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์—ฌ๋Ÿฌ๋ถ„ ๋Œ€๋‹ค์ˆ˜๊ป˜์„œ ์˜ฌ๋ฆฌ๋ฒ„ ์ƒ‰์˜ ์‹ ์ž‘ "๋ฎค์ง€์ฝ”ํ•„๋ฆฌ์•„"๋ฅผ ์ฝ์–ด๋ณด์…จ์„ ๊ฒ๋‹ˆ๋‹ค ์ง€๊ธˆ ํŒ๋งค์ค‘์ธ ํ›Œ๋ฅญํ•œ ์ฑ…์ž…๋‹ˆ๋‹ค
A lot of you have probably seen Oliver Sacks' wonderful new book called "Musicophilia". It's on sale in the bookstore. It's a great book.
์•„์ง ์ฝ์ง€ ์•Š์œผ์…จ๋‹ค๋ฉด ์ถ”์ฒœํ•ฉ๋‹ˆ๋‹ค. ์ €์ž๋Š” ํ”ผ์•„๋‹ˆ์ŠคํŠธ๋กœ ๊ทธ๋™์•ˆ ๊ด€์ฐฐํ•œ ์Œ์•…์˜ ์—„์ฒญ๋‚œ ์˜ํ–ฅ๋ ฅ์„ ์ž์„ธํžˆ ๊ธฐ์ˆ ํ–ˆ์Šต๋‹ˆ๋‹ค ํŠน์ˆ˜ํ•œ ์‚ฌ๋žŒ๋“ค์—๊ฒŒ ์ฃผ๋Š” ํšจ๊ณผ์— ๋Œ€ํ•ด ๋ฌ˜์‚ฌํ–ˆ์Šต๋‹ˆ๋‹ค
If you haven't seen it, it's worth reading. He's a pianist himself, and he details his whole career of looking at and observing incredibly powerful effects that music has had on peoples' lives in unusual situations.
์˜ˆ๋ฅผ ๋“ค์ž๋ฉด, ์•Œ์ธ ํ•˜์ด๋จธ ํ™˜์ž๋“ค์ด ๋งˆ์ง€๋ง‰์œผ๋กœ ๋ฐ˜์‘ํ•˜๋Š” ์ž๊ทน์ด ์Œ์•…์ž…๋‹ˆ๋‹ค
So we know, for instance, that music is almost always the last thing that people with advanced Alzheimer's can still respond to.
๋งŽ์€ ๋ถ„๋“ค๊ป˜์„œ ์‚ฌ๋ž‘ํ•˜๋Š” ์‚ฌ๋žŒ์ด ๊ฑฐ์šธ์— ๋น„์นœ ์ž์‹ ์„ ๋ชป์•Œ์•„๋ณด๊ฑฐ๋‚˜ ๊ฐ€์กฑ์„ ๋ชป์•Œ์•„ ๋ณด๋Š” ๊ฒฝํ—˜์„ ํ•˜์…จ์„ ๊ฒ๋‹ˆ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ์Œ์•… ํ•œ ์†Œ์ ˆ๋งŒ ๋“ฃ๊ณ ๋„ ์•Œ์ธ ํ•˜์ด๋จธ ํ™˜์ž๋Š” ๋ฒŒ๋–ก ์ผ์–ด๋‚˜ ๋…ธ๋ž˜๋ฅผ ํ•ฉ๋‹ˆ๋‹ค ๊ทธ๋ž˜์„œ ์Œ์•…์œผ๋กœ ํ™˜์ž๋“ค์˜ ๊ธฐ์–ต์ด๋‚˜ ์„ฑ๊ฒฉ์„ ๋„์ง‘์–ด ๋‚ผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค
Maybe many of you have noticed this with loved ones, you can find somebody who can't recognize their face in the mirror, or can't tell anyone in their family, but you can still find a shard of music that that person will jump out of the chair and start singing. And with that you can bring back parts of people's memories and personalities.
์Œ์•…์€ ๋‡Œ์กธ์ฆ ํ™˜์ž์˜ ์–ธ์–ด ๋Šฅ๋ ฅ์„ ํšŒ๋ณตํ•˜๋Š” ์ตœ๊ณ ์˜ ๋ฐฉ๋ฒ•์ด๋ฉฐ ํŒŒํ‚จ์Šจ ํ™˜์ž์˜ ๊ฑฐ๋™ ํšŒ๋ณต๋„ ๋•์Šต๋‹ˆ๋‹ค
Music is the best way to restore speech to people who have lost it through strokes, movement to people with Parkinson's disease.
์šฐ์šธ์ฆ, ์ •์‹ ๋ถ„์—ด์ฆ ์น˜๋ฃŒ์—๋„ ํšจ๋ ฅ์ด ์žˆ์Šต๋‹ˆ๋‹ค
It's very powerful for depression, schizophrenia, many, many things.
๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ๋Š” ์ž˜์•Œ๋ ค์ง€์ง€ ์•Š์€ ์›๋ฆฌ๋“ค์„ ์—ฐ๊ตฌํ•˜๊ณ  ์žˆ๊ณ  ์‚ฌ๋žŒ๋“ค์˜ ๊ฑด๊ฐ•์— ๋„์›€์ด ๋˜๋Š” ์Œ์•… ํ™œ๋™์„ ๋งˆ๋ จํ•  ๊ฒƒ์ž…๋‹ˆ๋‹ค
So, we're working on understanding those underlying principles and then building activities which will let music really improve people's health.
์šฐ๋ฆฌ๋Š” ์—ฌ๋Ÿฌ ๋ณ‘์›๊ณผ ํ˜‘๋ ฅ์„ ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค
And we do this in many ways. We work with many different hospitals.
๊ทธ์ค‘ ํ•˜๋‚˜๊ฐ€ ๋ณด์Šคํ†ค์˜ ํ„ฑ์Šค๋ฒ ๋ฆฌ ๋ณ‘์›์ž…๋‹ˆ๋‹ค
One of them is right near Boston, called Tewksbury Hospital.
์˜ค๋ž˜๋œ ์ฃผ๋ฆฝ๋ณ‘์›์œผ๋กœ ๋ช‡๋…„์ „๋ถ€ํ„ฐ ์ปดํ“จํ„ฐ์ž‘๊ณกํ”„๋กœ๊ทธ๋žจ์œผ๋กœ ์‹ ์ฒด, ์ •์‹ ์ ์œผ๋กœ ๊ณ ํ†ต๋ฐ›๋Š” ํ™˜์ž๋“ค์„ ๋•๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค
It's a long-term state hospital, where several years ago we started working with Hyperscore and patients with physical and mental disabilities.
์ด ๋ฐฉ๋ฒ•์€ ํ„ฑ์Šค๋ฒ ๋ฆฌ ๋ณ‘์› ์น˜๋ฃŒ์—์„œ ์ค‘์š”ํ•œ ์—ญํ• ์„ ๋‹ด๋‹นํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค ๋ชจ๋‘๊ฐ€ ์Œ์•… ํ™œ๋™์— ์ฐธ์—ฌํ•˜๊ณ  ์‹ถ์–ดํ•ฉ๋‹ˆ๋‹ค
This has become a central part of the treatment at Tewksbury hospital, so everybody there clamors to work on musical activities.
