The mad scientist of music | Mark Applebaum

4,733,940 views ใƒป 2012-08-03

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

00:00
Translator: Joseph Geni Reviewer: Thu-Huong Ha
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๋ฒˆ์—ญ: Amy Ko ๊ฒ€ํ† : K Bang
00:18
I thought if I skipped it might help my nerves,
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์ œ๊ฐ€ ๋งŒ์•ฝ ์ด ํ–‰๋™์„ ํ•˜์ง€ ์•Š์œผ๋ฉด ์ œ๊ฐ€ ์ข€ ๋” ์•ˆ์ •๋˜๊ฒŒ ๋ณด์ด๊ฒ ๊ฒ ์ง€๋งŒ
00:21
but I'm actually having a paradoxical reaction to that,
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์ €๋Š” ์–ด์จŒ๋“  ๊ทธ ๋ฐ˜๋Œ€๋กœ ํ–‰๋™ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
00:24
so that was a bad idea. (Laughter)
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๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ์ด๊ฑด ์ข‹์ง€ ์•Š์€ ์•„์ด๋””์–ด์˜€์ฃ .(์›ƒ์Œ)
00:26
Anyway, I was really delighted to receive the invitation
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์•„๋ฌดํŠผ, ์ €๋Š” ์ž‘๊ณก๊ฐ€๋กœ์จ ์—ฌ๋Ÿฌ๋ถ„ ์•ž์—์„œ
00:29
to present to you some of my music and some of my work
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์ œ ์Œ์•…๊ณผ ์ œ ์ž‘์—…์„ ์„ ๋ณด์ผ ์ˆ˜ ์žˆ๋„๋ก ์ดˆ๋Œ€ ๋ฐ›์€ ๊ฒƒ์— ๋Œ€ํ•ด
00:33
as a composer, presumably because it appeals
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๊ธฐ์ฉ๋‹ˆ๋‹ค. ์•„๋งˆ ์ €์˜ ์ž˜ ์•Œ๋ ค์ง„, ์ด ํ’์„ฑํ•œ
00:36
to my well-known and abundant narcissism. (Laughter)
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์ž์•„๋„์ทจ์ฆ๋•Œ๋ฌธ์— ๊ธฐ์œ ๊ฒƒ์ด๊ฒ ์ฃ .(์›ƒ์Œ)
00:40
And I'm not kidding, I just think we should just
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๋†๋‹ด ์•„๋‹ˆ์—์š”. ์ €๋Š” ๋‹จ์ง€ ์šฐ๋ฆฌ๊ฐ€
00:43
say that and move forward. (Laughter)
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๊ทธ ์ ์„ ์ธ์ •ํ•˜๊ณ  ๊ณ„์† ์ด์•ผ๊ธฐ๋ฅผ ์ด์–ด๋‚˜๊ฐ€์•ผํ•œ๋‹ค๊ณ  ๋ด์š” (์›ƒ์Œ)
00:46
So, but the thing is, a dilemma quickly arose,
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๊ทธ๋Ÿฐ๋ฐ ๋ง์ด์ฃ , ๋”œ๋ ˆ๋งˆ๊ฐ€ ๋‚˜ํƒ€๋‚˜๊ธฐ ์‹œ์ž‘ํ•˜๋Š”๋ฐ
00:49
and that is that I'm really bored with music,
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๊ทธ ๊ฒƒ์€ ์ œ๊ฐ€ ์Œ์•…์— ์ •๋ง ์‹ซ์ฆ์ด ๋‚ฌ๋‹ค๋Š” ๊ฒƒ์ด์—์š”.
00:52
and I'm really bored with the role of the composer,
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์ œ ์ง€ํœ˜์ž๋กœ์จ ์—ญํ• ๋„ ๋”ฐ๋ถ„ํ•ด์„œ
00:55
and so I decided to put that idea, boredom,
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์ €๋Š” ์˜ค๋Š˜ ํ”„๋ ˆ์  ํ…Œ์ด์…˜์—์„œ '์ง€๋ฃจํ•จ'์—
00:58
as the focus of my presentation to you today.
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์ดˆ์ ์„ ๋งž์ถœ๊นŒ ํ•ฉ๋‹ˆ๋‹ค.
01:01
And I'm going to share my music with you, but I hope
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์ €๋Š” ์—ฌ๋Ÿฌ๋ถ„๋“ค๊ณผ ์Œ์•…์„ ๊ณต์œ ํ•  ๊ฑฐ์—์š”.
01:03
that I'm going to do so in a way that tells a story,
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ํ•˜์ง€๋งŒ ์ €๋Š” ์ด์•ผ๊ธฐ๋ฅผ ํ†ตํ•ด ์Œ์•…์„ ํ•จ๊ป˜ ๊ณต์œ ํ•˜๋ ค๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
01:05
tells a story about how I used boredom as a catalyst
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๊ทธ ์ด์•ผ๊ธฐ์ธ์ฆ‰์Šจ, ์ œ๊ฐ€ ์–ด๋–ป๊ฒŒ '์ง€๋ฃจํ•จ'์„
01:09
for creativity and invention, and how boredom
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์ฐฝ์˜์„ฑ๊ณผ ๋ฐœ๋ช…์— ์ด‰์ง„์ œ๋กœ ์‚ฌ์šฉํ–ˆ๊ณ  ์ด '์ง€๋ฃจํ•จ'์ด๋ผ๋Š” ๊ฒƒ์ด,
01:11
actually forced me to change the fundamental question
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์ œ ๋ถ„์•ผ์—์„œ ์ผํ•˜๋ฉด์„œ ์ƒ๊ธฐ๊ฒŒ ๋˜๋Š” ๊ธฐ๋ณธ์ ์ธ ๋ฌผ์Œ์„
01:14
that I was asking in my discipline,
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์–ด๋–ป๊ฒŒ ๋ฐ”๊พธ๊ฒŒ ํ–ˆ๋Š”์ง€,
01:17
and how boredom also, in a sense,
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๋˜ ์–ด๋–ป๊ฒŒ '์ง€๋ฃจํ•จ'์ด ์–ด๋–ค ์˜๋ฏธ๋กœ๋Š”,
01:19
pushed me towards taking on roles beyond the sort of
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์ €๋ฅผ ๊ฐ€์žฅ ์ „ํ†ต์ ์ด๊ณ  ์ข์€ ์˜๋ฏธ์˜ ์ง€ํœ˜์ž๋กœ์จ์˜ ์—ญํ• ์„ ๋›ฐ์–ด๋„˜๊ฒŒ
01:23
most traditional, narrow definition of a composer.
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ํ–ˆ๋Š”์ง€๋ฅผ ๋งํ•˜๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค.
01:26
What I'd like to do today is to start with an excerpt
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์ œ๊ฐ€ ์˜ค๋Š˜ ํ•˜๊ณ  ์‹ถ์€ ๊ฒƒ์€ ํ”ผ์•„๋…ธ๋กœ
01:28
of a piece of music at the piano.
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๋ฐœ์ทŒํ•œ ์Œ์•…์„ ๋“ค๋ ค์ฃผ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
01:31
(Music)
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(์Œ์•…)
01:40
Okay, I wrote that. (Laughter)
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๊ทธ๋ž˜์š”, ์ œ๊ฐ€ ์ด๊ฑธ ์ž‘๊ณกํ–ˆ์–ด์š”.(์›ƒ์Œ)
01:44
No, it's not โ€” (Applause) Oh, why thank you.
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์‹ค์€ ์•„๋‹ˆ์ฃ  --(๋ฐ•์ˆ˜) ์•„๋ฌดํŠผ ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
01:46
No, no, I didn't write that.
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์•„๋‹ˆ์ฃ , ์ œ๊ฐ€ ์ด ๊ณก์„ ์ž‘๊ณกํ•˜์ง€ ์•Š์•˜์Šต๋‹ˆ๋‹ค.
01:47
In fact, that was a piece by Beethoven,
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์‹ค์€, ๋ฒ ํ† ๋ฒค์˜ ์ž‘ํ’ˆ์ด์ง€์š”,
01:49
and so I was not functioning as a composer.
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๊ทธ ๋•Œ ์ €๋Š” ์ž‘๊ณก๊ฐ€๋กœ์จ ์—ญํ• ์„ ํ•˜์ง€ ์•Š์€ ๊ฑฐ์—์š”.
01:52
Just now I was functioning in the role of the interpreter,
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๋Œ€์‹  ๊ทธ ๋•Œ ์ €๋Š” ํ•ด์„์ž๋กœ์จ
01:55
and there I am, interpreter.
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์—ญํ• ์„ ํ•˜๊ณ  ์žˆ๋˜ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
01:57
So, an interpreter of what? Of a piece of music, right?
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๋ฌด์—‡์„ ํ•ด์„ํ•œ๋‹ค๊ณ ? ์Œ์•…์„ ํ•ด์„ํ•œ๋‹ค๊ณ ์š”?
02:00
But we can ask the question, "But is it music?"
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์šฐ๋ฆฌ๋Š” ์ด ์Œ์•…์„ ๋“ฃ๊ณ  "์ด๊ฒŒ ์Œ์•…์ด์•ผ?"๋ผ๊ณ  ๋ฌผ์„ ์ˆ˜ ์žˆ๊ฒ ์ฃ .
02:04
And I say this rhetorically, because of course
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์ œ๊ฐ€ ์ข€ ๊ณผ์žฅ๋˜๊ฒŒ ์–˜๊ธฐํ–ˆ๋Š”๋ฐ
02:06
by just about any standard we would have to concede
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๋ฌผ๋ก  ๋ฐฉ๊ธˆ ๋“ค๋ ค๋“œ๋ฆฐ ๊ณก์ด ์–ด๋–ค ๊ธฐ์ค€์—์„œ๋“ 
02:09
that this is, of course, a piece of music,
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์Œ์•…์ด๋ผ๋Š” ๊ฒƒ์„ ์ธ์ •ํ•  ๊ฑฐ์—์š”.
