(Laughter)
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(Smijeh)
06:47
Popular music, coming along at the same time.
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Popularna glazba napreduje u to isto vrijeme.
06:50
This is a jazz band.
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Ovo je jazz bend.
06:52
According to Scott Joplin, the bands were playing
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Prema Scottu Joplinu bendovi su svirali
06:55
on riverboats and clubs.
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na riječnim brodovima i u klubovima.
06:57
Again, it's noisy. They're playing for dancers.
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Ponovno je bučno. Sviraju za plesače.
06:59
There's certain sections of the song -- the songs had different sections
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Postoje pojedini dijelovi u pjesmi -- pjesme su imale različite dijelove
07:02
that the dancers really liked.
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koji su se jako sviđali plesačima.
07:04
And they'd say, "Play that part again."
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I oni bi rekli: „Svirajte taj dio ponovno.“
07:06
Well, there's only so many times
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Međutim, ne možete plesačima svirati
07:08
you can play the same section of a song over and over again for the dancers.
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jedan te isti dio pjesme u nedogled.
07:11
So the bands started to improvise new melodies.
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Pa su bendovi počeli improvizirati nove melodije.
07:14
And a new form of music was born.
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I rođena je nova vrsta glazbe.
07:16
(Music: "Royal Garden Blues" by W.C. Handy / Ethel Waters)
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(Glazba: „Royal Garden Blues“ izvođači W.C.Handy/ Ethel Waters).
07:26
These are played mainly in small rooms.
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Ovakva glazba se svira uglavnom u malim prostorima.
07:30
People are dancing, shouting and drinking.
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Ljudi plešu, viču i piju.
07:32
So the music has to be loud enough
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Dakle, glazba mora biti dovoljno glasna
07:34
to be heard above that.
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da se čuje unatoč tome.
07:36
Same thing goes true for -- that's the beginning of the century --
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Nešto započinje za -- to je početak stoljeća --
07:39
for the whole of 20th-century popular music,
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za svu popularnu glazbu 20. stoljeća,
07:42
whether it's rock or Latin music or whatever.
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bio to rock, latinoamerička glazba ili bilo što drugo.
07:44
[Live music] doesn't really change that much.
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(Živa glazba) zapravo se ne mijenja puno.
07:47
It changes about a third of the way into the 20th century,
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Mijenja se otprilike nakon jedne trećine 20. stoljeća,
07:50
when this became
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kada ovo postaje
07:53
one of the primary venues for music.
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jedan od glavnih prostora za izvođenje glazbe.
07:56
And this was one way
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I ovo je jedan od načina
07:58
that the music got there.
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na koje je glazba ondje došla.
08:00
Microphones enabled singers, in particular,
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Mikrofoni su omogućili osobito pjevačima,
08:03
and musicians and composers,
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ali i glazbenicima i skladateljima
08:05
to completely change the kind of music
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da posve promijene vrstu glazbe
08:07
that they were writing.
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koju su pisali.
08:09
So far, a lot of the stuff that was on the radio was live music,
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Do tada, puno je stvari na radiju bilo živa glazba,
08:12
but singers, like Frank Sinatra,
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ali pjevači, poput Franka Sinatre
08:15
could use the mic
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su mogli uzeti mikrofon
08:17
and do things
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i izvoditi stvari
08:19
that they could never do without a microphone.
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koje bi bez mikrofona bile nemoguće.
08:22
Other singers after him
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Pjevači nakon njega
08:24
went even further.
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otišli su još dalje.
08:26
(Music: "My Funny Valentine" by Chet Baker)
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(Glazba: „My Funny Valentine“ izvođač Chet Baker)
08:33
This is Chet Baker.
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Ovo je Chet Baker.
08:35
And this kind of thing
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Ovakva vrsta stvari
08:37
would have been impossible without a microphone.
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bila bi nemoguća bez mikrofona.
08:39
It would have been impossible without recorded music as well.
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Bila bi nemoguća i bez snimljene glazbe također.
08:42
And he's singing right into your ear.
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On vam pjeva ravno u uho.
08:44
He's whispering into your ears.
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Šapće vam na uho.
08:46
The effect is just electric.
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Efekt je jednostavno električan.
08:48
It's like the guy is sitting next to you,
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Kao da čovjek sjedi do vas,
08:50
whispering who knows what into your ear.