ํ™˜์ž์˜ ์น˜๋ฃŒ ํšจ๊ณผ๋ฅผ ๊ทน๋Œ€ํ™”ํ•œ๋‹ค๋Š” ํ‰๊ฐ€๋ฅผ ๋ฐ›๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค ๋ณ‘์› ์  ์ฒด๊ฐ€ ์Œ์•… ๊ณต๋™์ฒด๋กœ ํƒˆ๋ฐ”๊ฟˆํ–ˆ์Šต๋‹ˆ๋‹ค
It's the activity that seems to accelerate people's treatment the most and it also brings the entire hospital together as a kind of musical community.
๋‹ค์Œ ๋ฐœํ‘œ๋กœ ๋„˜์–ด ๊ฐ€๊ธฐ ์ „, ์งง์€ ์˜์ƒ์„ ๋ณด์—ฌ๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค
I wanted to show you a quick video of some of this work before I go on.
์„œ๋กœ์˜ ๋ฆฌ๋“ฌ์„ ๋ฐ”๊พธ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค
Video: They're manipulating each other's rhythms.
์‹ค์ œ์ด๋ฉฐ, ๋ฐ•์ž๋ฅผ ๋งž์ถ”๊ณ  ๊ฐ์ƒํ•˜๋Š” ๋ฒ•์„ ๋ฐฐ์šธ ๋ฟ ์•„๋‹ˆ๋ผ ์Œ์•… ๊ธฐ์–ต๋ ฅ ํ›ˆ๋ จ์„ ํ•˜๊ณ  ๊ทธ๋ฃน ์—ฐ์ฃผ๋ฅผ ํ•ฉ๋‹ˆ๋‹ค
It's a real experience, not only to learn how to play and listen to rhythms, but to train your musical memory and playing music in a group.
์Šค์Šค๋กœ ์Œ์•…์„ ๋งŒ๋“ค๋ ค๋ฉด, ๋ฐ”๊พธ๊ณ , ์‹คํ—˜ํ•˜๊ณ , ์ง์ ‘ ์ž‘๊ณก์„ ํ•ด์•ผํ•ฉ๋‹ˆ๋‹ค
To get their hands on music, to shape it themselves, change it, to experiment with it, to make their own music.
์ปดํ“จํ„ฐ์ž‘๊ณกํ”„๋กœ๊ทธ๋žจ์œผ๋กœ ๋‹จ๊ธฐ๊ฐ„ ์Œ์•… ๊ณต๋ถ€๋ฅผ ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค
So Hyperscore lets you start from scratch very quickly.
๋ˆ„๊ตฌ๋‚˜ ํ›Œ๋ฅญํ•œ ๋ฐฉ๋ฒ•์œผ๋กœ ์Œ์•…์„ ๊ฒฝํ—˜ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค ๋‹จ์ง€ ๋‹ค๋ฅธ ๋„๊ตฌ๋ฅผ ๋งŒ๋“ค์–ด์•ผ ํ•  ๋ฟ์ž…๋‹ˆ๋‹ค
Everybody can experience music in a profound way, we just have to make different tools.
์„ธ๋ฒˆ์งธ ์ œ ์ƒ๊ฐ์€ ์Œ์•…์€ ์—ญ์„ค์ ์œผ๋กœ ์–ธ์–ด๋ณด๋‹ค๋„ ์šฐ๋ฆฌ๋ฅผ ์ž˜ ๋ณด์—ฌ์ฃผ๋Š” ๋ฐฉ๋ฒ•์ด๋ผ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค ์ €๋Š” ๋งํ•˜๋Š” ๊ฒƒ์„ ์ข‹์•„ํ•˜๊ธฐ๋Š” ํ•˜์ง€๋งŒ, ํฌํ•œํ•˜๊ฒŒ ์—ฐ์ฃผ๋•Œ ๋ณด๋‹ค ๋งํ•  ๋•Œ๊ฐ€ ๋” ๊ธด์žฅ๋ฉ๋‹ˆ๋‹ค
The third idea I want to share with you is that music, paradoxically, I think even more than words, is one of the very best ways we have of showing who we really are. I love giving talks, although strangely I feel more nervous giving talks than playing music.
๋งŒ์•ฝ ์ œ๊ฐ€ ์—ฌ๊ธฐ์—์„œ ์ฒผ๋กœ๋‚˜ ์ „์ž ์•…๊ธฐ๋ฅผ ์—ฐ์ฃผํ•œ๋‹ค๋ฉด, ๊ทธ ์–ด๋–ค ๋ง๋ณด๋‹ค๋„ ์ €๋ฅผ ์ž˜ ํ‘œํ˜„ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค ์•„์ฃผ ๊ฐœ์ธ์ ์ธ๋ชจ์Šต ๊ทธ ์ด์ƒ์„ ๋ณด์—ฌ๋“œ๋ฆด ์ˆ˜๋„ ์žˆ์ฃ 
If I were here playing cello, or playing on a synth, or sharing my music with you, I'd be able to show things about myself that I can't tell you in words, more personal things, perhaps deeper things.
์—ฌ๋Ÿฌ๋ถ„๋„ ๋งˆ์ฐฌ๊ฐ€์ง€์ž…๋‹ˆ๋‹ค. ๋‘๊ฐ€์ง€ ์˜ˆ๋ฅผ ์†Œ๊ฐœํ•˜๊ฒ ์Šต๋‹ˆ๋‹ค ์Œ์•…์ด ์–ผ๋งˆ๋‚˜ ๊ฐ•๋ ฅํ•œ ์ธํ„ฐํŽ˜์ด์Šค๋กœ์จ ์šฐ๋ฆฌ๋ฅผ ์™ธ๋ถ€ ์„ธ๊ณ„๋กœ ์ด์–ด์ฃผ๋Š”๊ฐ€๋ฅผ ๋ณด์—ฌ๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค
I think that's true for many of us, and I want to give you two examples of how music is one of the most powerful interfaces we have, from ourselves to the outside world.
์ฒซ๋ฒˆ์งธ๋Š” ํ˜„์žฌ ์šฐ๋ฆฌ๊ฐ€ ์ง„ํ–‰์ค‘์ธ ์—„์ฒญ๋‚œ ํ”„๋กœ์ ํŠธ๋กœ "์ฃฝ์Œ๊ณผ ํŒŒ์›Œ"๋ผ๋Š” ๋Œ€๊ทœ๋ชจ ์˜คํŽ˜๋ผ์ž…๋‹ˆ๋‹ค ํ˜„์žฌ ์„ธ๊ณ„์ ์œผ๋กœ ์ง„ํ–‰์ค‘์ธ ์˜คํŽ˜๋ผ์ž…๋‹ˆ๋‹ค
The first is a really crazy project that we're building right now, called Death and the Powers. And it's a big opera, one of the larger opera projects going on in the world right now.
๋ถ€,๋ช…์˜ˆ,๊ถŒ๋ ฅ์„ ๋ชจ๋‘ ๊ฐ–์ถ”๊ณ  ๋ถˆ๋ฉธ์„ ๊ฐˆ๋งํ•˜๋Š” ํ•œ ๋‚จ์ž์˜ ์ด์•ผ๊ธฐ์ž…๋‹ˆ๋‹ค
And it's about a man, rich, successful, powerful, who wants to live forever.
์ด ๋‚จ์ž๋Š” ์ฃผ๋ณ€ ํ™˜๊ฒฝ์œผ๋กœ ์ž์‹ ์„ ๋‹ค์šด๋กœ๋“œ ํ•˜๋Š” ๋ฐฉ๋ฒ•์„ ์•Œ์•„๋ƒ…๋‹ˆ๋‹ค ์ฆ‰, ์ฑ… ์† ์„ธ๊ณ„๋กœ ๋“ค์–ด๊ฐ€๋Š” ๊ฑฐ์ฃ 
So, he figures out a way to download himself into his environment, actually into a series of books.
