En el transporte, en casa, en los deportes o la playa la música nos acompaña a todas partes. Es una parte integral de nuestras vidas. La llegada al poder de las nuevas tecnologías en el mundo de la música ha revolucionado la industria y está revolucionando nuestra forma de consumo musical. Esta revoluciónno es nada comparado con lo que nos esperaen el futuro, cuando será posible para nosotros componer nosotros mismos nuestra música favorita sin ser músicos siendo creadores de nuevos estilos y sonidos. Todos los objetos que nos rodean se convierten en potenciales instrumentos musicales en el futuro, la música se adaptará nuestro estado de ánimo y ofrecerá algo más que entretenimiento. ¿Cuáles serán los siguientes estilos musicales? ¿Qué instrumentos nos depara el futuro? ¿Podrán el software de inteligencia artificial y los robots sustituir a artistas? ¿La música seguirá siendo un lenguaje universal? Para averiguarlo, Soñar el futuro equipo viajó a Inglaterra, EE.UU., Francia y Japón para ir al encuentro de los visionarios que inventar, juegan y sueñan en especial con la música del futuro. El episodio revelará particularmente, cómo las nuevas tecnologías transformarán la música en 2050 con nuevos instrumentos robóticos e inteligentes, software de composición intuitiva, artistas virtuales y la composición colaborativa.
Category
😹
FunTranscript
00:00Nothing helps us to express ourselves and to share our feelings so directly, and nothing unites us with so much pleasure.
00:23Music goes straight to the heart. Without any intellectual reasoning, without any brain reflection, music reaches us to the deepest.
00:33Music is our cultural and universal bond, it accompanies us throughout life.
00:41Music has always been a language that transcends generations, and I think it will continue to be so in any of its forms.
00:50From Bach to Björk, musicians have always tried to make their music take on new dimensions and offer increasingly fascinating and captivating experiences.
01:05But how will the music of the future be?
01:11Will it be as predicted in the movies?
01:20Music is more than something that can be projected into the future. Music is the act of imagining music itself.
01:33In the world of music, the future has already begun.
01:39I want everyone to play music that has never been played before.
01:44New ways of making music are being invented all over the world.
01:50Musical technology will allow people to work more on expression, and to be able to express themselves through music without having to focus so much on the technical elements.
02:04There will always be acoustic and electronic instruments, but now there are also virtual instruments.
02:11Music is the relationship between man and technology.
02:16There is also the ecological aspect.
02:19We use the technologies that we have within our reach, and these are the technologies that are within our reach here and now.
02:32We face an ocean of infinite creativity, and it took us more than 30,000 years to get there.
02:40In its origin, we find the voice, the first instrument within our reach.
02:45To be able to explore new sounds, our ancestors began to make other instruments.
02:51For example, a flute of more than 35,000 years has been found.
02:55We started composing music on clay tablets more than 3,400 years ago so that we would not forget.
03:01Rhythm and melody are the two pillars of this art that expresses feelings and emotions around the world.
03:06It transmits and perpetuates founding myths, brings us together and brings us closer to the divine forces.
03:12Throughout the centuries, liturgical and religious music reached artistic levels.
03:17At the same time, people continued to create music all over the world, an essential and unifying element of culture.
03:23In the 11th century, an Italian monk, Guido de Arezzo, put musical notes on a template for the first time.
03:30And when Monteverdi inaugurated the first opera theater in Venice in 1637, music, dance and theater were combined into a single show.
03:40We were still looking for the perfect sound.
03:43At the end of the 17th century, Luthier Antonio Stradivari developed instruments of incomparable quality and supplied all European courts.
03:51Music specialized and rose to the rank of science.
03:54The great composers now worked for crowns and churches.
03:59The orchestras grew larger and larger and added more and more instruments so that the experience was even richer.
04:06In 1877, Thomas Edison invented the phonograph, making it possible to record and reproduce sounds.
04:12A few years later, the record was born and music reached all homes.
04:16Lloyd Lore invented the electric guitar in 1924.
04:20The electroacoustic revolution was underway.