02:11
but I put this here now because,
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๊ทธ๋ ‡์ง€๋งŒ ์ œ๊ฐ€ ์ง€๊ธˆ ์–˜๊ธฐ๋ฅผ ๊บผ๋‚ด๋Š” ๊ฒƒ์€
02:13
just to set it in your brains for the moment,
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์ด ์งˆ๋ฌธ์„ ์—ฌ๋Ÿฌ๋ถ„ ๋จธ๋ฆฌ์†์— ๋ฐ•์•„๋†“๊ธฐ ์œ„ํ•ด์„œ์ด์ž
02:15
because we're going to return to this question.
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์ด ์งˆ๋ฌธ์œผ๋กœ ๋‹ค์‹œ ๋Œ์•„๊ฐˆ ๊ฒƒ์ด๊ธฐ ๋•Œ๋ฌธ์ด์—์š”.
02:17
It's going to be a kind of a refrain
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์ด ์งˆ๋ฌธ์€ ์ด ํ”„๋ ˆ์  ํ…Œ์ด์…˜ ๋™์•ˆ
02:19
as we go through the presentation.
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๊ณ„์† ์‚ฌ์šฉ๋  ํ›„๋ ด๊ตฌ๊ฐ™์€ ๊ฑฐ์—์š”.
02:21
So here we have this piece of music by Beethoven,
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๋ฐฉ๊ธˆ ์šฐ๋ฆฌ๋Š” ๋ฒ ํ† ๋ฒค์˜ ์Œ์•…์„ ๋“ค์—ˆ๋Š”๋ฐ,
02:23
and my problem with it is, it's boring.
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๋ฌธ์ œ๋Š” ์ด๊ฒŒ ์ €ํ•œํ…Œ ์ง€๋ฃจํ•˜๋‹ค๋Š” ๊ฑฐ์—์š”.
02:26
I mean, you โ€” I'm just like, a hush, huh -- It's like -- (Laughter)
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์ œ ๋ง์€ ๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ํ•œ์ˆจ์ด ๋‚˜์˜จ๋‹ค๋Š” ๊ฑฐ์—์š”.(์›ƒ์Œ)
02:33
It's Beethoven, how can you say that?
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์ด๊ฑด ๋ฒ ํ† ๋ฒค ์ž‘ํ’ˆ์ธ๋ฐ, ์–ด๋–ป๊ฒŒ ๊ทธ๋Ÿฐ ๋ง์„ ํ•˜๋ƒ๊ตฌ์š”?
02:35
No, well, I don't know, it's very familiar to me.
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๊ธ€์Ž„์š”.. ๊ทธ๋Ÿฐ๋ฐ, ์ œ๊ฒŒ๋Š” ๊ต‰์žฅํžˆ ์ต์ˆ™ํ•œ ๊ฑฐ์—์š”.
02:36
I had to practice it as a kid, and I'm really sick of it. So -- (Laughter)
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์ €๋Š” ์ด ๊ณก์„ ์–ด๋ฆด๋•Œ๋ถ€ํ„ฐ ์—ฐ์Šตํ•ด์•ผํ–ˆ๊ณ , ์ •๋ง ์งˆ๋ ค์žˆ์–ด์š” (์›ƒ์Œ)
02:39
I would, so what I might like to try to do is to change it,
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๊ทธ๋ž˜์„œ ์ €๋Š” ์ด ๊ณก์„ ๋ณ€ํ˜•ํ•˜๊ธฐ ์œ„ํ•œ ์‹œ๋„๋ฅผ ํ•ด๋ณด์•˜์ฃ ,
02:42
to transform it in some ways, to personalize it,
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์ €๋งŒ์˜ ํŠน์ƒ‰์žˆ๋Š” ๊ณก์œผ๋กœ ๋งŒ๋“ค๋ ค๊ณ ์š”.
02:45
so I might take the opening, like this idea --
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๊ทธ๋Ÿฌ๋ฉด ์‹œ์ž‘์„ ์ด๋ ‡๊ฒŒ ํ•  ์ˆ˜๋„ ์žˆ์—ˆ๊ฒ ์ฃ 
02:47
(Music)
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(์Œ์•…)
02:49
and then I might substitute -- (Music)
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๋˜๋Š” ์ด๋ ‡๊ฒŒ ๋ณ€ํ˜•ํ•  ์ˆ˜๋„ ์žˆ๊ณ ์š” -- (์Œ์•…)
02:54
and then I might improvise on that melody
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๊ทธ ๋‹ค์Œ ์ €๋Š” ๊ทธ ๋ฉœ๋กœ๋””์—์„œ
02:56
that goes forward from there -- (Music)
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์ด๋ ‡๊ฒŒ ์ฆ‰ํฅ ์—ฐ์ฃผ๋ฅผ ํ•  ์ˆ˜๋„ ์žˆ๊ณ ์š” -- (์Œ์•…)
02:59
(Music)
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(์Œ์•…)
03:26
So that might be the kind of thing -- Why thank you.
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์•„๋งˆ ์ด๋Ÿฐ๊ฑฐ๊ฒ ์ฃ . --๊ณ ๋ง™์Šต๋‹ˆ๋‹ค
03:29
(Applause)
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(๋ฐ•์ˆ˜)
03:32
That would be the kind of thing that I would do,
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์ด๋Ÿฐ ๊ฒƒ์ด ์ œ๊ฐ€ ๋งŒ๋“ค์–ด ๋‚ด๋Š” ๊ฒƒ์ด๊ฒ ์ฃ .
03:34
and it's not necessarily better than the Beethoven.
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๊ผญ ๋ฒ ํ† ๋ฒค ์›๊ณก๋ณด๋‹ค ์ข‹์ง€๋งŒ์€ ์•Š์•„์š”.
03:36
In fact, I think it's not better than it. The thing is -- (Laughter) --
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์‹ค์€, ์ €๋Š” ์›๊ณก์ด ๋‚˜์€ ๊ฑฐ ๊ฐ™์•„์š”, ๊ทธ๋Ÿฐ๋ฐ ๋ง์ด์ฃ  -- (์›ƒ์Œ) --
03:40
it's more interesting to me. It's less boring for me.
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์ด๋ ‡๊ฒŒ ๋ฐ”๊พผ ๊ฒƒ์ด ์ €์—๊ฒŒ ๋” ํฅ๋ฏธ๋กญ๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๋œ ์ง€๋ฃจํ•ด์š”.
03:45
I'm really leaning into me, because I, because I have
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์ €๋Š” ์‚ฌ์‹ค ์ œ ์ œ ์ž์‹ ์—๊ฒŒ์˜์ง€ํ•˜๊ณ  ์žˆ์ฃ , ์™œ๋ƒํ•˜๋ฉด ์ €๋Š”
03:49
to think about what decisions I'm going to make on the fly
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๋ฒ ํ† ๋ฒค ๊ณก์˜ ๋‚ด์šฉ์ด ์ œ ๋จธ๋ฆฟ์†์„ ์ง€๋‚˜๊ฐ€๋ฉด์„œ
03:52
as that Beethoven text is running in time through my head
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ํ๋ฆ„์„ ์œ„ํ•ด ์–ด๋–ค ๊ฒฐ์ •์„ ๋‚ด๋ ค์•ผํ•˜๋‚˜ ์ƒ๊ฐํ•ด์•ผํ•˜๊ณ 
03:55
and I'm trying to figure out what kinds of transformations
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๋ฌด์Šจ ๋ณ€ํ™”๋ฅผ ์ฃผ์–ด์•ผ ํ• ์ง€
03:58
I'm going to make to it.
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์ƒ๊ฐํ•ด๋‚ด์•ผ ํ•˜๊ธฐ ๋•Œ๋ฌธ์ด์—์š”.
03:59
So this is an engaging enterprise for me, and
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๊ทธ๋ž˜์„œ ์ด ๊ฒƒ์€ ์ €์—๊ฒŒ ๋งค๋ ฅ์ ์ธ ์ž‘์—…์ด๊ณ 
04:02
I've really leaned into that first person pronoun thing there,
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์ €๋Š” ์ € ์ž‘์—…์—์„œ 1์ธ์นญ์œผ๋กœ ๋˜์–ด ์žˆ์–ด์š”.
04:06
and now my face appears twice, so I think we can agree
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์ง€๊ธˆ ์ œ ์–ผ๊ตด์ด ๋‘ ๋ฒˆ ๋‚˜ํƒ€๋‚ฌ๋Š”๋ฐ์š”, ์ œ ์ƒ๊ฐ์—๋Š”
04:09
that this is a fundamentally solipsistic enterprise. (Laughter)
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์ด๊ฑด ๊ธฐ๋ณธ์ ์œผ๋กœ ์ž๊ธฐ์ค‘์‹ฌ์ ์ธ ์ž‘์—…์ด์—์š”. (์›ƒ์Œ)
04:12
But it's an engaging one, and it's interesting to me
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ํ•˜์ง€๋งŒ ์ด๊ฑด ์–ผ๋งˆ๊ฐ„์€ ์ €์—๊ฒŒ ๋งค๋ ฅ์ ์ด๊ณ  ํฅ๋ฏธ๋กœ์›Œ์š”.
04:15
for a while, but then I get bored with it, and by it,
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ํ•˜์ง€๋งŒ ๊ณง ์ œ๊ฐ€ ์ด ์ต์ˆ™ํ•œ ์•…๊ธฐ์ธ
04:17
I actually mean, the piano, because it becomes,
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ํ”ผ์•„๋…ธ์— ์งˆ๋ฆฌ๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
04:20
it's this familiar instrument, it's timbral range is actually
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ํ”ผ์•„๋…ธ์— ๋ถˆ์„ ๋ถ™์—ฌ๋†“๊ณ  ์—ฐ์ฃผํ•˜๊ฑฐ๋‚˜ ํ•˜์ง€ ์•Š๋Š” ํ•œ
04:23
pretty compressed, at least when you play on the keyboard,
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์ตœ์†Œํ•œ ํ‚ค๋ณด๋“œ๋กœ ์—ฐ์ฃผํ•˜๋”๋ผ๋„
04:26
and if you're not doing things like listening to it
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ํ”ผ์•„๋…ธ๊ฐ€ ๋‚ด๋Š” ์†Œ๋ฆฌ๋Š”
04:28
after you've lit it on fire or something like that, you know.