๋ถˆ๋ฉธ์„ ์›ํ•œ ๋‚จ์ž๋Š” ์ฑ… ์† ์„ธ๊ณ„๋กœ ๋“ค์–ด๊ฐ‘๋‹ˆ๋‹ค
So this guy wants to live forever, he downloads himself into his environment.
๋ฉ”์ธ ์‹ฑ์–ด๋Š” ์˜คํŽ˜๋ผ ์ดˆ๋ฐ˜๋ถ€์— ์‚ฌ๋ผ์ง€๊ณ  ๋ฌด๋Œ€ ์ „์ฒด๊ฐ€ ์ฃผ์ธ๊ณต์ด ๋ฉ๋‹ˆ๋‹ค. ๋ฌด๋Œ€๊ฐ€ ๋‚จ์ž์˜ ์†Œ์œ ๊ฐ€ ๋˜๋Š”๊ฑฐ์ฃ 
The main singer disappears at the beginning of the opera and the entire stage becomes the main character. It becomes his legacy.
์ด ์˜คํŽ˜๋ผ๋Š” ์šฐ๋ฆฌ๊ฐ€ ๋ฌด์—‡์„ ํƒ€์ธ๊ณผ ์‚ฌ๋ž‘ํ•˜๋Š” ์‚ฌ๋žŒ์—๊ฒŒ ๋‚˜๋ˆŒ ์ˆ˜ ์žˆ๊ณ  ์—†๋Š”๊ฐ€๋ฅผ ๋‹ค๋ฃน๋‹ˆ๋‹ค
And the opera is about what we can share, what we can pass on to others, to the people we love, and what we can't.
์˜คํŽ˜๋ผ์— ๋“ฑ์žฅํ•˜๋Š” ๋ชจ๋“  ๋ฌผ์ฒด๊ฐ€ ์‚ด์•„์žˆ์œผ๋ฉฐ ๊ฑฐ๋Œ€ํ•œ ์•…๊ธฐ์ž…๋‹ˆ๋‹ค ์˜ˆ๋ฅผ ๋“ค์–ด ์ด๊ฑด ๋ฌด๋Œ€ ์ „์ฒด๋ฅผ ์ฐจ์ง€ํ•˜๋Š” ์ƒน๋“ค๋ฆฌ์— ๊ฐ™์ง€๋งŒ ์‚ฌ์‹ค์€ ๋กœ๋ด‡ ์•…๊ธฐ์ž…๋‹ˆ๋‹ค
Every object in the opera comes alive and is a gigantic music instrument, like this chandelier. It takes up the whole stage. It looks like a chandelier, but it's actually a robotic music instrument.
์—ฌ๊ธฐ ์›ํ˜•์„ ๋ณด์‹œ๋‹ค์‹œํ”ผ ๊ฑฐ๋Œ€ํ•œ ํ”ผ์•„๋…ธ ์ค„์ด ์žˆ๋Š”๋ฐ์š” ์ž‘์€ ๋กœ๋ด‡์ด ํ”ผ์•„๋…ธ ์ค„์„ ์กฐ์ ˆํ•ฉ๋‹ˆ๋‹ค ์ž‘์€ ํ™œ์ด๋‚˜ ํ”„๋กœํŽ ๋Ÿฌ๊ฐ€ ํ”ผ์•„๋…ธ ์ค„์„ ๋‹น๊ธฐ๊ฑฐ๋‚˜ ์Œํ–ฅ์‹ ํ˜ธ๊ฐ€ ํ”ผ์•„๋…ธ์ค„์„ ์ง„๋™์‹œํ‚ต๋‹ˆ๋‹ค. ๋‹ค์ˆ˜์˜ ๋กœ๋ด‡์ด ๋ฌด๋Œ€์— ์„ค์น˜๋˜์–ด ์žˆ์ฃ 
So, as you can see in this prototype, gigantic piano strings, each string is controlled with a little robotic element -- either little bows that stroke the strings, propellers that tickle the strings, acoustic signals that vibrate the strings. We also have an army of robots on stage.
๋กœ๋ด‡์ด ์ฃผ์ธ๊ณต ์‹œ๋ชฌ ํŒŒ์›Œ์Šค์™€ ๊ฐ€์กฑ๊ฐ„์˜ ๋งค๊ฐœ์ฒด ์—ญํ• ์„ ํ•˜๋Š” ๊ฑฐ์ฃ  ๊ทธ๋ฆฌ์Šค ์ฝ”๋Ÿฌ์Šค์ฒ˜๋Ÿผ ์ด์™€ ์œ ์‚ฌํ•œ ์‹œ๋ฆฌ์ฆˆ๊ฐ€ ๋งŽ์Šต๋‹ˆ๋‹ค
These robots are the kind of the intermediary between the main character, Simon Powers, and his family. There are a whole series of them, kind of like a Greek chorus.
๋กœ๋ด‡๋“ค์€ ์›€์ง์ž„์„ ๊ด€์ฐฐํ•ฉ๋‹ˆ๋‹ค. ํ˜„์žฌ MIT์—์„œ ํ…Œ์ŠคํŠธ ์ค‘์ธ ์‚ฌ๊ฐํ˜• ๋กœ๋ด‡์€ "์˜คํŽ˜๋ผ๋ด‡"์ด๋ผ๊ณ  ๋ถ€๋ฅด๋Š”๋ฐ, ์ œ ์Œ์•…์„ ์—ฐ์ฃผํ•ฉ๋‹ˆ๋‹ค
They observe the action. We've designed these square robots that we're testing right now at MIT called OperaBots. These OperaBots follow my music.
์ œ ํŠน์ง•์„ ๋”ฐ๋ผํ•˜๋Š”๊ฑฐ์ฃ . ์ด ๋กœ๋ด‡์€ ๋˜‘๋˜‘ํ•ด์„œ ์„œ๋กœ ๋ถ€๋”ช์น˜์ง€๋„ ์•Š์Šต๋‹ˆ๋‹ค. ๊ฐ์ž ๋ฐฉํ–ฅ์— ๋งž๊ฒŒ ์›€์ง์ด๋Š” ๊ฑฐ์ฃ 
They follow the characters. They're smart enough, we hope, not to bump into each other. They go off on their own.
์Šค๋ƒ… ์‚ฌ์ธ์„ ๋ณด๋‚ด๋ฉด, ์—ฌ๋Ÿฌ๋ถ„์ด ์›ํ•˜๋Š” ๋ฐฉํ–ฅ์œผ๋กœ ์ •ํ™•์ด ๋Œ์•„๊ฐ‘๋‹ˆ๋‹ค
And then they can also, when you snap, line up exactly the way you'd like to.
๋‹จ์ˆœํ•œ ์ฃผ์‚ฌ์œ„๋ชจํ˜•์ด๋ผ๋„ ๋งŽ์€ ํŠน์ง•์„ ๊ฐ–๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค
Even though they're cubes, they actually have a lot of personality.
๊ฐ€์žฅ ํฐ ์˜คํŽ˜๋ผ ์„ธํŠธ๊ฐ€ "์‹œ์Šคํ…œ"์ž…๋‹ˆ๋‹ค. ์—ฌ๊ธฐ ์ฑ…๋“ค์ด ์žˆ์ฃ 
The largest set piece in the opera is called The System. It's a series of books.