04:22The first electronic instrument, the synthesizer, appeared in 1952.
04:28From the 1970s, music began to be a phenomenon of masses and musicians became gods.
04:34Then everything was miniaturized.
04:36In 1979, Sony invented the wallman.
04:39People could now enjoy music anywhere.
04:42In the mid-1980s, electronic music took off.
04:46And at the beginning of the 21st century, with the rise of the Internet and new technologies, music entered a new era.
04:53Today we can listen to music while we are driving, walking or going somewhere.
04:59And I think it has become a kind of soundtrack of our daily lives.
05:08But when you have your headphones on, on the one hand we enhance our daily experiences
05:15and on the other hand we protect ourselves from the world or from interacting with other people.
05:23We have all the music in the world at our fingertips.
05:27What will we do with it? Will it bring us closer or will it isolate us in bubbles like in Terry Gilliam's film Theorem Zero?
05:47I don't know if technology or society can be blamed
05:50but there has been a great individualization of culture for a long time.
05:55It is not a coincidence that the iPhone has the prefix AI, which means I.
06:01It would be a different society if it had the prefix WE, which means us.
06:06Where music creation was a social activity.
06:10Tablets and smartphones are increasingly important and allow us to imagine new musical interactions
06:16where traditional and modern practices come together and even merge.
06:33Very original and interactive forms are already being put into practice.
06:37In which musicians can be together or separated, as in this New York initiative.
06:44A group of subway musicians who do not know each other are playing the same song together.
06:50Directed by an orchestra director who is in one of the city parks.
06:54All this under the attentive gaze of curious pedestrians.
07:08Let's do musical experiments.
07:11Let's go as far as we can.
07:14So we will see what can be done with this.
07:17This is the music of the 21st century.
07:20Anyone can be a musician, anyone can make music.
07:23Or at least create sounds.
07:37In Paris and in collaboration with several electronic music artists,
07:41the renowned Institute for Acoustic Research and Music
07:45is looking for other ways in which the lines between the public and the artist
07:50are much more blurred to make music a unique and participatory experience.
07:59The idea is to get the public to interact with the music.
08:04The idea is to get the public to interact with sounds at certain times
08:10using their smart phones.
08:13So it's a live, participatory show.
08:19My name is Chloé, I'm a DJ and producer.
08:25And I've been in electronic music for 20 years.
08:29I have pre-established the moments
08:33in which you can play certain sounds.
08:37I choose what sound and when to play it.
08:41The public contributes to the harmonies,
08:44touches of sound that make the work even more pleasant.
08:48Although, obviously, each person will play it in their own way,
08:52as they like best.
08:55This project is mainly designed for concerts.
08:59The spectators, with their smart phones, become actors during the show.
09:04The more people participate, the more interesting the experience will be.
09:08The participants indicate their approximate location in the venue on a map.
09:13Then they appear as small dots on one of Chloé's tablets.
09:18And when Chloé touches the tablets,
09:20she generates sounds in her corresponding phones.
09:27My name is Norbert Snell,
09:30and I'm starting to see a new musical genre
09:33in which the composers will create with the help of the public.
09:51What does it mean to make music
09:54for a society in which we all carry a smartphone in our pocket?
09:58We can keep things as they are,
10:01with everyone plugged into their small music players or whatever.
10:05Or we can say, let's plug into a small speaker
10:09so that our mobile phone is an instrument.
10:13Or we can say, let's plug into a small speaker
10:16so that our mobile phone is an instrument.
10:20We can connect to a web page, 200 or 2,000 of us,
10:24and we can make sounds, sounds that flood any room.
10:31I don't know if you've ever tried it,
10:35but obviously you can make people make specific sounds.
10:42Yes, there, for example, that's it.
10:46This is what I like about the IRCAM project,
10:50to question you, to ask you
10:53how the public can interact with our work.
10:56We know it's something we have to keep working on.
11:00For the last 500 years,
11:03we've done nothing but write and pre-write in great detail
11:06what interactions there would be in a string quartet,
11:09a small ensemble or a great orchestra.
11:12It's fascinating, absolutely.
