Tod Machover & Dan Ellsey: Releasing the music in your head

譯者: 家偉 廖 審譯者: Nova Upinel Altesse

The first idea I'd like to suggest is that we all

音樂，大家都非常熱愛它

love music a great deal. It means a lot to us.

因為它對於我們很重要。

But music is even more powerful if you don't just listen to it, but you make it yourself.

假如你不只是作為一名聽眾，而且還能親自參與創作，那麼音樂會對你更具影響力

So, that's my first idea. And we all know about the Mozart effect --

所以，這是我要講的第一點。在最近5-10年裡頭

the idea that's been around for the last five to 10 years --

有個著名的莫札特效應，

that just by listening to music or by playing music to your baby [in utero],

講的是只靠聽音樂，或者是給胎兒播放音樂，

that it'll raise our IQ points 10, 20, 30 percent.

就可以使我們的智商提高10%到30%，

Great idea, but it doesn't work at all.

這真是個好主意，但是根本行不通。

So, you can't just listen to music, you have to make it somehow.

因為只是聽是不夠的，你還必須設法創作音樂。

And I'd add to that, that it's not just making it,

而且，我還要說，這不僅僅是這樣，

but everybody, each of us, everybody in the world

我們每一個人、世界上的所有的人，

has the power to create and be part of music in a very dynamic way,

都具有能力去創作，並以動態的方式讓自己和音樂融為一體，

and that's one of the main parts of my work.

這是我所從事的工作中非常重要的一部分。

So, with the MIT Media Lab, for quite a while now,

所以，這段時間裡，我和我的同事在美國麻省理工學院媒體實驗室(MIT Media Lab)裡，

we've been engaged in a field called active music.

致力於發展主動音樂。

What are all the possible ways that we can think of

藉由任何我們可以想到的可行的途徑，

to get everybody in the middle of a musical experience,

使得人人都可以融入音樂體驗，

not just listening, but making music?

而且不只是聽音樂，還能創造音樂。

And we started by making instruments for some of the world's greatest performers --

一開始，我們製造樂器給馬友友 Peter Gabriel,Prince等人，

we call these hyperinstruments -- for Yo-Yo Ma, Peter Gabriel, Prince,

而我們稱這些由管絃以及搖滾樂團製作的樂器為超級樂器(Hyper Instruments)，

orchestras, rock bands. Instruments where they're all kinds of sensors

這種樂器具備多種感官感應器，

built right into the instrument, so the instrument knows how it's being played.

用來感知我們是如何演奏的。

And just by changing the interpretation and the feeling,

所以，我只要稍微改變我的演奏方式以及情感

I can turn my cello into a voice, or into a whole orchestra,

我可以把我的大提琴演奏聲轉變成和諧的人聲，一個樂團的協奏，

or into something that nobody has ever heard before.

或者是大家從未聽過的天籟之音。

When we started making these, I started thinking, why can't we make

當我們開始製作時，我開始思考

wonderful instruments like that for everybody,

為什麼我們不能創造出一個完美的樂器，使得平凡人

people who aren't fantastic Yo-Yo Mas or Princes?

而不僅僅是馬友友或者Princes所演奏的?

So, we've made a whole series of instruments.

所以，我們製作的一整個系列的樂器。

One of the largest collections is called the Brain Opera.

我們統稱它為「頭腦歌劇」。

It's a whole orchestra of about 100 instruments,

這整個管絃樂隊大概有100個樂器

all designed for anybody to play using natural skill.

都是以平常人的自然演奏方式去設計的。

So, you can play a video game, drive through a piece of music,

所以，你可以一邊玩遊戲，"駛"過一段音樂

use your body gesture to control huge masses of sound,

用你的肢體語言去控制大量的聲音

touch a special surface to make melodies, use your voice to make a whole aura.

觸碰一個特別的介面去製造旋律，用你的聲音去製造整個氛圍。

And when we make the Brain Opera, we invite the public to come in,

當我們製作頭腦歌劇時，我們邀情一邊大眾加入

to try these instruments and then collaborate with us

去體驗這些樂器並且和我們合作，

to help make each performance of the Brain Opera.

舉辦了多場的頭腦歌劇。

We toured that for a long time. It is now permanently in Vienna,

我們巡迴持續相當長的一段時間。現在，在音樂之都維也納，

where we built a museum around it.

