Summary
Transcript
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| 0:00.0 | Listener supported, WNYC Studios. |
| 0:11.2 | You're listening to Radio Lab. |
| 0:16.1 | On New York Public Radio. |
| 0:17.5 | Public Radio, WNYC. |
| 0:20.5 | WNYC. You know this music. |
| 0:36.9 | Trust me. Trust me. You've heard it your entire life. |
| 0:44.4 | The reason you can't recognize it now |
| 0:46.5 | is because the composer, born in 1770, |
| 0:49.6 | intended for this moment, the one you're hearing, |
| 0:52.1 | to last two seconds. |
| 0:53.3 | Music for this moment, the one you're hearing, to last two seconds. |
| 0:59.0 | Like that. |
| 1:00.0 | However, had he been a whale, |
| 1:02.0 | Beethoven might have written his ninth symphony this way. |
| 1:19.6 | Changes that for us would take an instant, would transpire over minutes, and a movement might last six hours. That's in fact what this is. |
| 1:22.6 | Beethoven's Ninth Symphony digitally stretched from its normal 60-some-odd minutes to last an entire day, 24 hours. |
| 1:32.7 | And if you sit for the entire 24-hour duration of the piece, as people do from time to time, you realize that this music is not simply slower. |
| 1:43.3 | The slowness unlocks something in the original. |
| 1:47.0 | Maybe it was there all long and we couldn't hear it. |
| 1:51.0 | We'd play with the meter. The music is mostly about meter, after all, |
| 1:55.0 | and the music has a different story to tell, a secret, perhaps. |
| 2:00.0 | Locked up inside the routine, changed the routine, |
... |
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