0:00:02 > 0:00:06MUSIC: "O Superman" by Laurie Anderson
0:00:07 > 0:00:09# O Superman... #
0:00:11 > 0:00:13ROBOTIC VOICE: Why do I do it?
0:00:13 > 0:00:16You can start creating...
0:00:18 > 0:00:20..another world of sound.
0:00:22 > 0:00:24I'm a DJ.
0:00:24 > 0:00:26I'm a DJ. Always have been.
0:00:28 > 0:00:31I don't see music in words,
0:00:31 > 0:00:34I see music in colours and shapes and feelings.
0:00:34 > 0:00:38Music has the capacity to send you into worlds completely unknown,
0:00:38 > 0:00:40and how do you explain the unknown?
0:00:42 > 0:00:44Wagner's Rheingold is like perfection.
0:00:44 > 0:00:49It's this aquatic vision of the beginning of the world,
0:00:49 > 0:00:51which is enormously exciting.
0:00:51 > 0:00:55It's like there was a void and then there was stuff.
0:00:59 > 0:01:03In Hebrew, there's this word "ruah", which means...breath...
0:01:03 > 0:01:07- Breath, exactly. Yes, that's right. - The breath of God.- Yes.
0:01:07 > 0:01:11Which broods over the waters of chaos at the beginning of creation.
0:01:11 > 0:01:14So, there's a great tradition...
0:01:14 > 0:01:18that singing is somehow more than speaking.
0:01:18 > 0:01:21It was the Christian monk Augustine who said
0:01:21 > 0:01:24that the person who sings prays twice.
0:01:27 > 0:01:31That there is something about music that redoubles the intensity
0:01:31 > 0:01:34of our own spiritual experience.
0:01:34 > 0:01:37HE SINGS OPERATIC HYMN
0:01:41 > 0:01:43HORN AND DRUMS PLAY
0:01:43 > 0:01:46Why do we turn to music when words are not enough?
0:01:48 > 0:01:52At funerals and weddings, at times of heartbreak and euphoria.
0:01:52 > 0:01:56# Change and decay
0:01:56 > 0:02:02# In all around I see... #
0:02:02 > 0:02:05Gospel music just hits me instantly.
0:02:05 > 0:02:08It's like a wall that just opens something up inside of me.
0:02:08 > 0:02:14# Abide with me. #
0:02:14 > 0:02:16CHEERING AND APPLAUSE
0:02:16 > 0:02:19Why is it that music seems to hold more emotion
0:02:19 > 0:02:21and go deeper than words?
0:02:23 > 0:02:27Music played an important role before language was developed.
0:02:27 > 0:02:30This is the mystery that has eluded scholars and researchers
0:02:30 > 0:02:32for hundreds, and even thousands, of years.
0:02:32 > 0:02:37MUSIC: I Vow To Thee, My Country
0:02:54 > 0:03:00# Nun der Tag mich mued gemacht... #
0:03:00 > 0:03:04Three years ago, Imagine made a film with the neurologist Oliver Sacks,
0:03:04 > 0:03:08about his work on music and extraordinary medical conditions.
0:03:08 > 0:03:12# Soll mein sehnliches Verlangen... #
0:03:12 > 0:03:13For that film,
0:03:13 > 0:03:17I had a brain scan to measure my own emotional response to music.
0:03:17 > 0:03:22# Freundlich die gestirnte Nacht...#
0:03:22 > 0:03:23I chose several pieces,
0:03:23 > 0:03:26including one that had haunted me for 25 years.
0:03:26 > 0:03:31# Wie ein muedes Kind empfangen. #
0:03:31 > 0:03:35One of Strauss's Four Last Songs, about approaching death,
0:03:35 > 0:03:39Beim Schlafengehen - going to sleep - sung by Jessye Norman.
0:03:39 > 0:03:46# Haende, lasst von allem Tun
0:03:46 > 0:03:53# Stirn, vergiss du alles Denken... #
0:03:53 > 0:03:56This looks like the machine is broken.
0:03:56 > 0:03:58LAUGHTER
0:03:58 > 0:04:02You had this immense emotional and whole-brain reaction
0:04:02 > 0:04:06to the Jessye Norman, which is just phenomenal.
0:04:06 > 0:04:08Your brain is just bathed in blood.
0:04:10 > 0:04:13- Your whole brain is just like... - Yeah.
0:04:13 > 0:04:15It's a deep emotion of blood flow.
0:04:17 > 0:04:24# Und die Seele
0:04:24 > 0:04:29# Unbewacht. #
0:04:29 > 0:04:31That set me thinking.
0:04:31 > 0:04:34Science has proved that music does have the power
0:04:34 > 0:04:36to induce a range of emotions,
0:04:36 > 0:04:38but that doesn't tell us how and why.
0:04:41 > 0:04:43So, we decided to make this programme.
0:04:50 > 0:04:52It's a wonderful thought
0:04:52 > 0:04:56of proceeding to the afterlife, is it not?
0:04:56 > 0:04:59And then to have it set as he did...
0:04:59 > 0:05:02And you certainly didn't have to know those words, what they meant,
0:05:02 > 0:05:05to be moved and sort of feel you understood what it was.
0:05:05 > 0:05:08What it was, yes. Just because of the way...
0:05:08 > 0:05:11I mean, when he starts with those low strings
0:05:11 > 0:05:13at the beginning of the song
0:05:13 > 0:05:19and then the...the flying that happens with the wonderful violins.
0:05:23 > 0:05:28# Nun der Tag mich mued gemacht... #
0:05:28 > 0:05:33And then this singer sort of comes in and imitates that. It is...
0:05:33 > 0:05:35It is quite extraordinary as a song.
0:05:37 > 0:05:44# Soll mein sehnliches Verlangen
0:05:44 > 0:05:50# Freundlich die gestirnte Nacht... #
0:05:50 > 0:05:51You were four years old
0:05:51 > 0:05:55- when you started to sing and listen to music, weren't you?- Yes.
0:05:55 > 0:05:59Hearing my mother and my grandmother and her sisters singing,
0:05:59 > 0:06:00all without accompaniment...
0:06:02 > 0:06:05Doing the daily things of life in the kitchen,
0:06:05 > 0:06:09making food and singing, accompanying oneself in life.