我們還建造了一個永久性的博物館。

And that led to something which you probably do know.

這些促使吉他英雄(Guitar Hero)的誕生，

Guitar Hero came out of our lab,

相信大多數的人都知道這些都源於我們的實驗室。

and my two teenage daughters and most of the students at the MIT Media Lab

我從我兩個小女兒和大多數在MIT實驗室裡的學生身上，

are proof that if you make the right kind of interface,

得到證實。就是，只要你提供適當的交界面，

people are really interested in being in the middle of a piece of music,

人們就會真正的融入音樂

and playing it over and over and over again.

而且對這樣的演奏方式樂此不疲。

So, the model works, but it's only the tip of the iceberg,

所以，這樣的模式是可行的，但這只是冰山一角，

because my second idea is that it's not enough just to want

我的第二觀點是，

to make music in something like Guitar Hero.

僅用"吉他英雄"這類的東西來做音樂是不夠的。

And music is very fun, but it's also transformative.

音樂不僅非常有趣，而且也頗具變化性。

It's very, very important.

這是非常非常重要的一點。

Music can change your life, more than almost anything.

音樂可以改變你的人生，勝過任何其他東西。

It can change the way you communicate with others,

它可以改變你和其他人溝通的方式，

it can change your body, it can change your mind. So, we're trying

還能改變你的身心靈。所以我們嘗試突破

to go to the next step of how you build on top of something like Guitar Hero.

也就是想在"吉他英雄"這類東西的基礎上做些什麼。

We are very involved in education. We have a long-term project

我們深入到教育界，開展了一個長久的計畫

called Toy Symphony, where we make all kinds of instruments that are also addictive,

稱為「玩具交響樂」(Toy Symphony)。我們製作各式各樣好玩的樂器

but for little kids, so the kids will fall in love with making music,

但是是給小孩子的，期望他們會愛上演奏音樂，

want to spend their time doing it, and then will demand to know how it works,

想要在這方面投入時間，而且渴求學習樂理知識，

how to make more, how to create. So, we make squeezy instruments,

以及如何演奏，如何創造音樂。所以我們製做一個可捏的樂器，

like these Music Shapers that measure the electricity in your fingers,

比如說這個可以測量你指尖的電流的音樂塑型機(Music Shapers)

Beatbugs that let you tap in rhythms -- they gather your rhythm,

又如這個敲擊節奏的節拍蟲子(Beat Bugs)，你可以用他們來蒐集節奏，

and like hot potato, you send your rhythm to your friends,

傳遞這個節奏就像是傳送熱洋芋給你的朋友，

who then have to imitate or respond to what your doing --

他們需要模仿你，或者對你的動作做出回應

and a software package called Hyperscore, which lets anybody use lines and color

再來就是製造一個稱為"超級樂譜"(Hyperscore)的軟件。可以讓大家用線條以及顏色

to make quite sophisticated music. Extremely easy to use, but once you use it,

去創造一個複雜的音樂。其操作容易，一旦你上了手

you can go quite deep -- music in any style. And then, by pressing a button,

你可以應付任何曲風的音樂。最後只要按下按鈕，

it turns into music notation so that live musicians can play your pieces.

這些音樂就會自動轉換成樂譜，以便音樂家來演奏你創作的樂曲。

We've had good enough, really, very powerful effects with kids

這個軟件，在全世界各地的孩子以及不同年齡層的人身上，

around the world, and now people of all ages, using Hyperscore.

都得到了非常良好、顯著的效果。

So, we've gotten more and more interested in using these kinds of creative activities

所以，我們樂於將這類的創意

in a much broader context, for all kinds of people

加入到更廣泛的人群之中，

who don't usually have the opportunity to make music.

讓那些沒有機會進行音樂創作的人也能積極參與。

So, one of the growing fields that we're working on

其中，我們的實驗室正在著手一個領域

at the Media Lab right now is music, mind and health.

叫做音樂、心靈、健康。

A lot of you have probably seen Oliver Sacks' wonderful new book called

相信很多人都讀過奧利佛 薩克斯(Oliver Sacks')的新書

"Musicophilia". It's on sale in the bookstore. It's a great book.