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šaputajući vam tko zna što na uho.
08:55
So at this point, music diverged.
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U ovom trenutku imamo razilaženje u glazbi.
08:57
There's live music,
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Postoji živa glazba
08:59
and there's recorded music.
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i postoji snimljena glazba.
09:01
And they no longer have to be exactly the same.
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I one više ne moraju nužno biti posve iste.
09:04
Now there's venues like this, a discotheque,
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Postoje prostori puput ovog, diskoteke,
09:07
and there's jukeboxes in bars,
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i postoje „đuboksi“ u barovima,
09:09
where you don't even need to have a band.
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gdje više uopće ne morate imati bend.
09:11
There doesn't need to be any
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Više uopće ne postoji potreba
09:13
live performing musicians whatsoever,
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za sviračima žive glazbe,
09:16
and the sound systems are good.
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i sustavi ozvučenja su dobri.
09:19
People began to make music
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Ljudi su počeli raditi glazbu
09:21
specifically for discos
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posebno za disko
09:24
and for those sound systems.
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i takve sustave ozvučenja.
09:26
And, as with jazz,
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I kao što se dogodilo i sa jazzom,
09:29
the dancers liked certain sections
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plesači su voljeli neke dijelove
09:32
more than they did others.
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više nego neke druge.
09:34
So the early hip-hop guys would loop certain sections.
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Pa su rani hip-hoperi u petlju stavili određene dijelove.
09:37
(Music: "Rapper's Delight" by The Sugarhill Gang)
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(Glazba: „Rapper's Delight“ izvođač the Sugarhill Gang)
09:45
The MC would improvise lyrics
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MC bi improvizirao riječi
09:47
in the same way that the jazz players would improvise melodies.
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na isti način na koji su jazz izvođači improvizirali melodije.
09:50
And another new form of music was born.
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I tako je nastala još jedna vrsta glazbe.
09:54
Live performance, when it was incredibly successful,
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Nastupi uživo, kada bi bili nevjerojatno uspješni,
09:57
ended up in what is probably, acoustically,
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završili su u akustično
10:00
the worst sounding venues on the planet:
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najgorim prostorima na planetu:
10:03
sports stadiums,
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sportskim stadionima,
10:05
basketball arenas and hockey arenas.
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košarkaškim i hokej arenama.
10:08
Musicians who ended up there did the best they could.
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Glazbenici koji su tamo završili radili su najbolje što su mogli.
10:10
They wrote what is now called arena rock,
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Pisali su ono što se danas zove arena rock,
10:12
which is medium-speed ballads.
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tj. srednje brze balade.
10:14
(Music: "I Still Haven't Found What I'm Looking For" by U2)
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(Glazba: „I Still Haven't Found What I'm Looking For“ izvođač U2)
10:22
They did the best they could
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Napravili su najbolje što su mogli
10:24
given that this is what they're writing for.
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s obzirom da je ovo ono za što pišu.
10:27
The tempos are medium. It sounds big.
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Tempo je umjeren. Zvuči veliko.
10:30
It's more a social situation
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To je više socijalna
10:32
than a musical situation.
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nego glazbena situacija.
10:34
And in some ways, the music
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I na neki način, glazba
10:36
that they're writing for this place
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koju pišu za ovakva mjesta
10:38
works perfectly.
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savršeno funkcionira.
10:41
So there's more new venues.
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Dakle, ima više novih prostora.
10:44
One of the new ones is the automobile.
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Jedan od novijih je automobil.
10:46
I grew up with a radio in a car.
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Ja sam odrastao s radijem u autu.
10:48
But now that's evolved into something else.
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Sada je to evoluiralo u nešto drugo.
10:50
The car is a whole venue.
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Auto je jedno cjelovito mjesto.
10:52
(Music: "Who U Wit" by Lil' Jon & the East Side Boyz)
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(Glazba: „Who U Wit“ izvođač Lil'Jon & the East Side Boyz).
10:57
The music that, I would say, is written
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Glazba koja je, rekao bih, napisana
11:00
for automobile sound systems
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za zvučne sisteme u autima,
11:02
works perfectly on it.
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na njima savršeno funkcionira.