0:06:15 > 0:06:17I would find the channel on the radio
0:06:17 > 0:06:20where the classical music was coming through
0:06:20 > 0:06:23and I would simply sit and listen and I...
0:06:24 > 0:06:25I thought it made me feel good.
0:06:28 > 0:06:31- # Somebody's calling my name... # - # Oh, Lord... #
0:06:31 > 0:06:34And then you sang, I suppose, in church as well?
0:06:34 > 0:06:37Oh, yes. What a wonderful training it was
0:06:37 > 0:06:40to have to stand up in front of the church and sing.
0:06:40 > 0:06:42# Somebody's calling my name
0:06:42 > 0:06:45# Oh, my Lord. Oh, my Lord
0:06:45 > 0:06:47# What shall I do? #
0:06:47 > 0:06:50In the South at that time, you sensed there was a need to sing.
0:06:52 > 0:06:57My ancestors sang their way through slavery,
0:06:57 > 0:07:00they did not sing their way out of slavery.
0:07:01 > 0:07:03But in order to endure...
0:07:06 > 0:07:10..unimaginable, unimaginable daily events,
0:07:11 > 0:07:15to be able to create this incredible body of music
0:07:15 > 0:07:17that we call the spiritual
0:07:17 > 0:07:20and there are thousands of them.
0:07:23 > 0:07:28And I feel incredible strength from knowing
0:07:28 > 0:07:34that I come from a people that were strong enough to endure.
0:07:39 > 0:07:41Jessye Norman has come to be associated
0:07:41 > 0:07:43with a masterpiece of American song writing,
0:07:43 > 0:07:47inspired by the spirituals of the slaves.
0:07:47 > 0:07:54# Summertime... #
0:07:54 > 0:07:58CHEERING AND APPLAUSE
0:07:58 > 0:08:06# And the livin' is easy
0:08:11 > 0:08:19# Fish are jumpin'
0:08:21 > 0:08:28# And the cotton is high. #
0:08:28 > 0:08:33Summertime is a lament, a cry of both hope and despair.
0:08:33 > 0:08:35It's a caress and a lullaby.
0:08:35 > 0:08:41# Your daddy's rich... #
0:08:41 > 0:08:45My very first job, I was working as a teaching assistant
0:08:45 > 0:08:48and my job was to bring the children in
0:08:48 > 0:08:51and to have them rest and have a nap.
0:08:51 > 0:08:54And I didn't quite know how to do this. I mean, I wasn't trained.
0:08:54 > 0:08:57And I decided I would simply play classical music.
0:08:59 > 0:09:04They would lie down on their little pallets and I played Mozart for them.
0:09:07 > 0:09:12It would take five minutes for them to settle down.
0:09:12 > 0:09:14The teacher was astounded.
0:09:14 > 0:09:17She said, "I've never seen anything like this in my life."
0:09:19 > 0:09:23So, why do you think music has such a powerful effect on children?
0:09:23 > 0:09:27The thing that works, when singing a child to sleep...
0:09:28 > 0:09:33..is the fact that that sound is coming from this area of the body,
0:09:33 > 0:09:37and so those vibrations, those overtones,
0:09:37 > 0:09:40are coming on to that child, aside from the words
0:09:40 > 0:09:42and the song that's being sung. It's the whole...
0:09:42 > 0:09:44It's the whole package.
0:09:50 > 0:09:52And that's why from very early on,
0:09:52 > 0:09:56whether the mother is singing you a lullaby or simply rocking you,
0:09:56 > 0:09:57the beat and the rhythm...
0:09:57 > 0:09:59Yes, of the heart
0:09:59 > 0:10:03and corresponding to the rather faster heartbeat
0:10:03 > 0:10:05of a very, very young child...
0:10:05 > 0:10:10But, comforting, in that you are experiencing the same thing.
0:10:11 > 0:10:14- Someone clap, just in case... - I'll clap.- To re-sync.
0:10:14 > 0:10:16Ready?
0:10:16 > 0:10:17BUZZING
0:10:17 > 0:10:19And the bee is OK?
0:10:19 > 0:10:22I mean, I'm... Oh, I can hear him.
0:10:22 > 0:10:24Now I can hear him.
0:10:24 > 0:10:26- A bee.- It's... It's actually...
0:10:26 > 0:10:28HE PLAYS AN "A"
0:10:28 > 0:10:31- ..buzzing an A. - No, I can hear that bee.
0:10:31 > 0:10:34Just thinking, we said the sound of nature...
0:10:34 > 0:10:36Where does...
0:10:36 > 0:10:38Where does music come from?
0:10:40 > 0:10:43Well, Messiaen, my teacher, used to think that it came from
0:10:43 > 0:10:46human beings imitating the sound of nature they heard,
0:10:46 > 0:10:50imitating birdsong, imitating the sound of twigs
0:10:50 > 0:10:51that you found in nature,
0:10:51 > 0:10:55the sound of the wind, probably language grew from there as well.
0:10:55 > 0:10:59So, deep, deep, deep, buried in our conception of music
0:10:59 > 0:11:03are natural sounds, are the sounds from which language and music came.
0:11:03 > 0:11:08Is that why music has this sort of emotional power,
0:11:08 > 0:11:12because we recognise it and because it is part of our make-up,
0:11:12 > 0:11:14our physical make-up?
0:11:14 > 0:11:16I can't begin to explain that.
0:11:16 > 0:11:20In the end, our extraordinarily emotional response to music
0:11:20 > 0:11:22has something mysterious about it.
0:11:22 > 0:11:26But, it's true, it has something absolutely universal
0:11:26 > 0:11:27and deeply, deeply powerful.
0:11:29 > 0:11:32We're in the worst in music the moment we're born,
0:11:32 > 0:11:35and we're probably immersed in some form of music before we're born.
0:11:35 > 0:11:38The sound of the mother's heartbeat...
0:11:39 > 0:11:41A sense of pulse,
0:11:41 > 0:11:43a sense of sound heard through the mother's stomach as well.
0:11:43 > 0:11:46There's all sorts of aspects of music
0:11:46 > 0:11:51that are absolutely fundamental to our existence from the moment zero.
0:11:51 > 0:11:56MUSIC: "Scarborough Fair"
0:11:59 > 0:12:03Even Aristotle tried to understand the power of music.