《腦袋裝了兩千部歌劇的人》，這是一本正在熱賣的好書。

If you haven't seen it, it's worth reading. He's a pianist himself,

如果你還沒看過，那我推薦你讀一讀。書的作者是一個鋼琴家，

and he details his whole career of looking at and observing

他在書中詳細地記錄了自己職業生涯中所觀察到的事實，

incredibly powerful effects that music has had on peoples' lives in unusual situations.

那就是音樂在非常狀態下的人身上（殘疾 /重症病人），所能發生的不可思議的效應。

So we know, for instance, that music is almost always the last thing

正如大家所知道的那樣，

that people with advanced Alzheimer's can still respond to.

音樂是老年癡呆症病患晚期能做出回應的最後一件事情。

Maybe many of you have noticed this with loved ones,

也許不少人在摯愛身上發現這點，

you can find somebody who can't recognize their face in the mirror,

他們無法在鏡子中認出自己、分辨自己的家人，

or can't tell anyone in their family, but you can still find a shard of music

但你仍然能找到一段音樂，

that that person will jump out of the chair and start singing. And with that

讓他們從病床上驚醒，並且輕聲唱和。正是藉由這種方式，

you can bring back parts of people's memories and personalities.

你可以喚回一些他們的記憶以及自我意識。

Music is the best way to restore speech to people who have lost it through strokes,

對於中風所導致的失語症，以及帕金森氏症所導致的運動功能喪失，

movement to people with Parkinson's disease.

音樂是最好的治療方法。

It's very powerful for depression, schizophrenia, many, many things.

它對抑鬱症、精神分裂症以及其他許許多多的病症都頗具療效。

So, we're working on understanding those underlying principles

所以我們正在探索其背後的原理，

and then building activities which will let music really improve people's health.

並展開一系列的活動，用音樂來改善人類的健康。

And we do this in many ways. We work with many different hospitals.

我們採取了很多方式，和各類醫院有著合作。

One of them is right near Boston, called Tewksbury Hospital.

其中有一家就是離美國波士頓不遠的圖斯伯里醫院。

It's a long-term state hospital, where several years ago

這是一家歷史悠久的州立醫院。許多年前，

we started working with Hyperscore and patients with physical and mental disabilities.

我們在那裡就開始將“超級樂譜” (Hyperscore) 介紹給生理和精神殘疾病人。

This has become a central part of the treatment at Tewksbury hospital,

這已成為圖斯伯里醫院核心治療項目，

so everybody there clamors to work on musical activities.

每個接受治療的人都要求參與音樂活動。

It's the activity that seems to accelerate people's treatment the most

這一活動似乎大大加速了治療的過程，

and it also brings the entire hospital together as a kind of musical community.

在某種程度上也把醫院變成音樂社區。

I wanted to show you a quick video of some of this work before I go on.

繼續下一個話題之前，我想先給大家看些以上內容的相關短片。

Video: They're manipulating each other's rhythms.

（這些玩具交響樂的）參與者在操控音樂節奏。

It's a real experience, not only to learn how to play and listen to rhythms,

通過親身體驗，孩子們不但學會了怎樣演奏和聽節奏，

but to train your musical memory and playing music in a group.

而且鍛煉了音樂記憶，練習了合奏。

To get their hands on music, to shape it themselves, change it,

他們“拿”著音樂，捏一捏，

to experiment with it, to make their own music.

改變和體驗它，並創作自己的音樂。

So Hyperscore lets you start from scratch very quickly.

“超級樂譜”從塗塗畫畫開始，很便捷。

Everybody can experience music in a profound way,

每個人都可以深刻地體驗音樂，

we just have to make different tools.

我們所必須做的就是創造各種各樣的工具（來幫助大家）。

The third idea I want to share with you is that music, paradoxically,

第三點想法是：我覺得音樂，異乎尋常地，

I think even more than words, is one of the very best ways we have

是比語言更好的展示自我的方式。

of showing who we really are. I love giving talks, although

我也喜歡做演講，

strangely I feel more nervous giving talks than playing music.

但是奇怪的是，我在演講時，比演奏音樂感覺要更緊張些。

If I were here playing cello, or playing on a synth, or sharing my music with you,

當在演奏大提琴，控制電子音響合成器，或者和你們共同分享我的音樂時，

I'd be able to show things about myself that I can't tell you in words,

我就能展現無法用語言描述的一面，

more personal things, perhaps deeper things.