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๊ฝค ๊ฐ„๊ฒฐํ•ฉ๋‹ˆ๋‹ค.
04:31
It gets a little bit boring, and so pretty soon
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์ข€ ์ง€๋ฃจํ•ด์ง€๊ธฐ ์‹œ์ž‘ํ•  ๋•Œ,
04:33
I go through other instruments, they become familiar,
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๊ณง ์ €๋Š” ๋‹ค๋ฅธ ์•…๊ธฐ๋“ค์„ ์‹œ๋„ํ•ด๋ณด์ฃ . ๊ทธ ์•…๊ธฐ๋“ค๋„ ์ต์ˆ™ํ•ด์ง€๋ฉด,
04:35
and eventually I find myself designing and constructing
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๊ฒฐ๊ตญ ์ €๋Š” ์ €๋งŒ์˜ ์•…๊ธฐ๋ฅผ ๋””์ž์ธํ•˜๊ณ  ๋งŒ๋“ค์–ด ๋ƒ…๋‹ˆ๋‹ค.
04:38
my own instrument, and I brought one with me today,
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๊ทธ๋ž˜์„œ ์˜ค๋Š˜ ์ œ๊ฐ€ ๋งŒ๋“  ์•…๊ธฐ๋ฅผ ๊ฐ€์ ธ์™”๋Š”๋ฐ
04:42
and I thought I would play a little bit on it for you
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์ž ๊น ๊ทธ ์•…๊ธฐ๋ฅผ ์—ฌ๋Ÿฌ๋ถ„๋“ค ์•ž์—์„œ ์—ฐ์ฃผํ•ด ๋ณด๊ฒ ์Šต๋‹ˆ๋‹ค.
04:45
so you can hear what it sounds like.
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๊ทธ๋Ÿฌ๋ฉด ์—ฌ๋Ÿฌ๋ถ„๋“ค๋„ ์ด ์•…๊ธฐ๊ฐ€ ์–ด๋–ค ์†Œ๋ฆฌ๋ฅผ ๋‚ด๋Š”์ง€ ๋“ค์„ ์ˆ˜ ์žˆ๊ฒ ์ฃ .
04:47
(Music)
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(์Œ์•…)
04:59
You gotta have doorstops, that's important. (Laughter)
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์—ฌ๋Ÿฌ๋ถ„์€ ์ง€๊ธˆ ๋‚˜๊ฐ€๊ณ  ์‹ถ์œผ์‹ค๊ฑฐ์—์š”. ๊ทธ๊ฒŒ ์ค‘์š”ํ•˜์ฃ . (์›ƒ์Œ)
05:04
I've got combs. They're the only combs that I own. (Music)
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์—ฌ๊ธฐ ๋น—๋“ค์ด ์žˆ์–ด์š”. ์ด ๋น—๋“ค์ด ์ œ๊ฐ€ ๊ฐ€์ง€๊ณ  ์žˆ๋Š” ๋นš ์ „๋ถ€์—์š”.(์Œ์•…)
05:07
They're all mounted on my instruments. (Laughter)
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์ด ๋น—๋“ค์ด ์ œ ์•…๊ธฐ์— ๋“ค์–ด๊ฐ€ ์žˆ์ฃ . (์›ƒ์Œ)
05:11
(Music)
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(์Œ์•…)
05:20
I can actually do all sorts of things. I can play
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์ €๋Š” ์‚ฌ์‹ค ๋ญ๋“  ํ•  ์ˆ˜ ์žˆ์–ด์š”. ๋ฐ”์ด์˜ฌ๋ฆฐ ํ™œ๋Œ€๋กœ๋„
05:22
with a violin bow. I don't have to use the chopsticks.
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์—ฐ์ฃผํ•  ์ˆ˜ ์žˆ์–ด์š”. ์ “๊ฐ€๋ฝ์„ ์‚ฌ์šฉํ•  ํ•„์š”๋Š” ์—†์ฃ .
05:25
So we have this sound. (Music)
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๊ทธ๋Ÿฌ๋ฉด ์ด๋Ÿฐ ์†Œ๋ฆฌ๊ฐ€ ๋‚ฉ๋‹ˆ๋‹ค. (์Œ์•…)
05:33
And with a bank of live electronics,
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์ด ์ „์ž์žฅ์น˜๋“ค์˜ ๋๋ถ€๋ถ„์œผ๋กœ
05:35
I can change the sounds radically. (Music)
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์ €๋Š” ์†Œ๋ฆฌ๋ฅผ ๊ธ‰๊ฒฉํ•˜๊ฒŒ ๋ฐ”๊ฟ€ ์ˆ˜๋„ ์žˆ์–ด์š”. (์Œ์•…)
05:39
(Music)
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(์Œ์•…)
05:48
Like that, and like this. (Music)
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์ด๋ ‡๊ฒŒ์š”. (์Œ์•…)
05:54
And so forth.
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์ด๋Ÿฐ ๊ฒƒ๋“ค๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
05:56
So this gives you a little bit of an idea of the sound world
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์ด๋ ‡๊ฒŒ ํ•˜๋ฉด์„œ ์ œ๊ฐ€ ๊ฝค ์žฌ๋ฐŒ์žˆ์–ด ํ•˜๋Š” ์ด ์•…๊ธฐ์˜ ์†Œ๋ฆฌ๋ฅผ
05:58
of this instrument, which I think is quite interesting
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๋“ค๋ ค์ฃผ๋ฉด์„œ ์—ฌ๋Ÿฌ๋ถ„์—๊ฒŒ ์ด ์•…๊ธฐ์— ๋Œ€ํ•œ ์•ฝ๊ฐ„์˜ ๋А๋‚Œ์„ ๋А๋ผ๊ฒŒ ํ•ด๋“œ๋ฆฌ๊ณ  ์žˆ์–ด์š”.
06:01
and it puts me in the role of the inventor, and the nice thing about โ€”
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์ด ์•…๊ธฐ๋กœ ์ธํ•ด ์ œ๊ฒŒ๋Š” ๋ฐœ๋ช…๊ฐ€์˜ ์—ญํ• ์ด ์ƒ๊ธฐ๊ณ , ์ข‹์€ ๊ฒƒ์€
06:05
This instrument is called the Mouseketeer ... (Laughter)
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์ด ์•…๊ธฐ๋Š” '๋งˆ์šฐ์Šคํ‚คํ‹ฐ์–ด'๋ผ๊ณ  ๋ถˆ๋ฆฐ๋‹ค๋Š” ๊ฑฐ์—์š”. --(์›ƒ์Œ)
06:08
and the cool thing about it is
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๋ฉ‹์ง„ ๊ฒƒ์€ ์ œ๊ฐ€ ์„ธ์ƒ์—์„œ
06:10
I'm the world's greatest Mouseketeer player. (Laughter)
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์ตœ๊ณ ์˜ '๋งˆ์šฐ์Šคํ‚คํ‹ฐ์–ด'์—ฐ์ฃผ์ž๋ผ๋Š” ๊ฑฐ์—์š” (์›ƒ์Œ)
06:14
Okay? (Applause)
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๊ทธ๋ ‡์ฃ ? (๋ฐ•์ˆ˜)
06:15
So in that regard, this is one of the things,
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์ด๋Ÿฐ ์ ์—์„œ, ์ด ๊ฒƒ์€ ์ œ๊ฐ€ ๋ฐœ๋ช…๊ฐ€๋กœ์„œ
06:19
this is one of the privileges of being,
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๋˜๋‹ค๋ฅธ ์—ญํ• ์„ ํ•  ์ˆ˜ ์žˆ๋‹ค๋Š” ํŠน๊ถŒ์ด์—์š”.
06:20
and here's another role, the inventor, and by the way,
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๋ฐœ๋ช…๊ฐ€์ธ๊ฑฐ์ฃ . ๊ทธ๋‚˜์ €๋‚˜, ์ œ๊ฐ€ ์„ธ๊ณ„์—์„œ
06:23
when I told you that I'm the world's greatest,
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๊ฐ€์žฅ ํ›Œ๋ฅญํ•œ ๋งˆ์šฐ์Šคํ‚คํ‹ฐ์–ด ์—ฐ์ฃผ์ž๋ผ๊ณ  ๋งํ–ˆ์„ ๋•Œ,
06:26
if you're keeping score, we've had narcissism and solipsism
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์ด ๊ณก์„ ๋”ฐ๋ผ๊ฐ€๋‹ค๋ณด๋ฉด, ์šฐ๋ฆฌ๋Š” ์ž์•„๋„์ทจ์ ์ด๊ณ  ์œ ์•„์ ์ด๊ณ 
06:30
and now a healthy dose of egocentricism.
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์ด์ œ๋Š” ๊ฑด๊ฐ•ํ•œ ์ž์•„์ค‘์‹ฌ์ ์ธ ๋งˆ์ธ๋“œ๊นŒ์ง€ ๊ฐ€์ง€๊ฒŒ ๋˜์š”.
06:32
I know some of you are just, you know, bingo! Or, I don't know. (Laughter)
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์ „ ์—ฌ๋Ÿฌ๋ถ„๋“ค ์ค‘์— ๋ช‡๋ช‡์ด ๊ทธ๋Ÿด๊ฑฐ๋ผ๋Š” ๊ฒƒ์„ ์•Œ๊ณ  ์žˆ์–ด์š”! ์•„๋‹ ์ˆ˜๋„ ์žˆ์ง€๋งŒ์š”. (์›ƒ์Œ)
06:35
Anyway, so this is also a really enjoyable role.