0:12:04 > 0:12:08You have the scene of the Sirens in The Odyssey,
0:12:08 > 0:12:12where there is the reaction of wonder and being so captivated by the music.
0:12:16 > 0:12:20You see, really, the kids sort of moving with the music
0:12:20 > 0:12:21and finding pleasure in it.
0:12:21 > 0:12:23# Quickly on a pony, pony, pony
0:12:23 > 0:12:26# Quickly on a pony. Clip, clip, clop #
0:12:26 > 0:12:29# Noo-noo-ma wye eh, noo-noo-ma... #
0:12:29 > 0:12:32But then there is also another reaction,
0:12:32 > 0:12:36where the children look almost transfixed, in a trancelike state
0:12:36 > 0:12:41when they saw the trombone, when they hear the sounds for the first time.
0:12:41 > 0:12:44I think it's a facial expression that you see rarely
0:12:44 > 0:12:47outside the context of music.
0:12:47 > 0:12:50Oh, that was lovely!
0:12:50 > 0:12:53The child can hear the mother's heartbeat.
0:12:53 > 0:12:56That's, in itself, the rhythm of life.
0:12:56 > 0:12:58Do you think that also may have something to do with
0:12:58 > 0:13:01- the importance of rhythm? - That is possible.
0:13:01 > 0:13:09The baby gets exposed to this regular beat also through walking,
0:13:09 > 0:13:11being walked around, not only through the heartbeat.
0:13:11 > 0:13:14So, I think there are multiple sources that, probably,
0:13:14 > 0:13:16are highly rhythmic
0:13:16 > 0:13:20and that prime the infant to...attend to rhythms.
0:13:22 > 0:13:23Oh!
0:13:23 > 0:13:25Hello, Luke. Are you coming on the seesaw with me?
0:13:25 > 0:13:29Mothers use this special language, sometimes referred to as Motherese,
0:13:29 > 0:13:34which is some sort of speech that is between normal speech and music.
0:13:34 > 0:13:36Hello.
0:13:36 > 0:13:38Oooh!
0:13:38 > 0:13:40And some thunder!
0:13:40 > 0:13:43So, intuitively, they use music in some ways.
0:13:43 > 0:13:45I can hear the rain.
0:13:45 > 0:13:48TROMBONE PLAYS
0:13:48 > 0:13:51Studying babies is rather like following in fast forward
0:13:51 > 0:13:53the development of ape to man.
0:13:54 > 0:13:58The baby is highly responsive to music, practically from day one.
0:13:58 > 0:14:03But it takes them at least a year or more
0:14:03 > 0:14:07to perceive and understand language and speak language.
0:14:07 > 0:14:11The mother has headphones, so that she cannot hear the music.
0:14:11 > 0:14:15The point here was to see what the baby could do without any prompting.
0:14:15 > 0:14:21MUSIC: "Eine Kleine Nachtmusik" by Mozart
0:14:21 > 0:14:24The child is almost looking to see if it's in tune with the parent.
0:14:24 > 0:14:27The child turned around to mother to get acknowledgement.
0:14:27 > 0:14:31MUSIC: "Eine Kleine Nachtmusik" by Mozart
0:14:38 > 0:14:42If you present the baby with complicated orchestral music,
0:14:42 > 0:14:45the infant has to find the beat
0:14:45 > 0:14:49through this orchestral texture,
0:14:49 > 0:14:50so it's a bit difficult.
0:14:50 > 0:14:54BASIC DRUM BEAT REPEATS
0:14:56 > 0:14:59The pattern of movements that the babies produce
0:14:59 > 0:15:02in response to dry beats and music is very similar.
0:15:02 > 0:15:05BASIC DRUM BEAT REPEATS
0:15:05 > 0:15:08- You see the smile.- I do, absolutely!
0:15:12 > 0:15:16The more the baby was synchronised with musical time...
0:15:18 > 0:15:20..the more frequently they smiled.
0:15:21 > 0:15:24It is some sort of a mastery smile.
0:15:24 > 0:15:27MUSIC: "Carnival Of the Animals" by Saint-Saens
0:15:27 > 0:15:29And there's nothing going on,
0:15:29 > 0:15:32it's not that the child sees a movie or is entertained by some clown...
0:15:32 > 0:15:33- Yes.- Amazing.
0:15:33 > 0:15:35MUSIC: Carnival Of The Animals by Saint-Saens
0:15:37 > 0:15:41- That last crescendo...- Yes, yes. - The legs just go back like that.
0:15:43 > 0:15:46- I love the way that he's using his feet.- This is very interesting.
0:15:46 > 0:15:51- Did you see this change from a leg movement to a torso movement?- Yes.
0:15:51 > 0:15:54This is a nine-month-old baby.
0:15:54 > 0:15:57- She starts to...- Yes.
0:15:57 > 0:16:00- ..to push her belly out. - Yes, she is.- It's quite massive.
0:16:02 > 0:16:06These kids intuitively understand dry beats and then,
0:16:06 > 0:16:08of course, later on, in adolescence, now,
0:16:08 > 0:16:12these beats are also an important part of this new kind of music.
0:16:12 > 0:16:15Yes, I mean, if you think of rap and hip-hop...
0:16:15 > 0:16:17People that like this kind of music
0:16:17 > 0:16:20would be probably very pleased to see this.
0:16:20 > 0:16:23DANCE BEAT PLAYS
0:16:27 > 0:16:31Mala is perhaps the best-known producer of dubstep,
0:16:31 > 0:16:33electronic dance music
0:16:33 > 0:16:37distinctive for its constant use of very deep sub-bass.
0:16:37 > 0:16:41It has a powerful beat and can create a trance-like state,
0:16:41 > 0:16:43almost like meditation.
0:16:48 > 0:16:51Mala is a father himself.
0:16:51 > 0:16:53My son, we were trying to stretch his feeds out,
0:16:53 > 0:16:56and I remember he was crying, crying, crying,
0:16:56 > 0:16:59and I remember just taking him to my studio room
0:16:59 > 0:17:02and playing him some Augustus Pablo and he was just zip,
0:17:02 > 0:17:03you know what I mean?
0:17:05 > 0:17:08You could tell, just the vibration was present.
0:17:08 > 0:17:11You know, I mean, he was in a zone with it, without a doubt.