更多的是個人的東西，也許更深層的東西。

I think that's true for many of us, and I want to give you two examples

對於我們中許多人來講，我想的確是這樣。我想舉兩個例子，

of how music is one of the most powerful interfaces we have,

來說明音樂是我們與外界交流的

from ourselves to the outside world.

最有效的媒介之一。

The first is a really crazy project that we're building right now, called

首先是我們現在正在進行的一個非常瘋狂的項目，名字叫作“死亡和鮑威爾一家”(Death and Powers)。

Death and the Powers. And it's a big opera,

它是一部大型歌劇，

one of the larger opera projects going on in the world right now.

是目前全球在運作中的大型歌劇項目之一。

And it's about a man, rich, successful, powerful, who wants to live forever.

它是關於一位富有、成功、有權勢並期望永生的人的歌劇。

So, he figures out a way to download himself into his environment,

他找到了把自己下載到他所建立的環境中

actually into a series of books.

事實上是把自己放在一系列的書籍中。

So this guy wants to live forever, he downloads himself into his environment.

於是，他想長生不老，就把自己放進了系統中。

The main singer disappears at the beginning of the opera

主唱在歌劇開始後便消失了，

and the entire stage becomes the main character. It becomes his legacy.

整個舞台變成了主角，變成了他的遺贈。

And the opera is about what we can share, what we can pass on to others,

這部歌劇講的是，我們能和所愛的人分享些什麼，向他們傳承些什麼，

to the people we love, and what we can't.

又有什麼是我們辦不到​​的。

Every object in the opera comes alive and is a gigantic music instrument,

歌劇中的所有道具都是活的、巨型的樂器。

like this chandelier. It takes up the whole stage. It looks like a chandelier,

譬如，佔據舞台很大部份的一盞“吊燈。”它看上去像個吊燈，

but it's actually a robotic music instrument.

但同時又是一件機器人樂器。

So, as you can see in this prototype, gigantic piano strings,

正如你在這裡的樣機上所看到的，長長的鋼琴弦，

each string is controlled with a little robotic element --

每根都被小型機器人部件所控制。

either little bows that stroke the strings, propellers that tickle the strings,

這裡有小​​巧的琴弓來撥動，驅動器來撩撥，

acoustic signals that vibrate the strings. We also have an army of robots on stage.

聲學信號來震動琴弦。在舞台上，還會出現一大群機器人。

These robots are the kind of the intermediary between the main character, Simon Powers,

這些機器人是主角西蒙 鮑威爾(Simon Powers)和家人之間交流的一種媒介。

and his family. There are a whole series of them, kind of like a Greek chorus.

他們為數眾多，有如古希臘歌劇中的合唱團。

They observe the action. We've designed these square robots that we're testing right now

他們觀察舞台上的一舉一動。我們在實驗室裡設計和測試了這些立方形的

at MIT called OperaBots. These OperaBots follow my music.

“歌劇機器人”（Operabots）。它們能隨歌舞動，

They follow the characters. They're smart enough, we hope,

還會跟隨舞台人物。它們很聰明，

not to bump into each other. They go off on their own.

我們也希望他們能互相規避（以避免碰撞）。它們自主行動;

And then they can also, when you snap, line up exactly the way you'd like to.

如果你打個指響，他們也會如你所願，排成整齊的一行。

Even though they're cubes, they actually have a lot of personality.

別看它們是一個個方盒子，卻擁有許多人格化的內涵。

The largest set piece in the opera is called The System. It's a series of books.

歌劇中最大的道具就是所謂“系統”。它是一系列“圖書”。

Every single book is robotic, so they all move, they all make sound,

每一部書都是一個機器人，都能運動，都能發聲。

and when you put them all together, they turn into these walls,

放在一起，它們構成了一道道投影牆，

which have the gesture and the personality of Simon Powers. So he's disappeared,

展現出西蒙 鮑威爾(Simon Powers)的動作和性格。歌劇的主人公雖然消失在舞台上，

but the whole physical environment becomes this person.

卻存在於環境之中。

This is how he's chosen to represent himself.