๋ชจ๋“  ์ฑ…์ด ๋กœ๋ด‡์œผ๋กœ, ์›€์ง์ด๊ณ  ์†Œ๋ฆฌ๋ฅผ ๋ƒ…๋‹ˆ๋‹ค ๋‹ค์‹œ ์ฑ…์„ ์›์ƒํƒœ๋กœ ๋Œ๋ ค ๋†“์œผ๋ฉด, ๋ฒฝ์œผ๋กœ ๋ณ€ํ•ฉ๋‹ˆ๋‹ค ๋ฐ”๋กœ ์‹œ๋ชฌ ํŒŒ์›Œ์Šค์˜ ์ œ์Šค์ฒ˜์™€ ์„ฑ๊ฒฉ์„ ๋‚˜ํƒ€๋‚ด๋Š” ๊ฑฐ์ฃ . ์‹œ๋ชฌ์ด ์‚ฌ๋ผ์กŒ์Šต๋‹ˆ๋‹ค ํ•˜์ง€๋งŒ ๋ชจ๋“  ๋ฌผ๋ฆฌ์  ํ™˜๊ฒฝ์ด ๋ฐ”๋กœ ์ฃผ์ธ๊ณต์ด ๋˜๋Š” ๊ฒ๋‹ˆ๋‹ค
Every single book is robotic, so they all move, they all make sound, and when you put them all together, they turn into these walls, which have the gesture and the personality of Simon Powers. So he's disappeared, but the whole physical environment becomes this person.
์‹œ๋ชฌ์ด ์„ ํƒํ•œ ์ž๊ธฐ ํ‘œํ˜„ ๋ฐฉ๋ฒ•์ธ ๊ฒƒ์ž…๋‹ˆ๋‹ค
This is how he's chosen to represent himself.
์ฑ…๋“ฑ์—๋Š” LED๊ฐ€ ์žฅ์ฐฉ๋˜์–ด ์ด์ฒ˜๋Ÿผ ๋””์Šคํ”Œ๋ ˆ์ด๊ฐ€ ๊ฐ€๋Šฅํ•ฉ๋‹ˆ๋‹ค
The books also have high-packed LEDs on the spines. So it's all display.
๋ณด์‹œ๋‹ค์‹œํ”ผ ์œ„๋Œ€ํ•œ ๋ฐ”๋ฆฌํ†ค ์ œ์ž„์Šค ๋งˆ๋‹ค๋ ˆ๋‚˜์”จ๋‚˜ ์‹œ์Šคํ…œ์— ๋“ค์–ด์˜ค์ฃ 
And here's the great baritone James Maddalena as he enters The System.
์˜คํŽ˜๋ผ ๊ณต๊ฐœ ์‹œ์‚ฌํšŒ ๋ชจ์Šต์ž…๋‹ˆ๋‹ค
This is a sneak preview.
2009๋…„ 9์›” ๋ชจ๋‚˜์ฝ”์—์„œ ํ”„๋ฆฌ๋ฏธ์–ด๊ฐ€ ์—ด๋ฆฌ์ง€๋งŒ, ๋งŒ์•ฝ ์ฐธ์„ํ•˜์‹ค ์—†๋‹ค๋ฉด ๋‹ค๋ฅธ ํ”„๋กœ์ ํŠธ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค. ์ด ๋ถ„์€ ์ž์‹ ์˜ ์ž์‚ฐ์„ ์Œ์•…๊ณผ ํ™˜๊ฒฝ์„ ํ†ตํ•ด ๋ชจ๋“  ํ˜•ํƒœ๋กœ ๋งŒ๋“ค๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค
This premieres in Monaco -- it's in September 2009. If by any chance you can't make it, another idea with this project -- here's this guy building his legacy through this very unusual form, through music and through the environment.
์ด ํ”„๋กœ์ ํŠธ๋Š” ์˜จ๋ผ์ธ๊ณผ ๊ณต๊ณต์žฅ์†Œ์—์„œ ๋ชจ๋‘ ๊ฐ€๋Šฅํ•ฉ๋‹ˆ๋‹ค ์Œ์•…๊ณผ ์šฐ๋ฆฌ ์‚ถ์˜ ์ด๋ฏธ์ง€๋ฅผ ์‚ฌ์šฉํ•ด์„œ ์ž์‹ ์ด๋‚˜ ์‚ฌ๋ž‘ํ•˜๋Š” ์‚ฌ๋žŒ์„ ์œ„ํ•ด ์„ ๋ฌผ์„ ๋งŒ๋“ค์–ด ์ฃผ๋Š” ๊ฒ๋‹ˆ๋‹ค
But we're also making this available both online and in public spaces, as a way of each of us to use music and images from our lives to make our own legacy or to make a legacy of someone we love.
์žฅ์—„ํ•œ ์˜คํŽ˜๋ผ๋ฅผ ๋งŒ๋“œ๋Š” ๋Œ€์‹ , ๊ฐœ์ธ ์˜คํŽ˜๋ผ๋ฅผ ๋งŒ๋“œ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค
So instead of being grand opera, this opera will turn into what we're thinking of as personal opera.
๊ฐœ์ธ ์˜คํŽ˜๋ผ๋ฅผ ๋งŒ๋“ ๋‹ค๋ฉด, ๊ฐœ์ธ ์•…๊ธฐ๋Š” ์–ด๋–ป๊ฒŒ ๊ตฌํ• ๊นŒ์š”?
And, if you're going to make a personal opera, what about a personal instrument?
์ œ๊ฐ€ ์ง€๊ธˆ๊นŒ์ง€ ์†Œ๊ฐœํ•œ ์•…๊ธฐ๋Š” ์š”์š”๋งˆ๋‚˜ ์–ด๋ฆฐ์ด์šฉ์ด์—ˆ๊ณ  ์œ ๋ช…ํ•œ ์—ฐ์ฃผ๊ฐ€๋‚˜ ์•„์ด๋“ค์ฒ˜๋Ÿผ ์†Œ์ˆ˜๋ฅผ ์œ„ํ•œ ๊ฒƒ์ด์—ˆ์Šต๋‹ˆ๋‹ค
Everything I've shown you so far -- whether it's a hyper-cello for Yo-Yo Ma for a certain class of person: a virtuoso, a child.
๊ทธ๋ ‡๋‹ค๋ฉด ์ƒˆ๋กœ์šด ์•…๊ธฐ๋ฅผ ๋งŒ๋“ค์–ด ๋ณด๋ฉด ์–ด๋–จ๊นŒ์š”? ๋‚ด ํ–‰๋™, ์†์ง“, ๊ธฐ์ˆ , ๋•Œ๋ก  ์„œํˆฐ ๊ธฐ์ˆ ๋“ฑ์— ์ ์‘ํ•  ์ˆ˜ ์žˆ๋Š” ์•…๊ธฐ๋ฅผ ๋งŒ๋“œ๋Š” ๊ฑด ์–ด๋–จ๊นŒ์š”?
But what if I could make an instrument that could be adapted to the way I personally behave, to the way my hands work, to what I do very skillfully, perhaps, to what I don't do so skillfully?
๋ฐ”๋กœ ์ธํ„ฐํŽ˜์ด์Šค, ์Œ์•…, ์•…๊ธฐ์˜ ๋ฏธ๋ž˜ ๋ชจ์Šต์ธ๊ฑฐ์ฃ 
I think that this is the future of interface, it's the future of music, the future of instruments.
์ง€๊ธˆ๋ถ€ํ„ฐ ์•„์ฃผ ํŠน๋ณ„ํ•œ ๋‘๋ถ„์„ ๋ฌด๋Œ€๋กœ ๋ชจ์‹œ๊ฒ ์Šต๋‹ˆ๋‹ค ๊ฐœ์ธ ์•…๊ธฐ๋ฅผ ์ง์ ‘ ๋ณด์—ฌ๋“œ๋ฆฌ๊ธฐ ์œ„ํ•จ์ž…๋‹ˆ๋‹ค
And I'd like now to invite two very special people on the stage, so that I can give you an example of what personal instruments might be like.