0:17:16 > 0:17:19I just like a lot of weight in music.
0:17:19 > 0:17:22I like it to cross the barrier where it isn't necessarily
0:17:22 > 0:17:24something that you hear any more,
0:17:24 > 0:17:27but it's actually something that is physically present.
0:17:27 > 0:17:30You know, if you were to stand by one of those stacks,
0:17:30 > 0:17:31you know what I mean?
0:17:31 > 0:17:34When certain tunes are played, you feel it physically.
0:17:35 > 0:17:38You've had the system on for a couple of hours by now,
0:17:38 > 0:17:41just to let it...ease up, so...
0:17:41 > 0:17:43These low frequencies coming out here,
0:17:43 > 0:17:45that's the stuff that you'll feel in the chest.
0:17:45 > 0:17:48This is the therapeutic bit, so getting the balance right
0:17:48 > 0:17:50between your tops and your mids and your bass...
0:17:50 > 0:17:54Get it sounding sweet, man. It shouldn't damage anybody's ears.
0:17:56 > 0:17:58One thing that I always enjoyed
0:17:58 > 0:18:00about going out to music when I was a youngster
0:18:00 > 0:18:03would be that feeling of where you forgot all of the things
0:18:03 > 0:18:06that were going on in your everyday life.
0:18:08 > 0:18:10Really just exist in the now,
0:18:10 > 0:18:13and I think music is one of those things
0:18:13 > 0:18:16that really can create that space for people.
0:18:20 > 0:18:24I love the fact that music is something that can teleport you...
0:18:27 > 0:18:28..to the unknown.
0:18:30 > 0:18:33Traditionally, of course, that place has been the Church.
0:18:33 > 0:18:37THEY CHANT
0:18:37 > 0:18:40Anthropologists would be better able to say this, probably, than me,
0:18:40 > 0:18:42but as far as I understand it,
0:18:42 > 0:18:46music certainly has religious origins,
0:18:46 > 0:18:49so it's certainly a way of heightening speech
0:18:49 > 0:18:51in order to talk to the Gods.
0:18:51 > 0:18:56CYMBALS CRASH AND HORN PLAYS
0:18:56 > 0:18:58You don't just talk in an ordinary way to the Gods,
0:18:58 > 0:18:59you must talk in a special way.
0:19:01 > 0:19:04Gradually, that would become a chant or an incantation,
0:19:04 > 0:19:05and then a prayer.
0:19:08 > 0:19:12This church regularly opens its doors to the music of other faiths,
0:19:12 > 0:19:14like these Tibetan monks,
0:19:14 > 0:19:17with their long horns alerting the Gods to their prayers.
0:19:19 > 0:19:24Rather than us all saying, "We pray that it will rain tomorrow,"
0:19:24 > 0:19:28we now sing about the love that we lost yesterday.
0:19:28 > 0:19:30So, there's been a movement
0:19:30 > 0:19:33in how music is attached to our emotions
0:19:33 > 0:19:36and which emotions are expressed by that music.
0:19:36 > 0:19:38WHISTLE BLOWS
0:19:38 > 0:19:40TRUMPET PLAYS JOLLY TUNE
0:19:46 > 0:19:50Singing at funerals or at weddings, it's a communal experience.
0:19:50 > 0:19:53That sense of everyone speaking in one voice.
0:19:54 > 0:19:56It's very potent, isn't it?
0:19:56 > 0:19:58I think that at funerals, particularly,
0:19:58 > 0:20:01and certainly, in my experience as a priest,
0:20:01 > 0:20:03people, as soon as the music starts to play,
0:20:03 > 0:20:05as soon as the hymn starts to play,
0:20:05 > 0:20:07that gives them permission to cry.
0:20:09 > 0:20:11The music does reach them on a different level
0:20:11 > 0:20:15and they feel they don't have to hold it all together any more.
0:20:19 > 0:20:22There's something rather remarkable, it seems to me,
0:20:22 > 0:20:24about communal singing.
0:20:24 > 0:20:27You're expressing something absolutely individual to yourself,
0:20:27 > 0:20:30at the same time as doing it with 300 or 400 other people.
0:20:32 > 0:20:34It's rarer now in society than it used to be.
0:20:36 > 0:20:38I guess people probably, occasionally,
0:20:38 > 0:20:40do gather around a pub piano perhaps,
0:20:40 > 0:20:42and on a football terrace, of course, you hear it.
0:20:44 > 0:20:47# Walk on
0:20:47 > 0:20:53# With hope in your heart... #
0:20:53 > 0:20:55There's something really rather beautiful
0:20:55 > 0:20:58about hearing Liverpool fans singing You'll Never Walk Alone.
0:20:58 > 0:21:02That's a very similar experience to singing your favourite hymn
0:21:02 > 0:21:04at your best friend's wedding,
0:21:04 > 0:21:06where the whole thing is very heightened.
0:21:06 > 0:21:14# You'll never walk alone. #
0:21:14 > 0:21:17CHEERING AND APPLAUSE
0:21:19 > 0:21:23I do think in singing there's something...there's something more.
0:21:23 > 0:21:26There's always something more.
0:21:26 > 0:21:27It's always taking you on.
0:21:27 > 0:21:30SOUND OF HEART BEATING
0:21:30 > 0:21:33# Swift to its close
0:21:33 > 0:21:38# Ebbs out life's little day
0:21:40 > 0:21:44# Earth's joys grow dim
0:21:44 > 0:21:51# Its glories pass away... #
0:21:51 > 0:21:54They played me the mock-up of the whole opening ceremony
0:21:54 > 0:21:57and my favourite part, even before they'd asked me to do it,
0:21:57 > 0:22:00was Abide With Me, because I thought it was such a beautiful moment
0:22:00 > 0:22:02where everything stopped.
0:22:02 > 0:22:06# Oh, Thou who changest not
0:22:06 > 0:22:11# Abide with me. #
0:22:11 > 0:22:17It's a hymn, and it... It just seemed so quiet and beautiful.
0:22:17 > 0:22:19They're lyrics that apply to everybody
0:22:19 > 0:22:22and everybody at their quietest moment can feel a connection.
0:22:25 > 0:22:28You know, my favourite part is when it lifts, when it...
0:22:28 > 0:22:30Abide with me... Fast falls the na-na-na...