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์•„๋ฌดํŠผ ์ด๊ฒƒ๋„ ์ •๋ง ์žฌ๋ฐŒ๋Š” ์—ญํ• ์ด์—์š”.
06:41
I should concede also that I'm the world's worst Mouseketeer player,
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์ €๋Š” ๋˜ํ•œ ์ œ๊ฐ€ ์„ธ๊ณ„์—์„œ ๊ฐ€์žฅ ๋”์ฐํ•œ ๋งˆ์šฐ์Šคํ‚คํ‹ฐ์–ด ์—ฐ์ฃผ์ž๋ผ๋Š” ๊ฒƒ์„ ์ธ์ •ํ•ด์•ผ๋งŒ ํ•ด์š”.
06:43
and it was this distinction that I was most worried about
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์ œ๊ฐ€ ํ…Œ๋‰ด์–ด๋ฅผ ๋ฐ›๊ธฐ ์ด์ „์— ๊ฐ€์žฅ ๊ฑฑ์ •ํ–ˆ๋˜ ๊ฒƒ์€
06:46
when I was on that prior side of the tenure divide.
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๋ฐ”๋กœ ์ด๋Ÿฐ ๋ถ€๋ถ„์ด์—ˆ์Šต๋‹ˆ๋‹ค.
06:49
I'm glad I'm past that. We're not going to go into that.
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์ €๋Š” ๊ทธ ๊ณผ์ •์ด ์ง€๋‚˜๊ฐ€์„œ ๊ธฐ๋ป์š”. ๋ฌผ๋ก  ๊ทธ๊ฒŒ ์ฃผ์ œ๋Š” ์•„๋‹ˆ์ง€๋งŒ์š”.
06:51
I'm crying on the inside. There are still scars.
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์ €๋Š” ์†์œผ๋กœ ์šธ๊ณ  ์žˆ์–ด์š”, ์—ฌ์ „ํžˆ ํ‰ํ„ฐ๋“ค๋„ ๋‚จ์•„์žˆ๊ณ ์š”.
06:54
Anyway, but I guess my point is that all of these enterprises
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์•„๋ฌดํŠผ ์ €์˜ ์š”์ ์€ ์ด๋Ÿฐ ๋ชจ๋“  ์ž‘์—…๋“ค์ด
06:58
are engaging to me in their multiplicity, but as I've presented them
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๋‹ค์–‘์„ฑ์˜ ๋ฉด์—์„œ ์ €๋ฅผ ์‚ฌ๋กœ์žก์•˜์Šต๋‹ˆ๋‹ค.
07:02
to you today, they're actually solitary enterprises,
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๊ทธ๋Ÿฌ๋‚˜ ๋ณด์—ฌ๋“œ๋ ธ๋“ฏ์ด ์ด๋Ÿฐ ๊ฒƒ์€ ์‹ค์€ ์™ธ๋กœ์šด ์ž‘์—…๋“ค์ด์—์š”.
07:05
and so pretty soon I want to commune with other people, and so
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๊ทธ๋Ÿฌ๋‹ˆ ์ €๋Š” ๊ณง ๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค๊ณผ ์‚ฌ๊ท€๊ณ  ์‹ถ์–ดํ•ฉ๋‹ˆ๋‹ค.
07:08
I'm delighted that in fact I get to compose works for them.
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๊ทธ๋ž˜์„œ ์ €๋Š” ๋‹ค๋ฅธ ์‚ฌ๋žŒ๋“ค์„ ์œ„ํ•ด ์ž‘๊ณกํ•œ๋‹ค๋Š” ๊ฒƒ์ด ๊ธฐ์ฉ๋‹ˆ๋‹ค.
07:11
I get to write, sometimes for soloists and I get to work with one person,
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๊ฐ€๋” ๋…์ฃผ์ž๋“ค์„ ์œ„ํ•ด ์ž‘๊ณกํ•˜๊ธฐ๋„ ํ•˜๊ณ ,
07:14
sometimes full orchestras, and I work with a lot of people,
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๋•Œ๋กœ๋Š” ํ•œ์‚ฌ๋žŒ์ด๋‚˜ ์˜ค์ผ€์ŠคํŠธ๋ผ ์ „์ฒด๊ฐ™์ด ์—ฌ๋Ÿฌ ์‚ฌ๋žŒ๋“คํ•˜๊ณ ๋„
07:17
and this is probably the capacity, the role creatively
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ํ•จ๊ป˜ ์ผํ•˜๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค. ์ด๋Ÿฐ ๊ฒƒ์€ ์•„๋งˆ๋„ ์ €์˜ ๊ทธ๋ฆ‡๋จ, ๊ทธ๋Ÿฌ๋‹ˆ๊นŒ, ์ €์˜ ์—ญํ• ์€
07:21
for which I'm probably best known professionally.
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์ œ๊ฐ€ ๋ถ„์•ผ์—์„œ ๊ฐ€์žฅ ์ž˜ ์•Œ๋ ค์ง€๊ฒŒ ๋œ ์š”์ธ์ผ๊ฑฐ์—์š”.
07:24
Now, some of my scores as a composer look like this,
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์ œ๊ฐ€ ์ž‘๊ณก๊ฐ€๋กœ์จ ์“ด ๋ช‡๋ช‡์˜ ๊ณก๋“ค์„ ์ด๋ ‡์Šต๋‹ˆ๋‹ค.
07:27
and others look like this,
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๋‹ค๋ฅธ ๊ฒƒ๋“ค์€ ์ด๋ ‡๊ณ ์š”
07:29
and some look like this,
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์–ด๋–ค ๊ฒƒ์€ ์ด๋ ‡์ง€์š”.
07:31
and I make all of these by hand, and it's really tedious.
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์ €๋Š” ์ด ๊ณก๋“ค์„ ๋‹ค ์†์œผ๋กœ ์ผ๊ณ  ์ด ์ผ์€ ๋งค์šฐ ์ง€๋ฃจํ–ˆ์–ด์š”,
07:34
It takes a long, long time to make these scores,
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์ด ๊ณก๋“ค์„ ๋งŒ๋“œ๋Š”๋ฐ ์•„์ฃผ ์˜ค๋žœ ์‹œ๊ฐ„์ด ๊ฑธ๋ ธ์–ด์š”.
07:36
and right now I'm working on a piece
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์ง€๊ธˆ ์ €๋Š” ๊ธธ์ด๊ฐ€ 180์ชฝ์ด๋‚˜ ๋˜๋Š” ๊ณก์„
07:38
that's 180 pages in length,
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์ž‘์—…ํ•˜๊ณ  ์žˆ์–ด์š”
07:40
and it's just a big chunk of my life, and I'm just pulling out hair.
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๊ทธ ๊ณก์€ ์ œ ์ธ์ƒ์—์„œ ํฐ ๋ถ€๋ถ„์ด๊ณ  ์ €๋Š” ์ œ๋จธ๋ฆฌ๋ฅผ ์ฅ์–ด๋œฏ์–ด๊ฐ€๋ฉฐ ํ•˜๊ณ  ์žˆ์–ด์š”.
07:45
I have a lot of it, and that's a good thing I suppose. (Laughter)
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๋จธ๋ฆฌ์นด๋ฝ์€ ๋งŽ์•„์š”. ๊ทธ๊ฑด ๋‹คํ–‰์ด์ฃ . (์›ƒ์Œ)
07:47
So this gets really boring and really tiresome for me,
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์ €์—๊ฒŒ ์ด ์ผ์€ ์ •๋ง ์ง€๋ฃจํ•˜๊ณ  ์ง„์ด ๋น ์ง‘๋‹ˆ๋‹ค.
07:51
so after a while the process of notating is not only boring,
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์–ผ๋งˆํ•˜์ง€๋„ ์•Š์•„ ํ‘œ๊ธฐ๋ฅผ ํ•˜๋Š” ๊ณผ์ •์ด ์ง€๋ฃจํ•ด์งˆ ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ
07:54
but I actually want the notation to be more interesting,
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์ €๋Š” ํ‘œ๊ธฐ๋ฒ•์ด ๋” ์žฌ๋ฏธ์žˆ๊ธฐ๋ฅผ ๋ฐ”๋žฌ์–ด์š”,
07:57
and so that's pushed me to do other projects like this one.
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๊ทธ๋ž˜์„œ ์ €๋Š” ๋˜ ์ด๋Ÿฐ ํ”„๋กœ์ ํŠธ๋“ค์„ ํ•˜๊ณ  ์žˆ์–ด์š”,
08:00
This is an excerpt from a score called
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์ด๊ฑด "ํ‘œ๊ธฐ๋ฒ•์˜ ํ˜•์ƒํ•™"์ด๋ผ๊ณ  ๋ถ€๋ฅด๋Š”
08:02
"The Metaphysics of Notation."
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๊ณก์„ ๋ฐœ์ทŒํ•œ ๊ฑฐ์—์š”.
08:04
The full score is 72 feet wide.
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์ „์ฒด๊ณก์˜ ๋„“์ด๋Š” 72ํ”ผํŠธ(21.6m)๊ฐ€ ๋˜์š”.
08:07
It's a bunch of crazy pictographic notation.
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์ด ๊ฒƒ์€ ๋ง๋„ ์•ˆ๋˜๋Š” ๊ทธ๋ฆผ ๋ฌธ์ž ํ‘œ๊ธฐ๋ฒ•์ด์—์š”.
08:09
Let's zoom in on one section of it right here. You can see
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์—ฌ๊ธฐ ์ด ๊ณก์˜ ํ•œ๋ถ€๋ถ„์„ ํ™•๋Œ€ํ•ด๋ณด๊ฒ ์Šต๋‹ˆ๋‹ค.
08:12
it's rather detailed. I do all of this with drafting templates,
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ํ›จ์”ฌ ๋” ์„ธ๋ถ€์ ์ธ ๋‚ด์šฉ์„ ๋ณด์‹ค ์ˆ˜ ์žˆ์„ ๊ฑฐ์—์š”.