11:14But now we have to set the rules.
11:17How does it work? What do I do? What do you do?
11:20What do I do in relation to what you do?
11:22Do I listen? Do I respond? We're not experts,
11:25but together we're doing something extraordinary,
11:28here and now, and it sounds good.
11:31So now we're about to start
11:35with our very inspired stage
11:38in an application by Brian Eno called Bloom.
11:42The idea is always the same,
11:45that what this person plays
11:48is being played by another person,
11:51and another before it comes back here.
11:54And now, something else.
12:12That's it.
12:14We create an atmosphere together.
12:17We can respond to each other, if we want to.
12:21We can find each other,
12:24identifying which phone is playing music
12:27and playing what I play.
12:30There are only six phones here,
12:33but imagine if there were 50.
12:36It plays here, and there,
12:40and gradually disappears.
12:48Is the person playing with a smartphone
12:51creating music?
12:54Yes.
12:56Is it comparable to Stravinsky's
12:59or Pagani's?
13:02No, but it's fine.
13:05The music is very broad.
13:08There are many things in it.
13:10And if we completely free ourselves from instruments?
13:13The French emerging company KLAI
13:16wants us to free ourselves from the limitations
13:19of our instruments.
13:22We can do it.
13:25We can do it.
13:28We can do it.
13:31We can do it.
13:34We can do it.
13:37We can do it.
13:40I would like to use the physical atmospheres of the objects
13:43to make the music more eye-borghing and changable.
13:46Music goes beyond any movement,
13:49especially our body.
13:51What is interesting with our solution
13:54is that we interpret the movement,
13:57melee language translated in acoustic waves.
14:00My name is Thomas Amilian, and I'm thirty six years old.
14:04KLAI is an interface capturing the emotions of the musician,
14:07When you listen to recorded music, you give it to play, stop, and that's it.
14:14You can't do much more.
14:16The idea came from the desire to break, in some way, something that was predefined.
14:22A piece of music cannot be changed in real time.
14:25We wanted to give people the opportunity to join their environment
14:29and make music without having to go to the conservatory.
14:33It's very easy to install.
14:35A sensor allows you to make music instantly.
14:40My name is Jean-Baptiste Guignard. I'm 35 years old.
14:44What I like most about Klee is the role of the body in the musical dimension.
14:52The gesture recognition software allows me to modify the predictions.
14:58I can stop time to start again and be in sync with the other musicians.
15:04So it's an instrument, too.
15:06Obviously, I can stop it, but I can also slow it down or speed it up
15:11to interact and be in sync with other musicians.
15:15♪
15:30I can also add material that can be amplified or reduced.
15:37♪
15:52The idea is to make the digital more malleable,
15:56because it's generally a copy of something that can't be modified.
16:00♪
16:09The technological challenge was to be able to modify things
16:12without endangering the quality of the piece.
16:15A voice, for example, will keep the same note.
16:18Each time it questions the action.
16:24We live in an extraordinary time.
16:27We currently have at our disposal all the music that has been recorded around the world.
16:32That's a fact.
16:33We can listen to everything we want, anything we want.
16:36We look for it on the Internet, we find it and we listen to it,
16:39and now with Klee we can reproduce it.
16:42With so much information, we can all contribute,
16:45even if we are not the best musicians.
16:48We can convey different emotions and make our piece
16:52like many other musicians with experience have done before.
16:56♪
17:03In 2050, we can literally play music on a tablet or smartphone.
17:08♪
17:16It will continue to be music.
17:18They're just changing the instruments.
17:20There will always be acoustic and electronic instruments,
17:23but now there are also virtual instruments.
17:26The instrument can change,
17:28but body language and human decisions are still the key.
17:33People who take charge of the project in the future
17:36will be able to contribute more sensitivity,
17:39more subtlety in capturing the gestures and personal intentions.
17:45I imagine something very precise
17:47and that sustains much more than general intentions.
17:52I imagine a machine that acts as a prosthesis, literally,
17:57as an extension of the musician.