0:22:30 > 0:22:32The darkness deepens... Then this part.
0:22:32 > 0:22:34SHE HUMS THE LIFT
0:22:34 > 0:22:37There's something just about the lift and then how it closes,
0:22:37 > 0:22:41completely closes at the end and the phrase finishes and, you know,
0:22:41 > 0:22:44you're not left guessing anything, the sentiment is over
0:22:44 > 0:22:47and that one simple thing has been said.
0:22:47 > 0:22:52# Shine through the gloom
0:22:52 > 0:22:59# And point me to the skies
0:22:59 > 0:23:03# Heaven's morning breaks
0:23:03 > 0:23:08# And Earth's vain shadows flee
0:23:10 > 0:23:16# In life, in death, O Lord
0:23:16 > 0:23:23# Abide with me. #
0:23:23 > 0:23:26CHEERING AND APPLAUSE
0:23:28 > 0:23:33- Your father was from Zambia, but you were born in Scotland.- Yes.
0:23:33 > 0:23:38So, this sense of music which comes from all kinds of places,
0:23:38 > 0:23:40Scottish folk, African music,
0:23:40 > 0:23:43I gather your father used to put that music on in the car
0:23:43 > 0:23:46- going through the Scottish lochs? - Yes.
0:23:49 > 0:23:52I could take inspiration from wherever I wanted.
0:23:52 > 0:23:54It was the simplicity of the Zambian music.
0:23:54 > 0:23:58If it was a happy song, there was maybe four words,
0:23:58 > 0:24:01they were repeated, but you knew that this was uplifting.
0:24:01 > 0:24:04CHEERFUL ZAMBIAN SONG PLAYS
0:24:08 > 0:24:11Even though I had no idea what they were saying, I felt happy.
0:24:19 > 0:24:22So, you belong to both places, is that how you felt?
0:24:22 > 0:24:24I think it was the opposite.
0:24:24 > 0:24:27I didn't really feel as if I belonged in Scotland,
0:24:27 > 0:24:30I didn't belong in Zambia, I couldn't speak that language,
0:24:30 > 0:24:31I had never been there,
0:24:31 > 0:24:34but I was so different to everybody around me,
0:24:34 > 0:24:35so I think it was more of...
0:24:35 > 0:24:37I could create my own world from these influences,
0:24:37 > 0:24:40I could take a little bit of Zambia, a little bit of Scotland,
0:24:40 > 0:24:44a bit of this and, you know, I was learning clarinet at school
0:24:44 > 0:24:47and I was slowly forming this musical bubble, I guess.
0:24:47 > 0:24:49JOOLS HOLLAND: We welcome Emeli Sande.
0:24:49 > 0:24:52I felt more connected to singers and other musicians
0:24:52 > 0:24:53than I did to people down the road.
0:24:56 > 0:25:01Songs when I was a kid that really moved me, they still move me now.
0:25:01 > 0:25:02When I was eight years old,
0:25:02 > 0:25:05I didn't really understand what the song was talking about,
0:25:05 > 0:25:07and you have more understanding as you age.
0:25:07 > 0:25:10# Will you recognise me
0:25:10 > 0:25:14# In the flashing light?
0:25:14 > 0:25:17# I try to keep my heart clean
0:25:17 > 0:25:21# But I can't get it right... #
0:25:21 > 0:25:24It's like when you watch Disneys later on,
0:25:24 > 0:25:26and you realise there's kind of a dark undertone
0:25:26 > 0:25:29under a lot of these stories.
0:25:29 > 0:25:32# Oh, Heaven. Oh, Heaven
0:25:32 > 0:25:36# I wake with good intentions
0:25:36 > 0:25:41# But the day, it always last too long
0:25:42 > 0:25:45# Then I'm gone, oh, Heaven
0:25:45 > 0:25:47# Oh, Heaven
0:25:47 > 0:25:51# I wake with good intentions
0:25:51 > 0:25:57# But the day, it always last too long... #
0:25:58 > 0:26:02So, who were your childhood favourites who are still with you?
0:26:02 > 0:26:04Umm...
0:26:05 > 0:26:07Nina Simone.
0:26:07 > 0:26:09Billie Holiday.
0:26:09 > 0:26:13# Love will make you drink and gamble
0:26:15 > 0:26:20# Make you stay out all night long
0:26:22 > 0:26:26# Love will make you do things
0:26:27 > 0:26:31# That you know is wrong. #
0:26:31 > 0:26:34Do you think her vulnerability gives her some of her power?
0:26:34 > 0:26:38I think that's the key to the best female vocalists.
0:26:38 > 0:26:41Even with the strength and the power of her performance,
0:26:41 > 0:26:44there's such a vulnerability that resonates.
0:26:46 > 0:26:49As soon as somebody loses that and begins to sing...
0:26:49 > 0:26:51just because...
0:26:51 > 0:26:53Well, it's fashionable or it's something to do
0:26:53 > 0:26:55or something to make money from,
0:26:55 > 0:26:57then you lose the heart and the soul.
0:27:00 > 0:27:03I think that's why we do fall in love with people like Adele.
0:27:03 > 0:27:05It's the vulnerability.
0:27:05 > 0:27:09We see that in them, but it's within us and we have that connection.
0:27:09 > 0:27:13# I heard
0:27:13 > 0:27:17# That you're settled down
0:27:17 > 0:27:21# That you found a girl
0:27:21 > 0:27:27# And you're married now
0:27:27 > 0:27:33# I heard that your dreams came true
0:27:33 > 0:27:37# Guess she gave you things
0:27:37 > 0:27:41# I didn't give to you
0:27:41 > 0:27:42# Old friend... #
0:27:42 > 0:27:46Sad songs, typically, are in the minor, downward key,
0:27:46 > 0:27:50but these vulnerable but strong women often sing in the major key,
0:27:50 > 0:27:53as their voices triumph over tragedy.
0:27:53 > 0:27:57# Or hide from the light
0:27:57 > 0:28:00# I hate to turn up out of the blue uninvited... #
0:28:00 > 0:28:04Adele's most famous song, perhaps, Someone Like You, is in the major.
0:28:04 > 0:28:07This is where she reduces the Albert Hall to tears.
0:28:07 > 0:28:08The reason for that, I think,
0:28:08 > 0:28:12is because the lyrics tell you that the song is about memory.