08:16
with straight edges, with French curves, and by freehand,
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์—ฌ๊ธฐ์—๋Š” ์ง์„ ๊ณผ ์šดํ˜•์ž๋“ค, ๊ทธ๋ฆฌ๊ณ  ์ž์œ ๋กญ๊ฒŒ ๊ทธ๋ ค์ง„ ์„ ๋“ค๋„ ์žˆ์–ด์š”.
08:20
and the 72 feet was actually split
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๊ทธ๋ฆฌ๊ณ  ๊ทธ 72ํ”ผํŠธ์งœ๋ฆฌ ์ž‘ํ’ˆ์€
08:22
into 12 six-foot-wide panels that were installed
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12๊ฐœ์˜ 6ํ”ผํŠธ(1.8m)์งœ๋ฆฌ ๊ธธ์ด์˜ ํŒจ๋„๋“ค๋กœ ๋ถ„๋ฆฌํ•ด์„œ
08:25
around the Cantor Arts Center Museum lobby balcony,
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์บ”ํ„ฐ ๋ฏธ์ˆ ๊ด€ ๋กœ๋น„์˜ ๋ฐœ์ฝ”๋‹ˆ์— ์„ค์น˜๋˜์—ˆ์–ด์š”.
08:30
and it appeared for one year in the museum,
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์ด ๊ฒƒ์€ ๋ฐ•๋ฌผ๊ด€์— 1๋…„๋™์•ˆ ์ „์‹œ๋์—ˆ์–ด์š”.
08:34
and during that year, it was experienced as visual art
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๊ทธ ํ•ด๋™์•ˆ ๊ณก์€ ๊ฑฐ์˜ ๋งค์ฃผ ๋น„์ฅฌ์–ผ ์•„ํŠธ๋กœ ์„ ๋ณด์—ฌ์กŒ์–ด์š”.
08:37
most of the week, except, as you can see in these pictures,
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์ด ์‚ฌ์ง„๋“ค์—์„œ ๋ณด์‹ค ์ˆ˜ ์žˆ๋“ฏ์ด
08:39
on Fridays, from noon til one, and only during that time,
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๋งค์ฃผ ๊ธˆ์š”์ผ 12์‹œ๋ถ€ํ„ฐ 1์‹œ๊นŒ์ง€ ๋”ฑ ํ•œ์‹œ๊ฐ„ ๋™์•ˆ
08:42
various performers came and interpreted these strange
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๋‹ค์–‘ํ•œ ์—ฐ์ฃผ์ž๋“ค์ด ์™€์„œ ์ด ๊ธฐ๋ฌ˜ํ•˜๊ณ  ์ •์˜๋˜์ง€ ์•Š์€
08:45
and undefined pictographic glyphs. (Laughter)
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์ƒํ˜•๋ฌธ์ž๋“ค์„ ํ•ด์„ํ•ฉ๋‹ˆ๋‹ค. (์›ƒ์Œ)
08:48
Now this was a really exciting experience for me.
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์ €์—๊ฒŒ ์ •๋ง ํฅ๋ฏธ๋กœ์šด ๊ฒฝํ—˜์ด์—ˆ์ฃ .
08:52
It was gratifying musically, but I think
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์Œ์•…์ ์œผ๋กœ ํ๋ญ‡ํ•œ ์ผ์ง€๋งŒ ์ œ ์ƒ๊ฐ์— ๊ฐ€์žฅ ์ค‘์š”ํ•œ ๊ฒƒ์€
08:54
the more important thing is it was exciting because I got to take on
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์žฌ๋ฐŒ์—ˆ๋‹ค๋Š” ๊ฑฐ์—์š”, ํŠนํžˆ ๊ทธ๊ฒƒ๋„ ๋ฐ•๋ฌผ๊ด€์—์„œ
08:56
another role, especially given that it appeared in a museum,
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์ œ ์ž‘ํ’ˆ์„ ์„ ๋ณด์ด๋ฉด์„œ ๋น„์ฅฌ์–ผ ์•„ํ‹ฐ์ŠคํŠธ๋กœ์จ
08:59
and that is as visual artist. (Laughter)
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๋˜ ๋‹ค๋ฅธ ์—ญํ• ์„ ๋งก์•˜๊ธฐ ๋•Œ๋ฌธ์ด์—์š”. (์›ƒ์Œ)
09:03
We're going to fill up the whole thing, don't worry. (Laughter)
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์ „์ฒด๋ฅผ ๋‹ค ์ฑ„์šธ๊ฑฐ์—์š”. ๊ฑฑ์ •ํ•˜์ง€ ๋งˆ์„ธ์š”. (์›ƒ์Œ)
09:05
I am multitudes. (Laughter)
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์ €๋Š” ๋งŒ๋Šฅ์ด๋‹ˆ๊นŒ์š”. (์›ƒ์Œ)
09:07
So one of the things is that, I mean, some people
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๋ฌผ๋ก  ์ผ๋ถ€๋Š” ์ €๋ณด๊ณ  "ํ˜ธ์‚ฌ๊ฐ€"๋ผ๊ณ 
09:10
would say, like, "Oh, you're being a dilettante,"
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ํ•  ๊ฒ๋‹ˆ๋‹ค.
09:12
and maybe that's true. I can understand how, I mean,
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์–ด์ฉŒ๋ฉด ์‚ฌ์‹ค์ผ์ง€๋„ ๋ชจ๋ฅด์ฃ . ์ œ๊ฐ€ ๋น„์ฅฌ์–ผ์•„ํŠธ์—์„œ
09:14
because I don't have a pedigree in visual art
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์—…์ ๋„ ์—†๊ณ  ๊ต์œก์„ ๋ฐ›์€ ์ ๋„ ์—†์œผ๋‹ˆ๊นŒ์š”.
09:16
and I don't have any training, but it's just something
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๊ทธ๋ ‡์ง€๋งŒ ์ €๋Š” ์ฐฝ์˜์  ์ถฉ๋™์˜ ์—ฐ์žฅ์„ ์œผ๋กœ์„œ
09:18
that I wanted to do as an extension of my composition,
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์ œ ์ž‘๊ณก์˜ ์—ฐ์žฅ์„ ์ƒ์œผ๋กœ
09:21
as an extension of a kind of creative impulse.
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๋น„์ฅฌ์–ผ์•„ํŠธ๋ฅผ ์„ ๋ณด์ธ ๊ฑฐ์—์š”.
09:24
I can understand the question, though. "But is it music?"
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๊ทธ๋ ‡์ง€๋งŒ "์ด๊ฒŒ ์Œ์•…์ด์•ผ?"๋ผ๋Š” ์งˆ๋ฌธ์„ ์ดํ•ด๋Š” ํ•  ์ˆ˜ ์žˆ์–ด์š”.
09:27
I mean, there's not any traditional notation.
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๋ฌผ๋ก  ์—ฌ๊ธฐ์—๋Š” ์ „ํ†ต์ ์ธ ํ‘œ๊ธฐ๋ฒ•์ด ํ•˜๋‚˜๋„ ์—†์–ด์š”.
09:29
I can also understand that sort of implicit criticism
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์ €๋Š” ๋˜ํ•œ ์ œ๊ฐ€ ์ฝ”ํŽœํ•˜๊ฒ์— ์žˆ์„ ๋•Œ ๋งŒ๋“ค์—ˆ๋˜
09:31
in this piece, "S-tog," which I made when I was living in Copenhagen.
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"S-tog"๋ผ๋Š” ์ž‘ํ’ˆ์— ๋Œ€ํ•œ ๋ฌด์–ธ์˜ ๋น„ํŒ๋„ ์ดํ•ดํ•ฉ๋‹ˆ๋‹ค.
09:35
I took the Copenhagen subway map and
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์ €๋Š” ์ฝ”ํŽœํ•˜๊ฒ ์ง€ํ•˜์ฒ  ์ง€๋„๋ฅผ ๊ฐ€์ง€๊ณ 
09:37
I renamed all the stations to abstract musical provocations,
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๋ชจ๋“  ์ง€ํ•˜์ฒ ์—ญ๋“ค์— ์ถ”์ƒ์ด๊ณ  ์Œ์•…์ ์ธ ์ด๋ฆ„์„ ์ƒˆ๋กœ ๋ถ™์˜€๊ณ 
09:40
and the players, who are synchronized with stopwatches,
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์Šคํ†ฑ์›Œ์น˜๋กœ ์‹œ๊ฐ„์„ ๋งž์ถ”๋Š” ์—ฐ์ฃผ์ž๋“ค์€ ์ง€ํ•˜์ฒ  ์‹œ๊ฐ„ํ‘œ์— ๋”ฐ๋ผ
09:43
follow the timetables, which are listed in minutes past the hour.
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๋งค์‹œ๊ฐ„, ์ •์‹œ๊ฐ€ ์กฐ๊ธˆ ์ง€๋‚˜๋ฉด ์—ฐ์ฃผํ•˜๊ฒŒ ๋˜์–ด์žˆ์—ˆ์–ด์š”.
09:46
So this is a case of actually adapting something,
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์ด ๊ฒฝ์šฐ์—๋Š” ๋ฌด์–ธ๊ฐ€๋ฅผ ๊ฐ์ƒ‰ํ•œ ๊ฒƒ์ด๊ฑฐ๋‚˜
09:49
or maybe stealing something,
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์–ด์ฉŒ๋ฉด ์–ด๋–ค ๊ฑธ ํ›”์ณ์„œ ๊ทธ๊ฒƒ์„
09:51
and then turning it into a musical notation.
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์Œ์•…์ ์ธ ํ‘œ๊ธฐ๋กœ ์ „ํ™˜์‹œ์ผฐ๋‹ค๊ณ  ๋ณผ ์ˆ˜ ์žˆ๊ฒ ์ฃ .
09:53
Another adaptation would be this piece.