11:04
It might not be what you want to listen to at home,
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To možda nije glazba koju bi slušali kod kuće,
11:07
but it works great in the car --
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ali super funkcionira u autima --
11:09
has a huge frequency spectrum,
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ima veliki spektar frekvencije,
11:12
you know, big bass and high-end
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znate, dobar bas i gornje lage
11:14
and the voice kind of stuck in the middle.
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i glas koji je negdje u sredini.
11:17
Automobile music, you can share with your friends.
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Automobilsku glazbu možete dijeliti s prijateljima.
11:21
There's one other kind of new venue,
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Postoji još jedna nova vrsta prostora,
11:23
the private MP3 player.
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privatni MP3 player.
11:26
Presumably, this is just for Christian music.
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Po svoj prilici, to je samo za kršćansku glazbu.
11:28
(Laughter)
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(Smijeh)
11:34
And in some ways it's like Carnegie Hall,
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Na neke načine isto je kao Carnegie Hall,
11:37
or when the audience had to hush up,
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ili onome kada publika mora šutjeti
11:39
because you can now hear every single detail.
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jer sada možete čuti svaki detalj.
11:42
In other ways, it's more like the West African music
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Na neke druge načine, više je kao glazba zapadne Afrike
11:44
because if the music in an MP3 player gets too quiet,
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jer ako glazba na Mp3 playeru postane pretiha,
11:47
you turn it up, and the next minute,
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pojačate je, i sljedeće minute
11:49
your ears are blasted out by a louder passage.
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uši vam otpadnu zahvaljujući glasnom odlomku.
11:52
So that doesn't really work.
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Dakle, to zapravo ne funkcionira.
11:54
I think pop music, mainly,
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Mislim da je pop glazba danas pretežito,
11:56
it's written today,
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u dobroj mjeri,
11:58
to some extent, is written for these kind of players,
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napisana za takvu vrstu playera,
12:01
for this kind of personal experience
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za tu vrstu osobnog iskustva
12:03
where you can hear extreme detail,
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gdje možete čuti ekstremne detalje,
12:05
but the dynamic doesn't change that much.
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ali se dinamika ne mijenja baš puno.
12:08
So I asked myself:
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Upitao sam se:
12:11
Okay, is this
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Ok, je li to
12:13
a model for creation,
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model za kreativnost,
12:15
this adaptation that we do?
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adaptacija kroz koju prolazimo?
12:18
And does it happen anywhere else?
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I događa li se negdje drugdje?
12:20
Well, according to David Attenborough and some other people,
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Prema Davidu Attenboroughu i nekim drugim ljudima
12:23
birds do it too --
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i ptice to rade --
12:25
that the birds in the canopy,
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ptice među krošnjama,
12:28
where the foliage is dense,
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gdje je lišće gusto,
12:30
their calls tend to be
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glasaju se uglavnom
12:32
high-pitched, short and repetitive.
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visoko, kratko i ponavljajući se.
12:36
And the birds on the floor
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A ptice na podu
12:38
tend to have lower pitched calls,
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imaju nižu visinu tonova
12:40
so that they don't get distorted
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kako se oni ne bi iskrivili
12:42
when they bounce off the forest floor.
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dok se odbijaju od šumskog poda.
12:45
And birds like this Savannah sparrow,
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Ptice poput vrapca iz Savanne
12:49
they tend to have a buzzing
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imaju glasanje
12:51
(Sound clip: Savannah sparrow song)
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(Zvučni isječak: pjesma savanaškog vrapca)
12:53
type call.
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nalik na zujanje.
12:55
And it turns out that
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Ispada da je
12:58
a sound like this
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takav tip zvuka
13:00
is the most energy efficient and practical way
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energetski najučinkovitiji i najpraktičniji način
13:03
to transmit their call
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da prenesu svoj glas
13:06
across the fields and savannahs.
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preko polja i savana.
13:10
Other birds, like this tanager,
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Druge ptice, poput ove tangare
13:13
have adapted within the same species.
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su se prilagodile unutar iste vrste.
13:16
The tananger on the East Coast of the United States,
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Tangara na istočnoj obali SAD-a,
13:18
where the forests are a little denser,
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gdje su šume malo gušće,
13:20
has one kind of call,
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ima jedan način glasanja,
13:22
and the tananger on the other side, on the west
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a tangara na drugoj strani, na zapadu
13:25
(Sound clip: Scarlet tanager song)
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( Zvučni isječak: pjesma grimizne tangare)
13:27
has a different kind of call.