0:28:12 > 0:28:16It's memory of past happiness in the midst of present woe.
0:28:16 > 0:28:23# Who would have known how bittersweet this would taste? #
0:28:23 > 0:28:25If you subtract the lyrics,
0:28:25 > 0:28:28what you get is a song in the major which sounds happy.
0:28:28 > 0:28:30# Never mind, I'll find
0:28:30 > 0:28:34# Someone like you
0:28:34 > 0:28:37# I wish nothing but the best
0:28:37 > 0:28:41# For you too
0:28:41 > 0:28:44# Don't forget me, I beg
0:28:44 > 0:28:48# I remember you said
0:28:48 > 0:28:51# Sometimes it lasts in love
0:28:51 > 0:28:56# But sometimes it hurts instead
0:28:56 > 0:28:58# Sometimes it lasts in love
0:28:58 > 0:29:04# But sometimes it hurts instead. #
0:29:04 > 0:29:08Everyone is weeping with the singer on stage as she breaks down.
0:29:08 > 0:29:11CHEERING AND APPLAUSE
0:29:15 > 0:29:18HE PLAYS A SAD TUNE ON THE PIANO
0:29:24 > 0:29:26One of the greatest tearjerkers in all of music
0:29:26 > 0:29:29is this Albinoni adagio in G minor.
0:29:30 > 0:29:31It's actually a forgery.
0:29:31 > 0:29:35An Italian musicologist called Giazotto confected this piece
0:29:35 > 0:29:37from a fragment of Albinoni he discovered.
0:29:39 > 0:29:41It has all the ingredients of sadness
0:29:41 > 0:29:44and the classic thing is descending lines,
0:29:44 > 0:29:47and it starts off with a descending bass line.
0:29:55 > 0:29:57And you also see descents in the melody.
0:30:07 > 0:30:09The third thing about sadness
0:30:09 > 0:30:13is what we call a suspension in the trade.
0:30:13 > 0:30:18When you suspend one note against another it creates a dissonance,
0:30:18 > 0:30:21and when that resolves down,
0:30:21 > 0:30:24Albinoni would have called that a pianto,
0:30:24 > 0:30:26which in Italian means a tear.
0:30:26 > 0:30:28It sounds like somebody crying.
0:30:28 > 0:30:33And because of the tempo, it being slow,
0:30:33 > 0:30:38you have more time to listen to it, to attend to that dissonance,
0:30:38 > 0:30:41and the tune is just one tear after another.
0:30:43 > 0:30:45Answered by:
0:30:49 > 0:30:50A yet more pungent tear.
0:30:57 > 0:31:02Hometown Glory by Adele begins with a very similar descending scale.
0:31:02 > 0:31:06# I've been walking in the same way
0:31:06 > 0:31:10# As I did
0:31:10 > 0:31:14# Missing out the cracks in the pavement
0:31:14 > 0:31:18# And tutting my heel and strutting my feet. #
0:31:18 > 0:31:23This scale is repeated obsessively right the way through Adele's song.
0:31:23 > 0:31:25HE PLAYS CHORDS
0:31:31 > 0:31:36It incorporates, like all the pianto, the sob.
0:31:36 > 0:31:39Of course, you don't need a pianto, in a vocal piece
0:31:39 > 0:31:40because you have a voice.
0:31:40 > 0:31:44# Doo di di di di da da da. #
0:31:44 > 0:31:46Towards the end,
0:31:46 > 0:31:51Adele's voice breaks into almost sobbing in her jazz-like scat.
0:31:51 > 0:31:55# Da da da yeah
0:31:55 > 0:31:59- # Doo doo doo.- #
0:31:59 > 0:32:02The trick of repeating the bassline obsessively
0:32:02 > 0:32:04is taken from funeral marches.
0:32:04 > 0:32:07It is a dirge all but in name.
0:32:07 > 0:32:11# Of my world, yeah
0:32:11 > 0:32:13- # Of my world.- #
0:32:13 > 0:32:17There's a theory that music is only capable of expressing five basic emotions.
0:32:17 > 0:32:22Sadness, anger, fear, tenderness and love,
0:32:22 > 0:32:25because these were the most evolutionary adaptive emotions.
0:32:30 > 0:32:34If you ask listeners what makes a piece of music art,
0:32:34 > 0:32:39and you require them to rate various criteria such as beauty,
0:32:39 > 0:32:45originality, complexity, skills etc, you find the two most
0:32:45 > 0:32:51important criteria are expression and emotional arousal.
0:32:51 > 0:32:54So what have we learned so far?
0:32:54 > 0:32:59Music and emotion has become a subject of intense neuroscientific
0:32:59 > 0:33:01and psychological research.
0:33:01 > 0:33:03We went to hear one of the leaders in the field.
0:33:03 > 0:33:07For over 100 years, psychologists have tried to describe
0:33:07 > 0:33:12the musical features used to express different emotions in music.
0:33:12 > 0:33:15A more intriguing question, perhaps, is this.
0:33:15 > 0:33:18How does music arouse emotions in listeners?
0:33:18 > 0:33:22Let me briefly summarise seven psychological mechanisms
0:33:22 > 0:33:25through which music could arouse emotions.
0:33:25 > 0:33:27The first one is caught brainstem reflex.
0:33:27 > 0:33:31The brain is hardwired to pick up danger signals.
0:33:31 > 0:33:34This is music that makes you jump.
0:33:34 > 0:33:38But it's a fairly primitive mechanism, so let's move on.
0:33:38 > 0:33:41If you want to suggest fear,
0:33:41 > 0:33:43the best thing to do is to have a very low note,
0:33:43 > 0:33:46and the first thing you hear is very low strings
0:33:46 > 0:33:48playing a mysterious melody.
0:33:56 > 0:34:02We associate low notes with size, as if there's something large
0:34:02 > 0:34:06and nasty, a large dinosaur out there in the distance,
0:34:06 > 0:34:11but coming closer, and the threat is advancing, and it ends with...
0:34:11 > 0:34:14HE PLAYS TWO LOW DESCENDING NOTES THEN A HIGHER NOTE
0:34:14 > 0:34:17A question demanding an answer.
0:34:17 > 0:34:21And then, like a film director, Schubert pans the camera
0:34:21 > 0:34:26away from the fearful object to the frightened subject
0:34:26 > 0:34:30and he puts in somebody trembling with fright.