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์—ฌ๊ธฐ ๋˜ ๋‹ค๋ฅด๊ฒŒ ๊ฐ์ƒ‰ํ•œ ๊ฒƒ์ด ์žˆ์–ด์š”.
09:55
I took the idea of the wristwatch, and I turned it into a musical score.
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์ด ์•„์ด๋””์–ด๋Š” ์†๋ชฉ์‹œ๊ณ„์—์„œ ์™”๊ณ  ์‹œ๊ณ„๋“ค์„ ์•…๋ณด๋กœ ์ „ํ™˜์‹œ์ผฐ์–ด์š”.
09:58
I made my own faces, and had a company fabricate them,
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์ œ๊ฐ€ ์‹œ๊ณ„ ์œ„์— ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๊ณ  ์‹œ๊ณ„ ํšŒ์‚ฌ์—์„œ๋Š” ์ œ๊ฐ€ ๊ตฌ์ƒํ•ด๋†“์€ ๊ฒƒ์„ ์‹œ๊ณ„ ์œ„์— ์กฐ๋ฆฝํ•ฉ๋‹ˆ๋‹ค.
10:02
and the players follow these scores.
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๊ทธ๋ฆฌ๊ณ  ์—ฐ์ฃผ๊ฐ€๋“ค์€ ์ด ์•…๋ณด๋“ค์„ ๋”ฐ๋ฅด๋Š”๊ฑฐ์ฃ .
10:04
They follow the second hands, and as they pass over
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์—ฐ์ฃผ์ž๋“ค์€ ์ดˆ์นจ๋“ค์„ ๋”ฐ๋ฅด๋ฉด์„œ, ์ดˆ์นจ๋“ค์ด ๋‹ค์–‘ํ•œ
10:06
the various symbols, the players respond musically.
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์ƒ์ง•ํ‘œ์‹œ๋“ค์„ ์ง€๋‚˜์น  ๋•Œ๋งˆ๋‹ค ์—ฐ์ฃผ์ž์ด ์Œ์•…์œผ๋กœ ๋ฐ˜์‘ํ•˜๋Š” ๋ฐฉ์‹์ด์—์š”.
10:09
Here's another example from another piece,
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์—ฌ๊ธฐ ๋˜ ๋‹ค๋ฅธ ์ž‘ํ’ˆ์ด ์žˆ๋Š”๋ฐ์š”
10:11
and then its realization.
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์ด๊ฑด ๋ฐฉ๊ธˆ ๋ณด์—ฌ๋“œ๋ ธ๋˜ ์ž‘ํ’ˆ์„ ํ˜„์‹คํ™”ํ•œ๊ฑฐ์ฃ .
10:13
So in these two capacities, I've been scavenger,
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์ด๋Ÿฌํ•œ ๋‘ ๊ฐ€์ง€ ๊ฒฝ์šฐ์—, ์ง€ํ•˜์ฒ  ์ง€๋„๋ฅผ ๊ฐ€์ ธ์™”๋‹ค๋Š” ์ ์—์„œ
10:16
in the sense of taking, like, the subway map, right,
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์ €๋Š” ์“ฐ๋ ˆ๊ธฐ ๋”๋ฏธ๋ฅผ ๋’ค์ง€๋Š” ์‚ฌ๋žŒ์ด ๋  ์ˆ˜๋„ ์žˆ์–ด์š”.
10:18
or thief maybe, and I've also been designer,
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์†๋ชฉ์‹œ๊ณ„๋“ค์˜ ๊ฒฝ์šฐ์— ์ €๋Š” ๋˜ํ•œ
10:21
in the case of making the wristwatches.
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์‹œ๊ณ„๋ฅผ ๋งŒ๋“  ๋””์ž์ด๋„ˆ๊ฐ€ ๋œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
10:23
And once again, this is, for me, interesting.
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๋‹ค์‹œ ํ•œ ๋ฒˆ ๋งํ•˜์ง€๋งŒ, ์ €์—๊ฒŒ ์ด๋Ÿฌํ•œ ๊ฒƒ๋“ค์€ ํฅ๋ฏธ๋กœ์›Œ์š”.
10:26
Another role that I like to take on is that of the performance artist.
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์ œ๊ฐ€ ๋˜ํ•˜๊ณ  ์‹ถ์€ ์—ญํ• ์€ ํ–‰์œ„์˜ˆ์ˆ ๊ฐ€์ž…๋‹ˆ๋‹ค.
10:30
Some of my pieces have these kind of weird theatric elements,
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์ œ ์ž‘ํ’ˆ๋“ค ์ค‘ ์ผ๋ถ€๋Š” ์ด๋ ‡๊ฒŒ ์ด์ƒํ•˜๊ณ  ๊ทน์ ์ธ ๋ถ€๋ถ„์„
10:32
and I often perform them. I want to show you a clip
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์ง€๋‹ˆ๊ณ  ์žˆ๊ณ  ์ข…์ข… ์ œ๊ฐ€ ๊ณต์—ฐ์„ ํ•ฉ๋‹ˆ๋‹ค. ์—ฌ๋Ÿฌ๋ถ„์—๊ฒŒ
10:35
from a piece called "Echolalia."
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"๋ฐ˜ํ–ฅ์–ด"๋ผ๊ณ  ๋ถˆ๋ฆฌ๋Š” ์˜์ƒ ํ•˜๋‚˜ ๋ณด์—ฌ๋“œ๋ฆด๊ฒŒ์š”.
10:36
This is actually being performed by Brian McWhorter,
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์ด๊ฒƒ์€ ๋น„๋ฒ”ํ•œ ์—ฐ์ฃผ์ž์ธ ๋ธŒ๋ผ์ด์–ธ ๋งฅ์›Œํ„ฐ๊ฐ€
10:39
who is an extraordinary performer.
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๊ณต์—ฐ์—์„œ ์„ ๋ณด์˜€์Šต๋‹ˆ๋‹ค.
10:41
Let's watch a little bit of this, and please notice the instrumentation.
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๊ณต์—ฐ ์ผ๋ถ€๋ฅผ ๋ณผ๊นŒ์š”, ์•…๊ธฐ๋ฅผ ๋ˆˆ์—ฌ๊ฒจ๋ณด์„ธ์š”.
10:44
(Music)
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(์Œ์•…)
11:13
Okay, I hear you were laughing nervously because
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์ €๋Š” ์—ฌ๋Ÿฌ๋ถ„๋“ค์ด ๊ธด์žฅํ•˜๋ฉด์„œ ์›ƒ๋Š” ๊ฒƒ์„ ๋“ค์—ˆ๋Š”๋ฐ
11:15
you too could hear that the drill was a little bit sharp,
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๋“œ๋ฆด ์†Œ๋ฆฌ๊ฐ€ ์ข€ ๋‚ ์นด๋กœ์› ๊ณ 
11:17
the intonation was a little questionable. (Laughter)
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์Œ์กฐ๋Š” ์•ฝ๊ฐ„ ์˜์•„ํ–ˆ์„๊ฑฐ์—์š”. (์›ƒ์Œ)
11:19
Let's watch just another clip.
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๋‹ค๋ฅธ ์˜์ƒ์„ ๋ณผ๊นŒ์š”.
11:21
(Music)
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(์Œ์•…)
11:32
You can see the mayhem continues, and there's, you know,
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์–ด๋ ค๋ถ„์€ ํ˜ผ๋ž€์Šค๋Ÿฐ ๋ถ„์œ„๊ธฐ๊ฐ€ ๊ณ„์†๋˜๋Š” ๊ฒƒ์„ ๋ณผ ์ˆ˜ ์žˆ๊ณ ,
11:34
there were no clarinets and trumpets
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์•Œ๋‹ค์‹œํ”ผ ํด๋ผ๋ฆฌ๋„ท, ํŠธ๋ŸผํŽซ, ํ”Œ๋ฃป ๊ทธ๋ฆฌ๊ณ  ๋ฐ”์ด์˜ฌ๋ฆฐ์ด
11:36
and flutes and violins. Here's a piece that has
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์—†์–ด์š”. ์—ฌ๊ธฐ ๋” ์ด์ƒํ•˜๊ณ  ํŠน์ดํ•œ
11:38
an even more unusual, more peculiar instrumentation.
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์—ฐ์ฃผ๊ฐ€ ์žˆ์–ด์š”.
11:41
This is "Tlรถn," for three conductors and no players. (Laughter)
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์ด๊ฑด "ํ‹ฐ์˜จ"์ธ๋ฐ ์—ฐ์ฃผ์ž ์—†์ด 3๋ช…์˜ ์ง€ํœ˜์ž๋“ค๋งŒ ์žˆ์Šต๋‹ˆ๋‹ค. (์›ƒ์Œ)
11:57
This was based on the experience of actually watching
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์ด๊ฑด ๋‘ ์‚ฌ๋žŒ์ด ์ˆ˜ํ™”๋กœ ๋งค์„œ์šด ๋…ผ์Ÿ์„ ๋ฒŒ์ด๋Š” ๊ฑธ ๋ณด๊ณ 
11:59
two people having a virulent argument in sign language,
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๊ฑฐ๊ธฐ์—์„œ ์•„์ด๋””์–ด๋ฅผ ์–ป์—ˆ์Šต๋‹ˆ๋‹ค.
12:02
which produced no decibels to speak of,
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๊ทธ ๋…ผ์Ÿ์—์„œ๋Š” ์•„๋ฌด ์†Œ๋ฆฌ๋„ ๋‚ด์ง€ ์•Š์ง€๋งŒ
12:03
but affectively, psychologically, was a very loud experience.
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ํ•˜์ง€๋งŒ ์‹ฌ๋ฆฌ์ ์œผ๋กœ๋Š” ๊ต‰์žฅํžˆ ํฐ ์†Œ๋ฆฌ๋กœ ๋“ค์€ ๊ฒƒ๊ฐ™์€ ๊ฒฝํ—˜์ž…๋‹ˆ๋‹ค.