18:00♪
18:08When we see people playing with Klee,
18:10we want to launch the device
18:12because we want music to exist and be in the world.
18:16That would be the next step, pure and naked music.
18:22♪
18:31It's easy to create.
18:33You don't have to be Mozart.
18:35All these instruments are fun to use.
18:38They make you go back in time to when we were 1, 2, 3, 4, 5 years old.
18:43Now we have technology and we can say,
18:46we can do whatever we want.
18:48This is high technology, so shut up, I'm having fun.
18:53It's great that people can access stories
18:56without necessarily knowing the obituary.
19:00I think that people who have not had a classical musical education
19:05have a certain freshness,
19:07a certain instinctive approach that can generate surprises.
19:13♪
19:43♪
19:48♪
19:55Like the ancient luthiers,
19:57working in the back of their workshops,
19:59many continue to dream of instruments
20:01that extract new musical essences.
20:04♪
20:13Early on, I realized that I was very interested
20:17in sounds that I had heard before.
20:21Not necessarily the best sounds.
20:23They could be or they could not be good, but they were new.
20:28My name is Ed Potokar.
20:31I'm 57 years old.
20:33I make sound objects in musical sculptures.
20:42Making these objects is a very satisfying process
20:46of collecting the materials,
20:49of getting closer to the concept,
20:52of trying to solve the problems
20:54and finally hearing the first note.
20:56For me, it's a very overwhelming thing.
21:00♪
21:20It's important to want to touch them and interact with them
21:25and want to be with them
21:27because I make them out of nothing
21:30and I have to develop a relationship with them.
21:34♪
21:40I find that my instruments can use technology,
21:45but technology is only a part of them.
21:50Let's say that technology helps me
21:52to get those objects where I need them to be.
21:57♪
22:02When I pass these instruments on to musicians
22:06or virtuosos or music geniuses who can play everything,
22:10whether it's classical or avant-garde music
22:12or experimental or electronic or whatever,
22:14they hold them in very different ways
22:16and they touch them upside down,
22:18they put them face down
22:20and they do things that are just amazing.
22:22And that has been a great surprise.
22:30♪
22:46You can light the streetlight
22:48or give a light to one of my sculptures to play it
22:51or play percussion on a table
22:53or look at a painting and start making music.
22:57♪
23:02It could be architecture,
23:04but it's more about living with these sonic objects.
23:10♪
23:12Tradition and modernity have always coexisted in music,
23:15but how can we combine the release of instruments
23:18and meet our musical needs?
23:22♪
23:26Is it possible to turn everything that surrounds us into instruments?
23:29Like the sonic terrorists in the Swedish film Sound of Noise.
23:33Will we ever be able to make music with anything?
23:36♪
23:421, 2, 3, 4!
23:44♪
24:04♪
24:12Well, it's quite possible.
24:14♪
24:23With Moogies, an incredible and revolutionary sensor,
24:26fiction has become reality.
24:28♪
24:34My dream was to bring electronic music out of the studio
24:40and back into the street, where music belongs.
24:47My name is Bruno Samborlín. I'm 32 years old.
24:52My goal is to turn the world into a musical instrument.
24:57♪
25:09Moogies is a very innovative way of creating music
25:12that is based on connecting objects and technology.
25:15You can convert any object that surrounds us
25:18into a powerful controller or a musical instrument
25:22just by gluing our sensor to the instrument you want to play
25:26and then connecting it to your phone or computer.
25:30♪
25:40The sensor picks up all the vibrations that are produced
25:44when you interact with the object you want to play.
25:47It can be a bicycle, or a container, or a tree, or whatever you want.
25:53♪
26:06The software algorithm will analyze the vibrations
26:11and convert them into music.
26:13♪
26:19The artist can train the software to recognize certain gestures,
26:25say, three or five gestures.
26:28For example, hitting with the thumb, or with the nails,
26:32or scratching, or hitting with a stick, etc.
26:35And each one of these gestures can be associated with a specific sound.
26:40♪
26:52It's the first instrument that can learn from the musician.
26:56It's almost a revolution, because the musician,
26:59instead of having to learn certain rules to interact with the instrument,
27:04can have the instrument behave however he wants.