๋ฐ•์ˆ˜๋กœ ๋งž์ด์ฃผ์‹œ๊ฒ ์Šต๋‹ˆ๊นŒ? MIT ๋ฏธ๋””์–ด ๋žฉ ๋ฐ•์‚ฌ ๊ณผ์ • ์•„๋‹ด ๋ณผ๋žญ์–ด์”จ์™€ ๋Œ„ ์—˜์„ธ์ด์”จ์ž…๋‹ˆ๋‹ค. ๋Œ„! ๋ด„๋ฐ”๋””์–ด ํ”Œ๋ ‰์ œํŠธ์™€ TED๊ด€๊ณ„์ž ๋ถ„ ๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค. ๋Œ„์ด ์˜ค๋Š˜ ํ•จ๊ป˜ ํ•ฉ๋‹ˆ๋‹ค ๋Œ„์€ ํ„ฑ์Šค๋ฒ ๋ฆฌ ๋ณ‘์›์—์„œ ์—ฌ๊ธฐ๊นŒ์ง€ ์™”์Šต๋‹ˆ๋‹ค
So, can you give a hand to Adam Boulanger, Ph.D. student from the MIT Media Lab, and Dan Ellsey. Dan, thanks to TED and to Bombardier Flexjet, Dan is here with us today all the way from Tewksbury. He's a resident at Tewksbury Hospital.
๋ณ‘์›์—์„œ ์ด๋งŒํผ ๋ฉ€๋ฆฌ ์˜จ ์ ์ด ์—†์—ˆ์ฃ  ๋Œ„์€ ์—ฌ๋Ÿฌ๋ถ„์„ ๋งŒ๋‚˜ ์ž์‹ ์˜ ์Œ์•…์„ ๋“ค๋ ค์ฃผ๊ณ  ์‹ถ์–ดํ–ˆ๊ฑฐ๋“ ์š”
This is by far the farthest he's strayed from Tewksbury Hospital, I can tell you that, because he's motivated to meet with you today and show you his own music.
๋Œ„, ์ผ๋‹จ ์ธ์‚ฌํ•˜๊ณ  ์ž๊ธฐ์†Œ๊ฐœ ์ข€ ํ•ด์ฃผ์‹œ๊ฒ ์–ด์š”?
So, first of all, Dan, do you want to say hi to everyone and tell everyone who you are?
์•ˆ๋…•ํ•˜์„ธ์š”. ๋Œ„ ์—˜์„ธ์ด๋ฉฐ 34์„ธ ๋‡Œ์„ฑ๋งˆ๋น„ ํ™˜์ž์ž…๋‹ˆ๋‹ค
Dan Ellsey: Hello. My name is Dan Ellsey. I am 34 years old and I have cerebral palsy.
์Œ์•…์„ ์‚ฌ๋ž‘ํ•˜๊ณ  ์—ฐ์ฃผ๋ฅผ ํ•˜๊ฒŒ ๋˜์–ด ๊ธฐ์ฉ๋‹ˆ๋‹ค ์ƒˆ ์†Œํ”„ํŠธ์›จ์–ด๋กœ ์ œ ์Œ์•…์„ ๋“ค๋ ค๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค
I have always loved music and I am excited to be able to conduct my own music with this new software.
๋Œ„, ์˜ค๋Š˜ ํ•จ๊ป˜ ํ•ด์ค˜์„œ ์ •๋ง ๊ธฐ๋ป์š” ์šฐ๋ฆฐ 3๋…„๋ฐ˜ ์ „์— ๋Œ„์„ ์ฒ˜์Œ ๋งŒ๋‚ฌ์Šต๋‹ˆ๋‹ค ์šฐ๋ฆฌ๊ฐ€ ํ„ฑ์Šค๋ฒ ๋ฆฌ ๋ณ‘์›์— ์ฒ˜์Œ ์ผํ–ˆ์„ ๋•Œ์ฃ . ๋ณ‘์›๋ถ„๋“ค์€ ๋ชจ๋‘ ํ›Œ๋ฅญํ•˜์…จ์Šต๋‹ˆ๋‹ค ๋ฉ‹์ง„ ์Œ์•…์„ ์—ฐ์ฃผํ•˜์…จ์ฃ . ๋Œ„์€ ์ž์‹ ์˜ ์ ์„ฑ์„ ๋ฐœ๊ฒฌํ•˜๊ธฐ ์ „๊นŒ์ง€๋Š” ํ•œ๋ฒˆ๋„ ์ž‘๊ณก ํ•œ ์ ์ด ์—†์—ˆ์Šต๋‹ˆ๋‹ค. ๋Œ„์€ ํƒ€๊ณ ๋‚œ ์ž‘๊ณก๊ฐ€์ž…๋‹ˆ๋‹ค
Tod Machover: And we're really excited to have you here, really Dan. (Applause) So we met Dan about three years ago, three and a half years ago, when we started working at Tewksbury. Everybody we met there was fantastic, did fantastic music. Dan had never made music before, and it turned out he was really fantastic at it. He's a born composer.
๊ทธ๋ฆฌ๊ณ  ๋งค์šฐ ์ˆ˜์ค์–ด ํ•ฉ๋‹ˆ๋‹ค
He's very shy, too.
์šฐ๋ฆฐ ๋Œ„์ด ํƒ€๊ณ ๋‚œ ์ž‘๊ณก๊ฐ€๋ž€ ๊ฑธ ์•Œ๊ฒŒ๋๊ณ  ์ง€๋‚œ ์ˆ˜๋…„ ๋™์•ˆ ์šฐ๋ฆฌ์™€ ํ•จ๊ป˜ ์ผํ–ˆ์Šต๋‹ˆ๋‹ค. ๋Œ„์€ ์ •๋ง ๋งŽ์€ ์ž‘ํ’ˆ์„ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค
So, turned out he's a fantastic composer, and over the last few years has been a constant collaborator of ours. He has made many, many pieces.
CD๋„ ๋งŒ๋“ค์—ˆ๊ณ  ๋ณด์Šคํ„ด์—์„œ๋Š” ์ด๋ฏธ ์œ ๋ช…์ธ์‚ฌ์ž…๋‹ˆ๋‹ค ์ž‘๊ณก์— ์žˆ์–ด์„œ๋Š” ๋ณ‘์› ๋ฉ˜ํ† ๋“ค๊ณผ ๋ณด์Šคํ„ด ์–ด๋ฆฐ์ด ์‚ฌ์ด์—๋Š” ์œ ๋ช…์ธ์ด๋ผ ํ•  ์ˆ˜ ์žˆ์ฃ 
He makes his own CDs. Actually, he is quite well known in the Boston area -- mentors people at the hospital and children, locally, in how to make their own music.
MIT ๋ฐ•์‚ฌ ๊ณผ์ • ์Œ์•… ์ „๋ฌธ๊ฐ€ ์•„๋‹ด์ด ์ด์ œ๋ถ€ํ„ฐ ๋ง์”€์„ ๋“œ๋ฆด ๊ฒ๋‹ˆ๋‹ค ์•„๋‹ด๊ณผ ๋Œ„์€ ์ ˆ์นœํ•œ ์กฐ๋ ฅ์ž๋กœ์„œ
And I'll let Adam tell you. So, Adam is a Ph.D. student at MIT, an expert in music technology and medicine. And Adam and Dan have become close collaborators.