12:07
So, yeah, I get it, with, like, the weird appliances
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๋„ค, ๊ทธ๋ ‡์ฃ . ์ด๋ ‡๊ฒŒ ์ด์ƒํ•œ ๋„๊ตฌ๋“ค์ด๋‚˜
12:10
and then the total absence of conventional instruments
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์ „ํ†ต์ ์ธ ์•…๊ธฐ๋“ค์ด ์™„์ „ํžˆ ๋ฐฐ์ œ๋˜์–ด์žˆ๊ฑฐ๋‚˜
12:15
and this glut of conductors, people might, you know,
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์ด ์ง€ํœ˜์ž๋“ค์˜ ๊ณผ์žฅ๋œ ํ‘œํ˜„์„ ๋ณด๋ฉฐ ์‚ฌ๋žŒ๋“ค์€
12:17
wonder, yeah, "Is this music?"
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"์ด๊ฒŒ ์Œ์•…์ด์•ผ"๋ผ๊ณ  ์˜๊ตฌ์‹ฌ์„ ํ’ˆ์„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
12:20
But let's move on to a piece where clearly I'm behaving myself,
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์ผ๋‹จ ์ œ๊ฐ€ ๋ถ„๋ช… ์กฐ์‹ฌ์Šค๋Ÿฝ๊ฒŒ ํ–‰๋™ํ•˜๊ณ  ์žˆ๋Š” ์˜์ƒ์œผ๋กœ ๋„˜์–ด๊ฐˆ๊ฒŒ์š”.
12:24
and that is my "Concerto for Orchestra."
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์—ฌ๊ธฐ ์ œ๊ฐ€ ๋งŒ๋“  " ์˜ค์ผ€์ŠคํŠธ๋ผ๋ฅผ ์œ„ํ•œ ํ˜‘์ฃผ๊ณก"์„ ๋ณด์—ฌ๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค.
12:27
You're going to notice a lot of conventional instruments
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์ด ์˜์ƒ์—์„œ๋Š” ๋งŽ์€ ์ „ํ†ต์ ์ธ ์•…๊ธฐ๋“ค์„
12:29
in this clip. (Music)
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๋ณด์‹ค๊ฑฐ์—์š”. (์Œ์•…)
12:32
(Music)
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(์Œ์•…)
12:45
This, in fact, is not the title of this piece.
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์‹ค์€ ์ด๊ฒŒ ์ด ์ž‘ํ’ˆ์˜ ํƒ€์ดํ‹€์ด ์•„๋‹ˆ์—์š”.
12:47
I was a bit mischievous. In fact, to make it more interesting,
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์ œ๊ฐ€ ์ข€ ์ง–๊ถƒ์ฃ . ์‹ค์€, ๋” ์žฌ๋ฐŒ๊ฒŒ ํ•˜๊ธฐ ์œ„ํ•ด,
12:50
I put a space right in here, and this is the actual title of the piece.
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์ œ๊ฐ€ ์—ฌ๊ธฐ์— ๋นˆ ์นธ์„ ๋„ฃ์˜€๊ณ , ์ด๊ฒŒ ์‹ค์ œ ํƒ€์ดํ‹€์ž…๋‹ˆ๋‹ค.
12:54
Let's continue with that same excerpt.
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๊ฐ™์€ ์˜์ƒ์„ ๊ณ„์† ๋ณด์‹œ์ฃ .
12:56
(Music)
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(์Œ์•…)
13:06
It's better with a florist, right? (Laughter) (Music)
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ํ”Œ๋กœ๋ฆฌ์ŠคํŠธ๊ฐ€ ์žˆ์œผ๋‹ˆ ๋” ์ข‹์•„์กŒ์Šต๋‹ˆ๋‹ค. ๊ทธ๋ ‡์ฃ ? (์›ƒ์Œ) (์Œ์•…)
13:15
Or at least it's less boring. Let's watch a couple more clips.
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์ตœ์†Œํ•œ ๋œ ์ง€๋ฃจํ•˜๊ธฐ๋ผ๋„ ํ•˜์ฃ . ํ•œ ๋‘๊ฐœ์ •๋„ ์˜์ƒ์„ ๋” ๋ณด๋„๋ก ํ•˜์ฃ 
13:17
(Music)
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(์Œ์•…)
13:31
So with all these theatric elements, this pushes me in another role,
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์ด๋Ÿฐ ๋ชจ๋“  ๊ทน์ ์ธ ์š”์†Œ๋“ค๋กœ ์ €๋Š” ๋˜ ๋‹ค๋ฅธ ์—ญํ• ์„
13:34
and that would be, possibly, the dramaturge.
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ํ•ด๋ณด๊ฒŒ ๋˜๋Š”๋ฐ ๊ทธ ์—ญํ• ์€ ํŽธ์ง‘์ž์ž…๋‹ˆ๋‹ค.
13:37
I was playing nice. I had to write the orchestra bits, right?
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์ €๋Š” ๋ฉ‹์ง€๊ฒŒ ์—ฐ์ฃผํ•˜๊ณ  ์žˆ์—ˆ์–ด์š”. ์ €๋Š” ์ € ์˜ค์ผ€์ŠคํŠธ๋ผ ๊ณก์˜ ์ผ๋ถ€๋ฅผ ์ž‘๊ณกํ–ˆ๊ณ ์š”.
13:41
Okay? But then there was this other stuff, right?
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๊ทธ๋ฆฌ๊ณ  ๊ฑฐ๊ธฐ์—” ๋‹ค๋ฅธ ๊ฒƒ๋„ ์žˆ์—ˆ์–ด์š”.๊ทธ๋ ‡์ฃ ?
13:44
There was the florist, and I can understand that,
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ํ”Œ๋กœ๋ฆฌ์ŠคํŠธ ์˜€์–ด์š”. ๋‹ค์‹œ ํ•œ๋ฒˆ,
13:45
once again, we're putting pressure on the ontology of music
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์šฐ๋ฆฌ๊ฐ€ ์ „ํ†ต์ ์œผ๋กœ ์•Œ๊ณ  ์žˆ๋Š”
13:49
as we know it conventionally,
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์Œ์•…์˜ ์กด์žฌ๋ก ์— ์••๋ ฅ์„ ๋„ฃ๊ณ  ์žˆ๋Š” ๊ฑธ ์ดํ•ดํ•ฉ๋‹ˆ๋‹ค.
13:51
but let's look at one last piece today I'm going to share with you.
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์ž, ์ด์ œ ์ œ๊ฐ€ ์—ฌ๋Ÿฌ๋ถ„๋“ค๊ป˜ ๋ณด์—ฌ๋“œ๋ฆด ๋งˆ์ง€๋ง‰ ์˜์ƒ์„ ๋ณด์‹œ์ฃ 
13:56
This is going to be a piece called "Aphasia,"
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์ด๋ฒˆ ๊ฒƒ์€ "์‹ค์–ด์ฆ"์ด๋ผ ๋ถˆ๋ฆฌ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
13:58
and it's for hand gestures synchronized to sound,
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์ด ๊ฒƒ์€ ์†Œ๋ฆฌ์™€ ๋™์‹œ์— ์†์œผ๋กœ ์ œ์Šค์ณ๋ฅผ ์ทจํ•˜๋Š” ๊ฒƒ์ด์—์š”.
14:02
and this invites yet another role, and final one
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์ด๋ ‡๊ฒŒ ํ•จ์œผ๋กœ์จ ๋˜ ๋‹ค๋ฅธ ์—ญํ• ์ด ์ƒ๊ธฐ๋Š”๋ฐ
14:05
I'll share with you, which is that of the choreographer.
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๊ทธ ๊ฒƒ์ด ์•ˆ๋ฌด์—ฐ์ถœ๊ฐ€์—์š”.
14:07
And the score for the piece looks like this,
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์ด๋Ÿฐ ๊ณก์˜ ์•…๋ณด๋Š” ์ด๋ ‡๊ฒŒ ์ƒ๊ฒผ์–ด์š”.
14:10
and it instructs me, the performer, to make
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์ €๋ฅผ ๊ณต์—ฐ์ž๋กœ์จ ํŠน์ •ํ•œ ๋•Œ์— ์˜ค๋””์˜ค ํ…Œ์ดํ”„์™€ ๋™์‹œ์— ๋งž์ถฐ
14:14
various hand gestures at very specific times
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๋‹ค์–‘ํ•˜๊ฒŒ ์†์œผ๋กœ ์ œ์Šค์ณ๋ฅผ ์ทจํ•˜๋„๋ก
14:17
synchronized with an audio tape, and that audio tape
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์ง€์‹œํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ๊ทธ ์˜ค๋””์˜ค ํ…Œ์ดํ”„๋Š”
14:19
is made up exclusively of vocal samples.
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๋ณด์ปฌ ์ƒ˜ํ”Œ๋“ค๋กœ ๋”ฐ๋กœ ๋งŒ๋“  ๊ฑฐ๊ณ ์š”.
14:22
I recorded an awesome singer,
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์ œ๊ฐ€ ๋›ฐ์–ด๋‚œ ํ•œ ๊ฐ€์ˆ˜์˜ ๋…ธ๋ž˜๋ฅผ ๋…น์Œํ•œ ๋‹ค์Œ
14:24
and I took the sound of his voice in my computer,
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์ œ ์ปดํ“จํ„ฐ๋กœ ๊ทธ์˜ ๋ชฉ์†Œ๋ฆฌ๋งŒ ๊ณจ๋ผ๋ƒˆ์Šต๋‹ˆ๋‹ค.
14:27
and I warped it in countless ways to come up with
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๊ทธ ๋‹ค์Œ, ๊ทธ๊ฒƒ์„ ์—ฌ๋Ÿฌ๋ถ„๋“ค์ด ๋“ค์œผ์‹ค ์‚ฌ์šด๋“œํŠธ๋ž™์œผ๋กœ
14:29
the soundtrack that you're about to hear.