27:10♪
27:18In a way, Mojis is a meta-instrument.
27:22It's an instrument to quickly create your own musical instrument.
27:27So my Mojis is different from yours,
27:29because we will play different objects in a different way.
27:32♪
27:49Historically, music has not only been sound,
27:53it's also about seeing someone play and creating that music in front of you.
27:58This is the great attraction,
28:00going to a live show and seeing live music.
28:05And we lost that with electronic music for 20 years,
28:09but now we're going back to that.
28:13Now we know a lot about technology,
28:16and now we bring that to its original place,
28:19which is live concerts.
28:23♪
28:25But while we're busy reinventing music,
28:28machines are learning to replace us on stage.
28:34What if robots like Johnny Five were the future of music?
28:40Yeah, you're doing a great job, keep it up.
28:43Let us, let us work, okay?
28:46♪
29:16♪
29:44Right now, machines are pretty simple.
29:46So, generally, what they produce
29:49is something that already exists, although in some other way.
29:53But I think machines are smart enough
29:56that they're developing their own language
30:01and have a certain meaning to us.
30:04If we want robots to imitate humans,
30:08we're going to have to teach them to make mistakes.
30:12In Atlanta, at the Georgia Institute of Technology,
30:16music robots are the core of Gil Weinberg's research.
30:22I want something happy.
30:26Very happy.
30:29In his lab, he and his team are trying to develop robots
30:33that can not only faithfully play songs,
30:36but also show creativity.
30:40I'm Gil Weinberg. I'm 48 years old.
30:44And I look for robots to inspire me to create music.
30:52If I can create music with the algorithm
30:56that means something to people,
30:59I think I can start to say,
31:01I think I can start to claim that what I'm doing is creative.
31:05For me, it was very simple to understand
31:08the musical creation and musical creativity
31:11about programming this algorithm into a body.
31:21With the robot, you can explore the musical creation very well
31:25because it has a small brain,
31:27and it has a small brain,
31:29and it has a small brain,
31:31and it has a small brain,
31:33and it has a small brain,
31:35and the body can produce visual tracks,
31:37acoustic sounds and what we call personification.
31:40That is to say, understand
31:42that you have a body that can create music
31:45like any other musician could.
31:47In our case, we have a robot that has 8 arms and knows that it has 8 arms and wants to play
32:09something very fast on one side, not with the 8 arms at the same time, but it will collaborate
32:15and we have produced music that is not only beautiful, but it is physically feasible.
32:32We have been working on this for 8 years now.
32:37Shimon can even decide what he thinks is interesting, and if he thinks it looks interesting, he will
32:44turn to you, feel it with his head, dance and play with that piece until we tell him
32:50good job, so it is a very fun experience.
33:04Although I have been the one who has programmed it and who has put the figures and who knows
33:09exactly the exact percentage of each element, it still seems incredible to me, beautiful,
33:16and if I can compose things that make you cry, if I get that I will know that I have done
33:21something good, I have not achieved it yet, but there have been moments that have seemed
33:25interesting and we want them to be more frequent.
33:46My goal is not to imitate humans or replace humans.
33:50People have asked me, do you want to replace men?
33:54You are bad.
33:55I don't think that would be possible even if we wanted to, but that is not my goal.
34:01My goal in terms of soul and sensibility, as they are such sophisticated machines in
34:06terms of brain and body, is to get them to give me something new, to make me think about
34:11music differently, to make me play differently, to interact with them as I would never interact
34:23with robots.
34:24And if I get that, I will mark it on my list.
34:28The researchers at the Georgia Institute of Technology are also exploring another way,
34:33that of the augmented musician.
34:35Gil Weinberg's team has developed a bionic prosthesis for Jason Barnes, a young drummer
34:41who had to be amputated his right arm.
34:45This bionic arm is controlled by the impulses of Jason's muscles and with it he can make
34:50the subtle movements that would make an arm without amputations.
34:53And what is more, it is equipped with two toothpicks that can be controlled or function
35:00autonomously.