์•„๋‹ด์ด ์ค‘์ ์„ ๋‘๋Š” ๊ฒƒ์€ ๋Œ„์ด ์‰ฝ๊ฒŒ ์ž‘๊ณกํ•˜๊ณ  ๊ฐœ์ธ ์•…๊ธฐ๋กœ ์—ฐ์ฃผํ•  ์ˆ˜ ์žˆ๊ฒŒ๋” ๋•๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค
What Adam's been working on for this last period is not only how to have Dan be able easily to make his own pieces, but how he can perform his piece using this kind of personal instrument.
์ž‘์—… ๋ฐฉ๋ฒ•์„ ์•Œ๋ ค์ฃผ์‹œ๊ฒ ์–ด์š”?
So, you want to say a little bit about how you guys work?
๋„ค. ํƒ€๋“œ์™€ ์ €๋Š” ํ„ฑ์Šค๋ฒ ๋ฆฌ ๋ณ‘์› ํ™œ๋™ ์ดํ›„ ๋Œ„์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ–ˆ์Šต๋‹ˆ๋‹ค. ๋Œ„์€ ๋˜‘๋˜‘ํ•˜๊ณ  ํ‘œํ˜„๋ ฅ๊ณผ ์ฐฝ์˜๋ ฅ์ด ๋›ฐ์–ด๋‚ฌ๊ธฐ ๋•Œ๋ฌธ์ด์ฃ . ๋Œ„์˜ ์–ผ๊ตด, ํ˜ธํก, ๋ˆˆ์—์„œ ์•Œ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค. ๊ทธ๋Ÿฐ ๋Œ„์ด ์™œ ์Œ์•… ์—ฐ์ฃผ๋ฅผ ๋ชปํ•˜๋Š” ๊ฑธ๊นŒ์š”? ์ด๊ฑด ์šฐ๋ฆฌ์˜ ์ฑ…์ž„์ด๊ณ  ๋ง๋„ ์•ˆ๋œ๋‹ค๊ณ  ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค
Adam Boulanger: Yes. So, Tod and I entered into a discussion following the Tewksbury work and it was really about how Dan is an expressive person, and he's an intelligent and creative person. And it's in his face, it's in his breathing, it's in his eyes. How come he can't perform one of his pieces of music? That's our responsibility, and it doesn't make sense.
๊ทธ๋ž˜์„œ ๊ธฐ์ˆ ์„ ๊ฐœ๋ฐœํ•ด์„œ ๋Œ„์ด ์‹ ์ฒด์  ์žฅ์• ๊ฐ€ ์žˆ๋”๋ผ๋„ ๋ชจ๋“  ๋‰˜์•™์Šค, ์ •ํ™•์„ฑ, ์กฐ์ ˆ์„ ๋‹ด์•„ ์—ฐ์ฃผํ•  ์ˆ˜ ์žˆ๋„๋ก ๋„์™”์Šต๋‹ˆ๋‹ค
So we started developing a technology that will allow him with nuance, with precision, with control, and despite his physical disability, to be able to do that, to be able to perform his piece of music.
์šฐ์„ , ํ”„๋กœ์„ธ์Šค์™€ ๊ธฐ์ˆ ์ ์ธ ์ธก๋ฉด์—์„œ ๊ธฐ์ˆ  ๋ฌธ์ œ๋ฅผ ํ•ด๊ฒฐํ•ด์•ผ ํ–ˆ์Šต๋‹ˆ๋‹ค. ๋ณด์‹œ๋‹ค์‹œํ”ผ, ์ด ํŒŒ์ด์–ด์™€์ด์–ด ์นด๋ฉ”๋ผ๋Š” ์ ์™ธ์„ ํฌ์ธํ„ฐ๋ฅผ ์ฃผ์‹œํ•ฉ๋‹ˆ๋‹ค
So, the process and the technology -- basically, first we needed an engineering solution. So, you know, we have a FireWire camera, it looked at an infrared pointer.
๊ทธ๋ž˜์„œ ๋Œ„์˜ ์ต์ˆ™ํ•œ ์ œ์Šค์ฒ˜๋ฅผ ์Œํ–ฅ ์ปจํŠธ๋กค๋Ÿฌ์™€ ์—ฐ๊ฒฐ์‹œ์ผฐ์Šต๋‹ˆ๋‹ค
We went with the type of gesture metaphor that Dan was already used to with his speaking controller.
ํ•˜์ง€๋งŒ ์ด ์ž‘์—…์—” ํ›จ์”ฌ ํฅ๋ฏธ๋กœ์šด ๊ธฐ์ˆ ์ด ๋งŽ์Šต๋‹ˆ๋‹ค ๋””์ž์ธ ํ”„๋กœ์„ธ์Šค์˜ ๊ฒฝ์šฐ ์ธํ’‹๊ณผ ์ง€์†์ ์ธ ์นด๋ฉ”๋ผ ์ด๋™์ด ํ•„์š”ํ–ˆ์Šต๋‹ˆ๋‹ค ์†Œํ”„ํŠธ์›จ์–ด์—์„œ๋Š” ๋Œ„์˜ ์ œ์Šค์ฒ˜๋ฅผ ๋ณผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค
And this was actually the least interesting part of the work, you know, the design process. We needed an input; we needed continuous tracking; in the software, we look at the types of shapes he's making.
๊ธฐ์ˆ  ๋ฌธ์ œ๋ฅผ ํ•ด๊ฒฐํ•œํ›„ ๋˜ ํฅ๋ฏธ๋กœ์šด ์ ์„ ๋ฐœ๊ฒฌํ–ˆ๋Š”๋ฐ์š”, ๋ณ‘์›์—์„œ ๋Œ„์˜ ์–ด๊นจ ์›€์ง์ž„์„ ์ฝ”๋”ฉํ• ๋•Œ ์˜€์Šต๋‹ˆ๋‹ค ์–ด๋–ป๊ฒŒ ๋Œ„์ด ์›€์ง์ด๋Š”์ง€ ์•Œ์•„๋‚ด๊ธฐ ์œ„ํ•ด์„œ์˜€์ฃ 
But, then was the really interesting aspect of the work, following the engineering part, where, basically, we're coding over Dan's shoulder at the hospital extensively to figure out, you know, how does Dan move?
๋Œ„์ด ํ‘œํ˜„๋ ฅ์ด ๊ฐ•ํ•œ ๋ชจ์…˜์„ ์ทจํ• ๋• ์–ด๋–ป๊ฒŒ ํ•ด์•ผํ• ๊นŒ?
What's useful to him as an expressive motion?
์ฆ‰, ๊ณต์—ฐ์„ ์œ„ํ•ด ์–ด๋–ค ์ œ์Šค์ฒ˜๋ฅผ ๋งŒ๋“ค์–ด์•ผ ํ• ๊นŒ?
You know, what's his metaphor for performance?
ํ•œ ๊ณก์—์„œ ๋Œ„์€ ์–ด๋–ค ๋ถ€๋ถ„์„ ์ค‘์š”ํ•˜๋‹ค๊ณ  ์—ฌ๊ฒจ์„œ ์ปจํŠธ๋กคํ•ด์„œ ์ „๋‹ฌํ• ๊นŒ?
What types of things does he find important to control and convey in a piece of music?
๊ทธ๋ž˜์„œ ๋ชจ๋“  ๋ณ€์ˆ˜์™€ ๊ธฐ์ˆ ์„ ๋Œ„์— ๋งž์ถ”์–ด์„œ ์ตœ์ ํ™”ํ–ˆ์Šต๋‹ˆ๋‹ค
So all the parameter fitting, and really the technology was stretched at that point to fit just Dan.