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๋งŒ๋“ค๊ธฐ ์œ„ํ•ด์„œ ์ˆ˜์—†์ด ๋ณ€ํ˜•์‹œ์ผฐ์–ด์š”.
14:32
And I'll perform just an excerpt of "Aphasia" for you here. Okay?
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์ œ๊ฐ€ ์—ฌ๊ธฐ์„œ "์‹ค์–ด์ฆ"์˜ ์ผ๋ถ€๋ถ„์„ ์„ ๋ณด์ผ ๊ฑฐ์—์š”. ๊ดœ์ฐฎ๊ฒ ์ฃ ?
14:37
(Music)
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(์Œ์•…)
15:15
So that gives you a little taste of that piece. (Applause)
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์ด๋ ‡๊ฒŒ ํ•ด์„œ ์—ฌ๋Ÿฌ๋ถ„์€ ์ด ์ž‘ํ’ˆ์˜ ๋ง›๋ณด๊ธฐ๋ฅผ ํ•˜์‹ ๊ฑฐ์—์š”. (๋ฐ•์ˆ˜)
15:21
Yeah, okay, that's kind of weird stuff.
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๋„ค ์ข€ ์ด์ƒํ•˜๊ธด ํ•ฉ๋‹ˆ๋‹ค.
15:24
Is it music? Here's how I want to conclude.
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์ด๊ฒŒ ์Œ์•…์ธ๊ฐ€? ์—ฌ๊ธฐ์„œ ์ด๋ ‡๊ฒŒ ์ €๋Š” ๊ฒฐ๋ก ๋งบ๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค.
15:26
I've decided, ultimately, that this is the wrong question,
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์ €๋Š” ๊ถ๊ทน์ ์œผ๋กœ ๊ทธ ์งˆ๋ฌธ์ด ์ž˜๋ชป๋œ ์งˆ๋ฌธ์ด๊ณ 
15:29
that this is not the important question.
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์ค‘์š”ํ•œ ์งˆ๋ฌธ์ด ์•„๋‹ˆ๋ผ๊ณ  ๊ฒฐ๋ก ์ง€์—ˆ์Šต๋‹ˆ๋‹ค.
15:31
The important question is, "Is it interesting?"
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์ค‘์š”ํ•œ ์งˆ๋ฌธ์€ "ํฅ๋ฏธ๋กœ์šด๊ฐ€?" ์ž…๋‹ˆ๋‹ค.
15:33
And I follow this question, not worrying about "Is it music?" --
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์ €๋Š” "์ด๊ฒŒ ์Œ์•…์ธ๊ฐ€?"๋ฅผ ๊ฑฑ์ •ํ•˜์ง€ ์•Š๊ณ  ํฅ๋ฏธ๋ฅผ ๋”ฐ๋ž์Šต๋‹ˆ๋‹ค.
15:36
not worrying about the definition of the thing that I'm making.
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-- ์ œ๊ฐ€ ํ•˜๊ณ  ์žˆ๋Š” ๊ฒƒ์˜ ์ •์˜์— ๋Œ€ํ•ด ๊ฑฑ์ •ํ•˜์ง€ ์•Š๊ธฐ๋กœ ํ–ˆ์ฃ .
15:39
I allow my creativity to push me
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์ €๋Š” ์ œ ์ฐฝ์˜์„ฑ์ด ์ œ๊ฐ€ ๊ทธ์ € ํฅ๋ฏธ๋กœ์›Œํ•˜๋Š”
15:41
in directions that are simply interesting to me,
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๋ฐฉํ–ฅ์œผ๋กœ ์ด๋Œ๋„๋ก ๋‚ด๋ฒ„๋ ค ๋‘ก๋‹ˆ๋‹ค.
15:43
and I don't worry about the likeness of the result
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๋˜ํ•œ ์ €๋Š” ์ž‘๊ณก์€ ์ด๋ž˜์•ผ ๋œ๋‹ค๋Š”
15:46
to some notion, some paradigm,
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์–ด๋–ค ๊ฐœ๋…๊ณผ ํŒจ๋Ÿฌ๋‹ค์ž„์— ๋Œ€ํ•˜์—ฌ
15:48
of what music composition is supposed to be,
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๊ฑฑ์ •ํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
15:51
and that has actually urged me, in a sense,
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๊ทธ๋ฆฌ๊ณ  ์ด๋Ÿฐ ์ƒ๊ฐ์€ ์ €๋กœ ํ•˜์—ฌ๊ธˆ
15:54
to take on a whole bunch of different roles,
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๋ชจ๋“  ๋‹ค์–‘ํ•œ ์—ญํ• ๋“ค์„ ๋งก๊ฒŒ ์ž๊ทนํ•˜์˜€์Šต๋‹ˆ๋‹ค.
15:56
and so what I want you to think about is,
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๊ทธ๋ž˜์„œ ์ œ๊ฐ€ ์—ฌ๋Ÿฌ๋ถ„๊ป˜ ์ƒ๊ฐํ•ด๋ณด์‹œ๋ผ๊ณ  ๊ถŒํ•˜๊ณ  ์‹ถ์€ ๊ฒƒ์€
15:58
to what extent might you change the fundamental question
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์—ฌ๋Ÿฌ๋ถ„์ด ๋ชธ๋‹ด๊ณ  ์žˆ๋Š” ๋ถ„์•ผ์—์„œ์˜ ๊ธฐ๋ณธ์ ์ธ ์˜๋ฌธ์„
16:01
in your discipline, and, okay,
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์—ฌ๋Ÿฌ๋ถ„์ด ์–ด๋А ์ •๋„๋งŒํผ ๋ณ€ํ™”์‹œํ‚ฌ์ˆ˜ ์žˆ๋Š”๊ฐ€ ํ•˜๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
16:04
I'm going to put one extra little footnote in here,
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์ „ ์—ฌ๊ธฐ์— ์•ฝ๊ฐ„ ๋ณด์ถฉ์„ ํ•˜๋ ค๊ณ  ํ•˜๋Š”๋ฐ์š”
16:06
because, like, I realized I mentioned
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์™œ๋ƒํ•˜๋ฉด ์ œ๊ฐ€ ๊ฐ•์—ฐ ์ดˆ๊ธฐ์—
16:08
some psychological defects earlier, and we also,
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๋ช‡๋ช‡ ์‹ฌ๋ฆฌํ•™์  ๊ฒฐํ•จ๋“ค์„ ์–ธ๊ธ‰ํ–ˆ๋‹ค๋Š” ๊ฒƒ์ด ์ƒ๊ฐ๋‚ฌ์Šต๋‹ˆ๋‹ค.
16:11
along the way, had a fair amount of obsessive behavior,
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์šฐ๋ฆฌ๋Š” ๋˜ํ•œ ๊ฐ์ž ์–ด๋А ์ •๋„์˜ ๊ฐ•๋ฐ•์ ์ธ ํ–‰๋™๋“ค์„ ํ•ฉ๋‹ˆ๋‹ค.
16:14
and there was some delusional behavior and things like that,
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๋˜ํ•œ ๋ช‡๋ช‡ ๋ง์ƒ์ ์ธ ํ–‰๋™๊ฐ™์€ ๊ฒƒ๋“ค์ด ์žˆ์—ˆ๋Š”๋ฐ
16:16
and here I think we could say that this is an argument
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์—ฌ๊ธฐ์„œ ์ €๋Š”, ์ตœ์†Œํ•œ ๋Œ€์ค‘์ ์ธ ์šฉ์–ด๋ฅผ ์‚ฌ์šฉํ•˜์ž๋ฉด,
16:19
for self-loathing and a kind of schizophrenia,
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์ด ๋…ผ์Ÿ์€ ์ž๊ธฐํ˜์˜ค์™€ ์ •์‹ ๋ถ„์—ด์— ๋Œ€ํ•œ ๋…ผ์Ÿ์ด๋ผ๊ณ 
16:21
at least in the popular use of the term,
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๋ณผ ์ˆ˜ ์žˆ๋‹ค๊ณ  ์ƒ๊ฐํ•ด์š”.
16:23
and I really mean dissociative identity disorder, okay. (Laughter)
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์ œ ๋ง์€ ์ด๋Ÿฐ ๊ฒƒ๋“ค์ด ๋ถ„์—ด์ ์ธ ์ •์ฒด์„ฑ์˜ ์–ด์ˆ˜์„ ํ•จ์ด๋ผ๋Š” ๊ฑฐ์—์š”. (์›ƒ์Œ)
16:26
Anyway, despite those perils, I would urge you
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์•„๋ฌดํŠผ ์ €๋Ÿฐ ์œ„ํ—˜๋“ค์—๋„ ๋ถˆ๊ตฌํ•˜๊ณ , ์ €๋Š” ์—ฌ๋Ÿฌ๋ถ„์—๊ฒŒ
16:29
to think about the possibility that you might take on roles
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์—ฌ๋Ÿฌ๋ถ„ ์ž์‹ ์˜ ์ผ์— ์Šค์Šค๋กœ ์—ญํ• ์„ ํƒํ•  ๊ฐ€๋Šฅ์„ฑ์„
16:31
in your own work, whether they are neighboring
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์ƒ๊ฐํ•ด๋ณด์‹œ๋ผ๊ณ  ๋งํ•˜๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค. ๊ทธ ์ผ์ด๋ž€๊ฒŒ
16:33
or far-flung from your professional definition.
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์—ฌ๋Ÿฌ๋ถ„์˜ ์ „๋ฌธ์ ์ธ ์ •์˜์— ๊ฐ€๊น๋“  ๋ฉ€๋“  ์ƒ๊ด€ํ•˜์ง€ ๋ง๊ณ ์š”.
16:36
And with that, I thank you very much. (Applause)
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์—ฌ๋Ÿฌ๋ถ„๋“ค์—๊ฒŒ ๊ฐ์‚ฌ ๋“œ๋ฆฝ๋‹ˆ๋‹ค. (๋ฐ•์ˆ˜)
16:38
(Applause)
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(๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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