這是他選擇的，代表自己的辦法。

The books also have high-packed LEDs on the spines. So it's all display.

這些書的書脊上集成了LED的光源，作為顯示平面。

And here's the great baritone James Maddalena as he enters The System.

這位是男中音詹姆士 馬達萊納（），他正在進入系統。

This is a sneak preview.

這是預告片。

This premieres in Monaco -- it's in September 2009. If by any chance you can't make it,

首映將於 2009年10月在摩洛哥舉行。如果你不能前往觀看，

another idea with this project -- here's this guy building his legacy

那麼還有一個辦法。

through this very unusual form, through music and through the environment.

西蒙用一種非同尋常的方法，即通過音樂和環境，來建立他的遺贈。

But we're also making this available both online and in public spaces,

我們將把系統放在網絡和公共場所，

as a way of each of us to use music and images from our lives

以便人人都能用音樂和生活中的影像

to make our own legacy or to make a legacy of someone we love.

來製作我們或者我們摯愛的人的遺贈。

So instead of being grand opera, this opera will turn into what we're

這不再是一部單純的大歌劇，它將把我們現在所想的，

thinking of as personal opera.

變成一部個性化歌劇。

And, if you're going to make a personal opera, what about a personal instrument?

要做個性化歌劇，怎麼能沒有個性化的樂器呢？

Everything I've shown you so far -- whether it's a hyper-cello for Yo-Yo Ma

我到目前為止所展示的這些，比如給馬友友的超級大提琴，

or squeezy toy for a child -- the instruments stayed the same and are valuable

又或者是給孩子們捏音樂的玩具，這些樂器都是一成不變的，

for a certain class of person: a virtuoso, a child.

或為藝術家，或為小朋友，它僅僅針對某一類人有著實用價值。

But what if I could make an instrument that could be adapted

試想一下，如果我再製作一種樂器，能夠適應我的個人行為，

to the way I personally behave, to the way my hands work,

按照手指彈奏方式，根據我熟悉的，甚至不熟悉的技法

to what I do very skillfully, perhaps, to what I don't do so skillfully?

來自我調整，情況又會如何呢？

I think that this is the future of interface, it's the future of music, the future of instruments.

我以為這就是交互界面，音樂和樂器的未來趨勢。

And I'd like now to invite two very special people on the stage,

為了現場演示個性化樂器，

so that I can give you an example of what personal instruments might be like.

我想邀請兩位嘉賓到台上。

So, can you give a hand to Adam Boulanger, Ph.D. student from

掌聲有請，亞當 布朗傑（Adam Boulanger），麻省理工媒體實驗室的博士生

the MIT Media Lab, and Dan Ellsey. Dan,

和丹 埃爾西（Dan Ellsey）。

thanks to TED and to Bombardier Flexjet, Dan is here with us today

感謝泰德，感謝龐巴迪 佛里士傑(Bombardier Flexjet)

all the way from Tewksbury. He's a resident at Tewksbury Hospital.

丹今天從圖斯伯里遠道而來，他在那裡住院。

This is by far the farthest he's strayed from Tewksbury Hospital, I can tell you that,

我要告訴大家：這是迄今為止，他離開醫院外出旅行距離最遠的一次。

because he's motivated to meet with you today and show you his own music.

他是因為要和大家見面並分享自已的音樂，才特地來這裡的。

So, first of all, Dan, do you want to say hi to everyone and tell everyone who you are?

首先，丹，先自我介紹一下，好嗎？

Dan Ellsey: Hello. My name is Dan Ellsey. I am 34 years old and I have cerebral palsy.

丹•埃爾西（以下簡稱丹）：你們好，我叫丹•埃爾西。我34歲，是一名腦癱患者。

I have always loved music and I am excited to be able to conduct

我一直都很熱愛音樂，能用這樣的新軟件來指揮我的樂曲，

my own music with this new software.

我感到非常激動。

Tod Machover: And we're really excited to have you here, really Dan. (Applause)

托德•麥克弗（以下簡稱托德）：你能來這裡，我們真的也很激動。（掌聲）

So we met Dan about three years ago, three and a half years ago,

我們和丹大約在三年半前相識，

when we started working at Tewksbury. Everybody we met there was fantastic,

那時我們剛開始和圖斯伯里醫院合作。那裡我們遇到的每一個人都妙極了，

did fantastic music. Dan had never made music before, and it turned out

能作出美妙的曲子。丹此前從來沒有作曲，但出乎意料的是，

he was really fantastic at it. He's a born composer.