๊ธฐ์ˆ ์ด ์•„๋‹Œ ๊ด€์ ์˜ ๋ณ€ํ™”๊ฐ€ ์ด ์ฐฝ์กฐ์ ์ธ ์ž‘ํ’ˆ์˜ ํƒ„์ƒ์„ ๊ฐ€๋Šฅ์ผ€ํ•˜์˜€์Šต๋‹ˆ๋‹ค
And, you know, I think this is a perspective shift. It's not that our technologies -- they provide access, they allow us to create pieces of creative work.
ํ•˜์ง€๋งŒ ํ‘œํ˜„์€? ์•„ํ‹ฐ์ŠคํŠธ๊ฐ€ ์—ฐ์ฃผํ•˜๋Š” ๊ทธ ์ˆœ๊ฐ„์€ ์–ด๋–ป๊ฒŒ ํ• ๊นŒ์š”? ์ด ๊ธฐ์ˆ ๋กœ ํ‘œํ˜„์ด ๊ฐ€๋Šฅํ• ๊นŒ์š”?
But what about expression? What about that moment when an artist delivers that piece of work? You know, do our technologies allow us to express?
๊ธฐ์ˆ ์ด ํ‘œํ˜„ ๋ฐฉ๋ฒ•์„ ๋ณด์—ฌ์ค„ ์ˆ˜ ์žˆ์„๊นŒ์š”? ๊ธฐ์ˆ ์˜ ์˜์—ญ์€ ๊ฐœ์ธ ํ‘œํ˜„๋ ฅ์„ ๋ฌ˜์‚ฌํ•˜๋Š”๋ฐ์—๋Š” ์—ญ๋ถ€์กฑ์ž…๋‹ˆ๋‹ค. ๊ทธ๋ž˜์„œ ๋Œ„๊ณผ ํ•จ๊ป˜ ์ƒˆ๋กœ์šด ๋””์ž์ธ ์—”์ง€๋‹ˆ์–ด๋ง ํ”„๋กœ์„ธ์Šค๋ฅผ ๊ตฌ์ถ•ํ–ˆ์Šต๋‹ˆ๋‹ค ๋Œ„์˜ ์›€์ง์ž„๊ณผ ํ‘œํ˜„ ๋ฐฉ๋ฒ•์„ ํŒŒ์•…ํ•ด ์—ฐ์ฃผ๋ฅผ ๋•๊ธฐ ์œ„ํ•ด์„œ์ฃ 
Do they provide structure for us to do that? And, you know, that's a personal relationship to expression that is lacking in the technological sphere. So, you know, with Dan, we needed a new design process, a new engineering process to sort of discover his movement and his path to expression that allow him to perform.
์˜ค๋Š˜ ๋ฐ”๋กœ ์—ฐ์ฃผ๋ฅผ ํ• ๊ฒ๋‹ˆ๋‹ค
And so that's what we'll do today.
๊ทธ๋Ÿผ ์‹œ์ž‘ํ•ด๋ด…์‹œ๋‹ค. ๋Œ„ ์˜ค๋Š˜ ์–ด๋–ค ์—ฐ์ฃผ๋ฅผ ํ• ๊ฑด์ง€ ์†Œ๊ฐœํ•ด ์ฃผ๊ฒ ์–ด์š”?
TM: So let's do it. So Dan do you want to tell everyone about what you're going to play now?
"๋‚ด ๋…์ˆ˜๋ฆฌ ๋…ธ๋ž˜"๋ฅผ ์—ฐ์ฃผํ• ๊ฒ๋‹ˆ๋‹ค
DE: This is "My Eagle Song."
๋Œ„์€ "๋‚ด ๋…์ˆ˜๋ฆฌ ๋…ธ๋ž˜"๋ผ๋Š” ๊ณก์„ ์—ฐ์ฃผํ•  ๊ฒƒ์ž…๋‹ˆ๋‹ค
TM: So Dan is going to play a piece of his, called "My Eagle Song".
๋Œ„์ด ์ง์ ‘ ์ž‘๊ณกํ•œ ๊ณก์ด๋ฉฐ ์ปดํ“จํ„ฐ ์ž‘๊ณก ํ”„๋กœ๊ทธ๋žจ์œผ๋กœ ๋งŒ๋“  ์ž‘ํ’ˆ์ž…๋‹ˆ๋‹ค
In fact, this is the score for Dan's piece, completely composed by Dan in Hyperscore.
๋Œ„์ด ์ ์™ธ์„  ํŠธ๋ž˜์ปค๋กœ ์ปดํ“จํ„ฐ ์ž‘๊ณก ํ”„๋กœ๊ทธ๋žจ์„ ์ž‘๋™ํ–ˆ์Šต๋‹ˆ๋‹ค
So he can use his infrared tracker to go directly into Hyperscore.
์‹ค์€ ์ €๋ณด๋‹ค๋„ ๋นจ๋ฆฌ ๊ธฐ๊ณ„๋ฅผ ๋‹ค๋ฃจ๋”๊ตฐ์š”
He's incredibly fast at it, too, faster than I am, in fact.
(์›ƒ์Œ) ๋Œ„์€ ๊ฒธ์†ํ•˜๊ธฐ๊นŒ์ง€ ํ•ฉ๋‹ˆ๋‹ค
(Laughter) TM: He's really modest, too.
๋Œ„์ด ์ด ํ”„๋กœ๊ทธ๋žจ์„ ์‚ฌ์šฉํ•  ์ˆ˜ ์žˆ๊ณ  ๋ฉœ๋กœ๋””์™€ ๋ฆฌ๋“ฌ์„ ๋งŒ๋“ค๋ฉฐ ์‹œ์ž‘ํ•ฉ๋‹ˆ๋‹ค
So he can go in Hyperscore. You start out by making melodies and rhythms.
๋Œ„์ด ์›ํ•˜๋Š” ๋Œ€๋กœ ๋ฉœ๋กœ๋””์™€ ๋ฆฌ๋“ฌ์„ ์ •ํ™•ํžˆ ๋ฐฐ์น˜ํ•  ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค
He can place those exactly where he wants.
๊ฐ๊ฐ ์ƒ‰์„ ๋ถ€์—ฌ๋ฐ›๊ณ  ์ž‘๊ณก ์œˆ๋„์šฐ๋กœ ๋Œ์•„๊ฐ€๋ฉด ์„ ์„ ๊ทธ๋ ค๊ฐ€์ฃ . ๋Œ„์ด ์›ํ•˜๋Š” ๋Œ€๋กœ ๋ฐฐ์น˜ํ•  ์ˆ˜ ์žˆ์ฃ . ์ด ํ”„๋กœ๊ทธ๋žจ์„ ๋ณด์‹œ๋ฉด ์„น์…˜์ด ์–ด๋””์žˆ๋Š”์ง€ ์•„์‹ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค ํ•œ๋™์•ˆ ์ง€์†๋˜๋‹ค๊ฐ€ ๋ณ€ํ•˜๊ธฐ๋„ ํ•˜๊ณ  ์ •๋ง ๋ณต์žกํ•ด์ง€๋‹ค๊ฐ€ ๋์—๋Š” "๋ฑ…!" ํ•˜๊ณ  ๋๋งบ์Šต๋‹ˆ๋‹ค
Each one gets a color. He goes back into the composition window, draws the lines, places everything the way he wants to. Looking at the Hyperscore, you can see it also, you can see where the sections are, something might continue for a while, change, get really crazy and then end up with a big bang at the end.