35:01Twenty hits.
35:02Okay.
35:03One stick is playing twenty hits, twenty hits per second, it's really fast.
35:16It can create rhythms based on quite sophisticated body gestures that are humanly impossible
35:26to create.
35:27And that's also very good news for us.
35:38And now we are even traveling with Jason to accompany him at his concerts.
35:42We have just returned from Australia, where the newspapers have said that he is the fastest
35:46drummer in the world.
35:47He was a limited drummer before, and now he can do things that no other drummer can do.
36:12But I'm very interested in the future of augmented humanity and superhuman capabilities.
36:27When technology and humans evolve together, we will become one thing.
36:34Technology will help us with our physical limitations and will be part of our bodies,
36:40and it will help us express our creativity.
36:43I think even great musicians will have devices embedded in their skin, even implants in the
36:50future, I don't know.
36:52And they will increase their creativity.
36:57To go even further, the team is testing for the first time a revolutionary prototype
37:02of an intelligent arm that will be mentally controlled with electrocardiogram headphones
37:07that read brain waves.
37:09The musicians are entering a new era, that of the interconnection between the brain and
37:13the machine.
37:14What happened to you, Chris?
37:19You look changed.
37:20I'm the man of the six dollars.
37:22No, I'm fine.
37:39I think in the future of music, there will be people and machines creating things together,
37:54which cannot be created only with machines or only with people.
37:57Machines can be separated, but for me it is more interesting to have them in the body
38:02to be able to interact with machines and create.
38:06The idea of the increased musician is to do more and faster, to continue with the
38:13way in which music is currently consumed.
38:15If you ask young people to listen to a 7-minute song, they will tell you, 7 minutes?
38:20Not to speak?
38:21Isn't there a 45-second version?
38:24When I realized how fast things are going now, I was shocked.
38:28After 45 seconds, people want to listen to another song, or even another musical genre.
38:34People want to speed up the process of musical discovery, because they always want more and
38:38faster.
38:39And perhaps that is what the increased musician offers, to make more music faster, and songs
38:44of 45 seconds.
38:51The increased musicians are on their way, but how far are we willing to go?
38:56Will we be replaced by virtual artists?
39:02Is it fiction?
39:03Think about it.
39:04This is Hatsune Miku, a Turkish blue-haired teenager whose name literally means
39:11first sound of the future.
39:13In Japan, her country of origin, Miku is a star.
39:23She is a vocaloid artist, a contraction of the words vocal and android, and sings like
39:28no human can sing.
39:42This software generates lyrics and melodies using a synthesized voice that allows any
39:46possible combination and variation.
39:48Musicians amateurs and professionals can now have their own singer.
39:53I'm Big Head, I'm 34 years old, I'm a composer from Sapporo, on the island of Hokkaido.
40:12First I compose the instrumental accompaniment.
40:17Then I integrate the melody into the piano, which I turn into Hatsune Miku's voice.
40:38In the universe, la la la la, In the universe, in the universe again, so see the flight, ah, ah.
41:01This could have been the end of the story, but the company Krypton Future Media had a
41:11stroke of genius and decided to develop a customized character that personified that
41:17synthetic voice.
41:20Hatsune Miku was born, and it has been a total success.
41:31I'm Hiroyuki Ito, and here in Sapporo we are producing the music of the future.
41:39Software can be very cold and impersonal.
41:46It is difficult to know what kind of music can reproduce.
41:50Since we have put a human face to a virtual singer, it is easier for people to know what
41:57kind of music they want to sing.
42:09Most Japanese artists are very shy.
42:14Although they compose songs, many do not dare to ask female artists to collaborate with them.
42:23Or maybe they just don't have enough contacts.
42:28These are the ones who are most interested in Hatsune Miku.
42:34Through her, they can make their music known more easily, uploading it to Nikoniko or YouTube.
42:44Thousands of Internet users have made Hatsune Miku their voice and have composed more than
42:49100,000 songs for her.
42:51The virtual teenager has become an icon.
42:55To exist virtually, this pop star needed videos at the height of her songs, so a group
43:01of graphic designers has given her thousands of different faces.