0:34:37 > 0:34:40And also frozen to the spot, so trembling,
0:34:40 > 0:34:45frozen to the spot with fear and heartbeats in the bass.
0:34:45 > 0:34:48I think Schubert was extremely conscious of the emotional
0:34:48 > 0:34:50properties of his materials,
0:34:50 > 0:34:55just as a painter is aware of the properties of the paint they use.
0:34:55 > 0:34:59Schubert is setting up this melody as a vulnerable
0:34:59 > 0:35:02victim of the dark forces.
0:35:02 > 0:35:04The real crisis of the piece is
0:35:04 > 0:35:07when this lyrical melody is attacked and destroyed
0:35:07 > 0:35:14by the threatening sounds that explodes very loudly with a full orchestra.
0:35:14 > 0:35:18MUSIC IS LOUDER AND FULLER
0:35:29 > 0:35:32DUBSTEP MUSIC BEGINS
0:35:37 > 0:35:41Dubstep has become the genre used to express
0:35:41 > 0:35:46the angst of ambient noises in modern life, in the modern city.
0:35:46 > 0:35:50There's a moment about halfway through this track called Hunter
0:35:50 > 0:35:54by Mala where everything stops and we have a very mysterious silence.
0:35:54 > 0:35:59And then it starts again. But even louder.
0:35:59 > 0:36:03They take Schubert's heartbeats in the background.
0:36:04 > 0:36:07You have a repeated high note,
0:36:07 > 0:36:11like somebody screaming or somebody shivering, also frozen to the spot.
0:36:15 > 0:36:18Dubstep also creates anxiety
0:36:18 > 0:36:23through intercutting the electro acoustic noises in surprising ways.
0:36:27 > 0:36:32If somebody was trying to depict fear onto screen,
0:36:32 > 0:36:34they'd go for certain set ingredients,
0:36:34 > 0:36:37the classic example being Psycho.
0:36:37 > 0:36:41Heartbeats and shivering, tremolo effects on the strings.
0:36:42 > 0:36:44Like the shower scene.
0:36:49 > 0:36:53Professor Juslin talks about the heartbeat music mimics,
0:36:53 > 0:36:57and how we unconsciously associate music with the mood we're in.
0:36:57 > 0:37:00You meet your friends, and when you do that, you become happy.
0:37:00 > 0:37:04A particular piece may be playing in the background.
0:37:04 > 0:37:08Eventually, the music itself will create this happy feeling,
0:37:08 > 0:37:12so you don't have to be aware of this connection for it to work.
0:37:13 > 0:37:16This is used in advertising, of course.
0:37:18 > 0:37:21Ale, unlike lager, is a slightly older,
0:37:21 > 0:37:23a slightly more relaxed sort of affair.
0:37:23 > 0:37:28# Gonna sing you an old country song. #
0:37:28 > 0:37:30What we wanted to do was to create a social scenario that you
0:37:30 > 0:37:32wanted to be a part of.
0:37:32 > 0:37:36# From the strings of this old rusty guitar. #
0:37:36 > 0:37:38Some of the visuals and some of the casting
0:37:38 > 0:37:41aren't what you would expect in an ale commercial.
0:37:41 > 0:37:44We wanted to make it slightly more urban, younger.
0:37:44 > 0:37:47But with more emotion than a lager ad.
0:37:47 > 0:37:50# Will I see you again
0:37:50 > 0:37:54# Please just come on back home. #
0:37:54 > 0:37:57The track they chose, though it sounds familiar,
0:37:57 > 0:38:01was by a relatively unknown young singer, Jake Bugg,
0:38:01 > 0:38:03whose career got a boost from being in this ad.
0:38:06 > 0:38:09It's got this folky, country and western feel to it, obviously.
0:38:09 > 0:38:13Some of the stuff we played around with, for me, changed it quite dramatically.
0:38:13 > 0:38:15I'm sure you could change it. Let's have a look.
0:38:15 > 0:38:18# I'm not trying to pull you
0:38:18 > 0:38:20# Even though I would like to
0:38:20 > 0:38:23# I think you are really fit
0:38:23 > 0:38:26# You're fit but my gosh don't you know it. #
0:38:26 > 0:38:30- It completely changes.- Right. Now, you'd have cut it differently.
0:38:30 > 0:38:33You'd have made it more upbeat and more irreverent, and there was
0:38:33 > 0:38:35a conversation around that and other tracks a lot like that.
0:38:35 > 0:38:39We were like, we should do something more progressive.
0:38:39 > 0:38:40But that's a lager ad.
0:38:41 > 0:38:45In an ad for a new printer, they've turned to folk again,
0:38:45 > 0:38:47but without the warm cosiness.
0:38:47 > 0:38:50Still using nostalgia to sell, but with a modern twist.
0:38:50 > 0:38:52The old computers
0:38:52 > 0:38:55and printers are actually making the sound that we hear.
0:38:55 > 0:38:59MECHANICAL TUNE
0:39:24 > 0:39:29This iconic Dylan track, The Times They Are A-Changin',
0:39:29 > 0:39:32is the music central, as far as you're concerned, or is it extra?
0:39:32 > 0:39:36I'd challenge anybody to think of their favourite ads of all time.
0:39:36 > 0:39:38They've all got a really impressive piece of music.
0:39:38 > 0:39:41Using such a powerful track, that's at the forefront,
0:39:41 > 0:39:44as you can hear on that advert, we didn't use a voice-over
0:39:44 > 0:39:47anywhere on it the music was the pure device used.
0:39:55 > 0:39:57You haven't got language barriers.
0:39:57 > 0:40:02It could go anywhere in the world and the majority of people would understand that piece of work.
0:40:02 > 0:40:03It's instantly global.
0:40:06 > 0:40:09Laurie Anderson is also experimenting with the music
0:40:09 > 0:40:15made by machines, though she's not selling anything but her music.
0:40:15 > 0:40:19You know, I was just working on one thing that I have over here.
0:40:19 > 0:40:22I had to rebuild it today because it got confiscated in customs.
0:40:22 > 0:40:24Did you make these yourself?