他擅長於這種方式。他天生就是個作曲家。

He's very shy, too.

他也很害羞。

So, turned out he's a fantastic composer, and over the last few years has been

嗯，他是一個非常棒的作曲家。從那以後，

a constant collaborator of ours. He has made many, many pieces.

我們就成了固定合作者。丹作了許多許多曲子，

He makes his own CDs. Actually, he is quite well known in the Boston area --

發行了自己的光碟唱片。其實在波士頓地區，他知名度很高，

mentors people at the hospital and children, locally, in how to make their own music.

還教授醫院的人們和當地的孩子如何創作音樂。

And I'll let Adam tell you. So, Adam is a Ph.D. student at MIT, an expert in music

下面請亞當來講，他是麻省理工學院的博士生，

technology and medicine. And Adam and Dan have become close collaborators.

他是音樂技術和醫藥方面的專家，和丹有著密切的合作。

What Adam's been working on for this last period is not only how to have Dan

亞當所做的不但使丹能夠

be able easily to make his own pieces,

輕輕鬆鬆作曲，

but how he can perform his piece using this kind of personal instrument.

而且使他能用個性化樂器來演奏自己的作品。

So, you want to say a little bit about how you guys work?

所以，談談你們是怎麼做的吧？

Adam Boulanger: Yes. So, Tod and I entered into a discussion

亞當•布朗傑（以下簡稱亞當）：好。圖斯伯里醫院的項目源自

following the Tewksbury work and it was really about how Dan is an expressive

我和托德的一次討論，那時我們談到丹是個非常有表現欲，

person, and he's an intelligent and creative person. And it's in his face,

聰明而且有創造力的人。你可以從

it's in his breathing, it's in his eyes. How come he can't perform

他的一舉一動裡看出來。但是為什麼他就不能演奏一段屬於自己樂曲呢？

one of his pieces of music? That's our responsibility, and it doesn't make sense.

沒有理由說這不可以呀！同樣，這也是我們的責任。

So we started developing a technology that will allow him with nuance,

於是我們開始著手研發一種技術，

with precision, with control, and despite his physical disability, to be able to do that,

讓他用微小的動作和精準的操控，來演奏自己的作品，

to be able to perform his piece of music.

並且不需要在意自己肢體上的不便。

So, the process and the technology --

接著，談到流程和技術，

basically, first we needed an engineering solution. So, you know,

簡言之，首先需要一個工程之道。你看，

we have a FireWire camera, it looked at an infrared pointer.

我們放置了一台1394火線接口的攝像頭來追踪紅外指針。

We went with the type of gesture metaphor that Dan was already used to

我們利用了丹在言語控制中使用的肢體語言

with his speaking controller.

和表意系統。

And this was actually the least interesting part of the work, you know,

設計流程是“不太”有趣的一部份。

the design process. We needed an input; we needed continuous tracking;

我們需要一些輸入，持續的跟踪

in the software, we look at the types of shapes he's making.

以及軟件來監測他做出的不同形狀。

But, then was the really interesting aspect of the work, following the engineering part,

解決了工程問題，隨後便是工作中真正有趣的部分了。

where, basically, we're coding over Dan's shoulder at the hospital

簡單的講吧，我們在醫院現場編程，和丹密切合作，

extensively to figure out, you know, how does Dan move?

理解他是如何動作，

What's useful to him as an expressive motion?

哪些具有表現力的動作是他覺得有用的。

You know, what's his metaphor for performance?

再如，他用什麼手法來演奏？

What types of things does he find

哪些是他覺得重要，

important to control and convey in a piece of music?

並可以用於控制和傳達音樂的東西？

So all the parameter fitting, and really the technology

可以說，所有的參數，所有的技術，

was stretched at that point to fit just Dan.

都是為丹量身定做的。

And, you know, I think this is a perspective shift. It's not that our technologies --

嗯，我覺得，這也是未來的趨勢。

they provide access, they allow us to create pieces of creative work.