์ด๋ ‡๊ฒŒ ๋Œ„์ด ์ž‘ํ’ˆ์„ ์™„์„ฑํ•ฉ๋‹ˆ๋‹ค. ์•„๋‹ด์ด ๋งํ–ˆ๋“ฏ์ด ๋‹ค์Œ ์šฐ๋ฆฌ๋Š” ๋Œ„์„ ์œ„ํ•œ ์ตœ์ ์˜ ์—ฐ์ฃผ ๋ฐฉ๋ฒ•์„ ๋ชจ์ƒ‰ํ•ฉ๋‹ˆ๋‹ค
So that's the way he made his piece, and as Adam says, we then figured out the best way to have him perform his piece.
์นด๋ฉ”๋ผ๊ฐ€ ์ดฌ์˜์„ ํ•˜๊ณ  ๋Œ„์˜ ์›€์ง์ž„์„ ๋ถ„์„ํ•ฉ๋‹ˆ๋‹ค ๊ทธ๋ž˜์„œ ๋Œ„์ด ์›ํ•˜๋Š” ๋ชจ๋“  ์ž‘ํ’ˆ์˜ ์š”์†Œ๋ฅผ ์Ÿ์•„๋ƒ…๋‹ˆ๋‹ค
It's going to be looked at by this camera, analyze his movements, it's going to let Dan bring out all the different aspects of his music that he wants to.
๊ณง ์Šคํฌ๋ฆฐ ์˜์ƒ์„ ๋ณด์‹ค ๊ฒ๋‹ˆ๋‹ค
And you're also going to notice a visual on the screen.
ํ•œ ํ•™์ƒ์—๊ฒŒ ์นด๋ฉ”๋ผ๊ฐ€ ๋ถ„์„ํ•˜๋Š” ๊ฒƒ์„ ์ฃผ์‹œํ•˜๋„๋ก ์‹œ์ผฐ์Šต๋‹ˆ๋‹ค
We asked one of our students to look at what the camera is measuring.
์นด๋ฉ”๋ผ๊ฐ€ ์ดฌ์˜ํ•˜๋Š” ๋Œ€์ƒ์„ ๊ทธ๋Œ€๋กœ ๋ณด์—ฌ์ฃผ์ง€ ์•Š์•˜์Šต๋‹ˆ๋‹ค ๊ธฐ๋ณธ ๋ชจ์…˜์„ ๋‚˜ํƒ€๋‚ด๋Š” ๊ทธ๋ž˜ํ”ฝ์œผ๋กœ ์ „ํ™˜ํ•ด์„œ ์šฐ๋ฆฌ์˜ ๋ถ„์„๋ฐฉ๋ฒ•์„ ๋ณด์—ฌ์ค€ ๊ฒƒ์ด์ง€์š”
But instead of making it very literal, showing you exactly the camera tracing, we turned it into a graphic that shows you the basic movement, and shows the way it's being analyzed.
๋Œ„์˜ ์›€์ง์ž„ ๋ฌ˜์‚ฌ ๋ฐฉ๋ฒ•์„ ์ดํ•ดํ•˜๋Š” ๋ฐ ๋„์›€์ด ๋  ๊ฒƒ ๊ฐ™์Šต๋‹ˆ๋‹ค ๊ทธ๋Ÿฐ๋ฐ ์ด ์›€์ง์ž„์„ ๋ณด์‹œ๋ฉด ๋Œ„์ด ์ž‘๊ณก์„ ํ• ๋•Œ, ์›€์ง์ž„์ด ์•„์ฃผ ์˜๋ฏธ์‹ฌ์žฅํ•˜๊ณ , ์ •ํ™•ํ•˜๊ณ , ํ›ˆ๋ จ์„ ๋ฐ›์•˜๊ณ  ์•„๋ฆ„๋‹ต๋‹ค๋Š” ๊ฑธ ์•Œ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค
I think it gives an understanding of how we're picking out movement from what Dan's doing, but I think it will also show you, if you look at that movement, that when Dan makes music, his motions are very purposeful, very precise, very disciplined and they're also very beautiful.
๋ง์”€๋“œ๋ ธ๋‹ค์‹œํ”ผ ์Œ์•…์„ ๊ฐ์ƒํ•˜์‹ค ๋•Œ ํฌ์ธํŠธ๋Š” ์ž‘ํ’ˆ์ด ํ›Œ๋ฅญํ•˜๊ณ  ๋Œ„์ด ์–ด๋–ค ์‚ฌ๋žŒ์ธ์ง€ ์•„์‹ค ์ˆ˜ ์žˆ๋‹ค๋Š” ๊ฒ๋‹ˆ๋‹ค
So, in hearing this piece, as I mentioned before, the most important thing is the music's great, and it'll show you who Dan is.
์•„๋‹ด, ์ค€๋น„ ๋๋‚˜์š”?
So, are we ready Adam?
๋„ค
AB: Yeah.
์ง€๊ธˆ๋ถ€ํ„ฐ ๋Œ„์ด "๋‚˜์˜ ๋…์ˆ˜๋ฆฌ ๋…ธ๋ž˜"๋ฅผ ์—ฐ์ฃผํ•ด ๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค
TM: OK, now Dan will play his piece "My Eagle Song" for you.
(๋ฐ•์ˆ˜) ๋ธŒ๋ผ๋ณด
(Applause) TM: Bravo.
(๋ฐ•์ˆ˜) ์ด ์žฅ์†Œ๋Š” ์ œ๊ฐ€ ์–ด๋ ธ์„๋•Œ ์ผ์—ˆ๋˜ ์Œ์•…๋“ค์ด ์ฒ˜์Œ์œผ๋กœ ๊ณต์—ฐ๋œ ์žฅ์†Œ์ž…๋‹ˆ๋‹ค.
(Applause) This is the venue where, as a young man, some of the music that I wrote was first performed.
์ด ๊ณณ์€ ์•„์ฃผ ๊ต‰์žฅํžˆ ์ข‹์€ ์‚ฌ์šด๋”ฉ์ด ๋˜๋Š” ๋ฐฉ ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
It was, remarkably, a pretty good sounding room.
์—ฌ๊ธฐ์ €๊ธฐ์— ์žˆ๋Š” ์šธํ‰๋ถˆํ‰ํ•œ ๋ฒฝ๊ณผ ์—ฌ๊ธฐ์ €๊ธฐ ๋Š˜์–ด์ ธ์žˆ๋Š” ์žก๋™ ์‚ฌ๋‹ˆ๋“ค ๋•์— ๊ฝค ์ข‹์€ ์†Œ๋ฆฌ๊ฐ€ ๋‚˜์˜ฌ์ˆ˜ ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
With all the uneven walls and all the crap everywhere, it actually sounded pretty good.
์ด ๊ณก์ด ์ด ๊ณณ์—์„œ ๋…น์Œ๋œ ๊ณก ์ž…๋‹ˆ๋‹ค.
This is a song that was recorded there.
(์Œ์•…) ์ด๊ฑด Talking Heads ๊ฐ€ ์•„๋‹™๋‹ˆ๋‹ค. (David Byrne ๊ฐ€ ๋ณด์ปฌ/์ž‘๊ณก๊ฐ€๋กœ ํ™œ๋™ํ–ˆ๋˜ 1970๋…„๋Œ€ ๊ทธ๋ฃน) ์ ์–ด๋„ ์ด ์‚ฌ์ง„์—์„œ๋Š”์š”.
(Music) This is not Talking Heads, in the picture anyway.