43:11Hatsune Miku is 16 years old.
43:14Her weight and height are predefined, and she has long hair and turquoise blue.
43:22As for her physical appearance, that's all.
43:26It is assumed that she can sing any type of song, sad, cheerful, rock, pop or jazz.
43:35Other characteristics would have been superfluous.
43:41We believe that they could have interfered with creative freedom, and we wanted to avoid it.
43:50Miku must continue to be a white canvas.
43:54The minimalist graphic card gives users total creative freedom.
43:59They can share their compositions or representations for free on the Internet, exploring countless
44:04facets of their personality.
44:11There are thousands of ways to describe Hatsune Miku.
44:16It is difficult, but I see her as an entity that connects people, and that connects me
44:25with the rest of the world.
44:31Hatsune Miku is the voice of the whole world and the symbol of the collaborative culture
44:35of the Internet.
44:37Her success goes beyond Japan.
44:39She does nothing but give concerts.
44:41She has even been the headliner of Lady Gaga.
44:44This right-wing star fills stadiums, even in the United States, where thousands of fans
44:49will see her perform.
45:14I went to the concerts in Los Angeles and New York, and like all those people, I also
45:21wore a luminous wand.
45:25For a moment, I let myself go, and I felt that she was there with us, that it was real.
45:35For me, the greatest success has not been to give voice to Miku, but to unleash the
45:43creative potential of the people.
45:54If this avatar is the virtual representation of the creativity of the people,
46:04then it is an artist.
46:11Miku is what the Japanese call Hakanai, a word that encapsulates her ephemeral and intangible
46:17nature, although also so present.
46:19The fugue Miku could be the precursor of the artists of the future, who knows?
46:25When we talk about pop stars, we don't really know the pop stars.
46:30They have an image that is usually very careful and presented by commercial agencies, and
46:36Hatsune Miku just makes that even more obvious.
46:39In many ways, it is a precursor because it has a more sincere approach to what pop music
46:44is, because it has a robotic element as an image, and it may even be better for human
46:52beings, so that no one has to do that.
46:57Hatsune Miku will never have to do what pop stars do.
47:01She doesn't feel pain, she doesn't get tired, she doesn't get exhausted.
47:05She doesn't feel fear when people look at her.
47:09She doesn't feel the sexual interest that fans might have in her.
47:16I think it's better to make pop music that way than to have a person at the center of
47:22the whole thing.
47:24The next question would be, is it nice to have pop music that way too?
47:33Icon of music now, Miku is on her way to Venus.
47:37Her name and image are engraved on a plate aboard the spaceship Akatsuki.
47:42To try to contact other civilizations in the universe, there is nothing more universal
47:47than five simple musical notes.
47:55Faster!
47:58What's happening?
48:01Come on, let's go!
48:10It comes from that romantic idea that music is a language of pure emotion that anyone
48:16can understand.
48:18And there's something real about it.
48:21If I went into a room in some place in the world and I went and clapped, people would
48:27be able to join me and clap with me.
48:30Now that is as close as you can get to a universal language of music.
48:41Even if I just go, ah, I create a rhythm, you can't hear it because it's extremely
48:48fast, but there's a rhythm to that sound.
48:51The rhythm is everywhere.
48:53It's what brings us together.
48:55It gives rhythm to our union.
48:57A beat is rhythm, and that's music.
49:01With nature in constant change, the music of the future will probably lead us to multimedia
49:07and multisensory experiences.
49:11Combining music with every sense, including taste and touch, and also going to develop
49:17movement.
49:18And that's going to be a reality very soon.
49:21And the music is going to be powerful, exciting, and participatory, and surprising, and it
49:27speaks.
49:29One thing is for sure, if we take full advantage of technological advances, music will always
49:34bring us closer, surpass and offer us the best reflection of the world we live in.
49:40Music is about us now.
49:42Music is about who we are.
49:44Music has defined us in the past.
49:46Music defines what we do.
49:48Music should not have to study itself as a sound system because it represents much more
49:53than that.
50:09Music