並非是技術本身打開了創新之門。

But what about expression? What about that moment when an artist delivers

是表達麼？是藝術家創作作品的那一刻嗎？

that piece of work? You know, do our technologies allow us to express?

我們的技術有給大家表述的機會麼？

Do they provide structure for us to do that? And, you know, that's a personal relationship

他們有提供這樣的構架嗎？其實，是人與人之間的聯繫

to expression that is lacking in the technological sphere. So, you know,

產生了表達，而這恰是技術本身所不能的。

with Dan, we needed a new design process, a new engineering process

於是，我們需要新的設計流程和工程流程，

to sort of discover his movement and his path to expression that allow him to perform.

來了解丹的動作以及表達方式，使他能更容易的表演，

And so that's what we'll do today.

這便是今天我們所要做的。

TM: So let's do it. So Dan do you want to tell everyone

托德：我們開始吧，丹，要告訴大家

about what you're going to play now?

你將要演奏什麼嗎？

DE: This is "My Eagle Song."

丹：我的“鷹之頌”。

TM: So Dan is going to play a piece of his, called "My Eagle Song".

托德：丹將演奏他的樂曲“鷹之頌”。

In fact, this is the score for Dan's piece,

這是他的樂譜，

completely composed by Dan in Hyperscore.

完全由他用“超級樂譜”完成的。

So he can use his infrared tracker to go directly into Hyperscore.

他用紅外追踪器來操作軟件。

He's incredibly fast at it, too, faster than I am, in fact.

他用起軟件來，出乎意料的快，事實上，比我還快呢。

(Laughter)

丹：(笑聲)... ...（似乎想說些什麼）

TM: He's really modest, too.

托德：他太謙虛了，哈哈。

So he can go in Hyperscore. You start out by making melodies and rhythms.

他使​​用了軟件，從樂音和旋律開始，

He can place those exactly where he wants.

他可以把它們放置在自己想要的地方。

Each one gets a color. He goes back into the composition window,

每個元素都有​​色彩，回到編曲窗口，

draws the lines, places everything the way he wants to. Looking at the Hyperscore,

畫線，把這些東西放到他所想要的位置。

you can see it also, you can see where the sections are,

看著“超級樂譜”

something might continue for a while, change, get really crazy and then end

你可以觀察到音樂的

up with a big bang at the end.

起承轉合。

So that's the way he made his piece, and as Adam says,

這就是他作曲的方法。正如亞當所說的，

we then figured out the best way to have him perform his piece.

我們找到了讓他演奏的最好的辦法。

It's going to be looked at by this camera, analyze his movements,

攝像頭會監控丹，分析他的動作，

it's going to let Dan bring out all the different aspects of his music that he wants to.

讓他隨心所欲地展示他音樂的各種層面。

And you're also going to notice a visual on the screen.

你還會看到銀屏上的視覺特效。

We asked one of our students to look at what the camera is measuring.

我的一位學生負責視覺採樣。

But instead of making it very literal, showing you exactly

其實這裡並非是原封不動地顯示相機跟踪的物體，

the camera tracing, we turned it into a graphic that shows you the basic

我們把採集的數據轉化成了影像，

movement, and shows the way it's being analyzed.

以便顯示基本的運動和分析的方法。

I think it gives an understanding of how we're picking out movement from what

我覺得這些影像有助於大家理解我們是如何提取丹的動作。

Dan's doing, but I think it will also show you, if you look at that movement,

如果觀察他表演時的舉動，

that when Dan makes music, his motions are very purposeful, very precise,

銀幕上的影像還能展現丹的動作目的明確、精準、

very disciplined and they're also very beautiful.

有專業素養，並且很優美。

So, in hearing this piece, as I mentioned before, the most important thing is

正如我先前提到的，在聽他的作品時，

the music's great, and it'll show you who Dan is.

重點是音樂棒極了，它會告訴你一個真正的丹。

So, are we ready Adam?

亞當，準備好了嗎？

AB: Yeah.

亞當：好啦。

TM: OK, now Dan will play his piece "My Eagle Song" for you.

托德：好，有請丹為大家表演他的作品“鷹之頌”。

(Applause)

（持續熱烈的掌聲）

TM: Bravo.

托德：太棒了。

(Applause)

（掌聲）