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ima drugačiji način glasanja.
13:30
(Sound clip: Scarlet tanager song)
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( Zvučni isječak: pjesma grimizne tangare)
13:35
So birds do it too.
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Dakle, i ptice to rade.
13:38
And I thought:
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Pomislio sam:
13:40
Well, if this is a model for creation,
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Ako je ovo model za stvaranje,
13:43
if we make music,
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ako radimo glazbu,
13:45
primarily the form at least,
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primarno formu ako ništa drugo,
13:48
to fit these contexts,
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da se uklapa u te kontekste
13:50
and if we make art to fit gallery walls or museum walls,
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i ako radimo umjetnost koja se uklapa na zidove galerija ili muzeja,
13:53
and if we write software to fit existing operating systems,
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ako pišemo software koji se uklapaju u postojeće operacijske sustave,
13:58
is that how it works?
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je li to način na koji sve funkcionira?
14:01
Yeah. I think it's evolutionary.
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Da. Mislim da je to evolucionalno.
14:03
It's adaptive.
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To je prilagođavajuće.
14:05
But the pleasure and the passion and the joy
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Ali užitak i strast
14:07
is still there.
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su još uvijek ondje.
14:10
This is a reverse view of things
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Ovo je način pogleda na stvari suprotan
14:12
from the kind of traditional Romantic view.
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onom tradicionalnom romantičnom pogledu.
14:14
The Romantic view is that
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Pogled romantizma je taj da
14:16
first comes the passion
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prvo dolazi strast
14:18
and then the outpouring of emotion,
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i nakon toga odljev emocija,
14:20
and then somehow it gets shaped into something.
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i tek nakon toga se to nekako oblikuje u nešto.
14:23
And I'm saying,
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Ja govorim,
14:25
well, the passion's still there,
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strast je još uvijek tu,
14:27
but the vessel
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ali spremnik
14:29
that it's going to be injected into and poured into,
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u koji će ona biti ubačena i izlivena,
14:32
that is instinctively and intuitively
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to je nešto što je instinktivno i intuitivno
14:34
created first.
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stvoreno prvo.
14:36
We already know where that passion is going.
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Mi već znamo gdje ta strast ide.
14:43
But this conflict of views is kind of interesting.
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Ali taj konflikt pogleda je na neki način zanimljiv.
14:46
The writer,
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Pisac
14:48
Thomas Frank,
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Thomas Frank
14:50
says that
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kaže da
14:52
this might be a kind of explanation
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bi to moglo biti objašnjenje
14:54
why some voters vote
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zašto neki glasači glasaju
14:56
against their best interests,
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protiv svojih interesa.
14:58
that voters, like a lot of us,
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Glasači, poput mnogih od nas,
15:01
assume, that if they hear something that sounds like it's sincere,
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pretpostavljaju da ako čuju nešto što zvuči iskreno,
15:04
that it's coming from the gut, that it's passionate,
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da je to i uvjerljivo, da je strastveno,
15:06
that it's more authentic.
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da je autentičnije.
15:08
And they'll vote for that.
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I glasat će za to.
15:10
So that, if somebody can fake sincerity,
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Pa bi netko, ako može glumiti iskrenost
15:12
if they can fake passion,
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i strast
15:15
they stand a better chance
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imao bolje šanse
15:17
of being selected in that way,
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biti izabran na takav način,
15:21
which seems a little dangerous.
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što se čini malo opasnim.
15:25
I'm saying the two, the passion, the joy,
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Ja govorim da to dvoje, strast
15:28
are not mutually exclusive.
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i radost, ne isključuju jedno drugo.
15:30
Maybe what the world needs now is for us to realize
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Možda je ono što svijet sada treba jest da shvatimo
15:33
that we are like the birds.
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da smo kao ptice.
15:35
We adapt.
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Prilagođavamo se.
15:37
We sing.
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Pjevamo.
15:39
And like the birds, the joy is still there,
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I kao i kod ptica, radost je još uvijek tu,
15:41
even though we have changed what we do
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čak i ako mijenjamo ono što činimo
15:44
to fit the context.
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kako bismo se uklopili u kontekst.
15:46
Thank you very much.
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Hvala najljepša!
15:48
(Applause)
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(Pljesak)
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