0:40:24 > 0:40:27Well, what this is is a pillow speaker
0:40:27 > 0:40:31and what you normally would do is put it in your pillow
0:40:31 > 0:40:33and you learn German in your sleep.
0:40:33 > 0:40:39- That's a good idea.- I just wake up feeling super paranoid.
0:40:39 > 0:40:43So, being somebody who likes to experiment and somebody who wants to
0:40:43 > 0:40:46sing like a violin, that's what this instrument is,
0:40:46 > 0:40:49let me get the rest of it, which is now an updated iPhone.
0:40:49 > 0:40:51One second.
0:40:54 > 0:40:58This was a long time ago, done with a cassette deck.
0:40:58 > 0:41:02Now, of course, your whole life is in your iPhone.
0:41:02 > 0:41:04Shall I show you how this works?
0:41:04 > 0:41:09It's going to be really quiet, though, so we could do it downstairs.
0:41:09 > 0:41:13- With the amplifier. Let's do that. - OK. I'll follow you.
0:41:22 > 0:41:27I played violin from five in our family orchestra.
0:41:34 > 0:41:38A lot of these are designed so these harmonics, you know...
0:41:51 > 0:41:52This is...
0:41:52 > 0:41:56That's an A, and the computer hears an A
0:41:56 > 0:41:58but when the violin plays an A...
0:42:01 > 0:42:03It's got vibrato, and the computer's going,
0:42:03 > 0:42:06what do you mean, A? A flat? B? What?
0:42:06 > 0:42:09The software that I'm writing takes that into account,
0:42:09 > 0:42:12that it's not an exact science.
0:42:13 > 0:42:17Let's see. This needs to be a little bit louder than it is.
0:42:19 > 0:42:22SHE IMITATES VIOLIN PLAYING
0:42:30 > 0:42:36- As a vocalist, one of my goals is to sing like a violin.- Why?
0:42:36 > 0:42:40Because I find violins very feminine,
0:42:40 > 0:42:42and I aspire to be very feminine.
0:42:42 > 0:42:46I'm not particularly feminine, but I aspire to be,
0:42:46 > 0:42:51and because they're closest to the female voice.
0:42:55 > 0:42:58This capacity for voices and instruments
0:42:58 > 0:43:03to sound like emotions is something the professor explores.
0:43:03 > 0:43:07This unconsciously reacts to the music as if they were in the
0:43:07 > 0:43:11presence of someone expressing emotions in the voice, like
0:43:11 > 0:43:16joy or sadness, even when there is no voice, just instrumental music.
0:43:16 > 0:43:19This is called contagion.
0:43:19 > 0:43:23If there is a voice, the connection is quite obvious, perhaps.
0:43:23 > 0:43:26MOURNFUL MUSIC PLAYS
0:43:31 > 0:43:36If you have a tenor singing at the extremity of his range,
0:43:36 > 0:43:41so he's really high, his voice is almost cracking,
0:43:41 > 0:43:46then that's expressive of something normally very painful.
0:43:49 > 0:43:53If people come to a funeral, quite often they want to sing,
0:43:53 > 0:43:56and they take the breath in, but they just can't
0:43:56 > 0:44:02because their voice is the place where their emotion is expressed.
0:44:02 > 0:44:06If the grief is very deep, then there's a wordlessness about it,
0:44:06 > 0:44:12and an inability to express what it is and how it feels,
0:44:12 > 0:44:15so wordless music,
0:44:15 > 0:44:21you know, a cry or a scream or a sob,
0:44:21 > 0:44:24a groan, a lament...
0:44:26 > 0:44:28Put into musical form,
0:44:28 > 0:44:32that then enables you through that singer to have expressed
0:44:32 > 0:44:36the extremity of your own emotion.
0:44:50 > 0:44:53With Bjork's music, she's not scared to make an ugly sound,
0:44:53 > 0:44:56a kind of scary sound, and she's not scared to whisper
0:44:56 > 0:45:00to the point of the voice almost cracking.
0:45:02 > 0:45:05She uses every part of the animal, in a sense.
0:45:05 > 0:45:08One of the things I find very stressful about working with
0:45:08 > 0:45:10operatic singers is all they want
0:45:10 > 0:45:13is to make the most beautiful sound,
0:45:13 > 0:45:16and they want to make it facing you and they want to make it downstage.
0:45:19 > 0:45:25It's always a tug-of-war in music to express emotion in a new way,
0:45:25 > 0:45:28not to lapse into the familiar, which can then become a cliche.
0:45:31 > 0:45:33It's a particular danger in film music,
0:45:33 > 0:45:36often written on demand to evoke emotion.
0:45:43 > 0:45:45I like to experiment and try things, you know?
0:45:45 > 0:45:49I think that's the only way to come up with something interesting.
0:45:49 > 0:45:51You've got to take a chance.
0:45:56 > 0:46:00Just absolutely no dialogue, no sound effects, nothing,
0:46:00 > 0:46:03it's sonically completely empty.
0:46:05 > 0:46:09It's a great challenge for the music because you're on your own.
0:46:12 > 0:46:16I tried to create Liam Neeson's interior mood.
0:46:19 > 0:46:24I found this odd and unique whiskey box in a store,
0:46:24 > 0:46:27and that literally was my first inspiration.
0:46:31 > 0:46:34It has a bit of a loneliness to it.
0:46:40 > 0:46:44The longing quality, if you play the same thing on a different
0:46:44 > 0:46:47instrument, it gives you a different feeling.
0:46:56 > 0:47:01Matt wrote the music for Ridley Scott's recent epic prequel to Alien.
0:47:01 > 0:47:07On Prometheus, I used common objects like my coffee maker.
0:47:07 > 0:47:09What did you use the coffee maker for?
0:47:09 > 0:47:15There's a very primal heartbeat in Prometheus.
0:47:15 > 0:47:18HEARTBEAT
0:47:18 > 0:47:22My coffee grinder is one of those beats within the pattern.
0:47:27 > 0:47:31I tried to harmonise a lot of the flute parts.
0:47:31 > 0:47:35We did it with blowing through the flute and singing at the same time.
0:47:49 > 0:47:50Impressive.
0:47:50 > 0:47:56Some of it was, it was definitely unpleasant, scary sounding,
0:47:56 > 0:47:58but very unusual.
0:47:58 > 0:48:00And I love that, because you can't tell
0:48:00 > 0:48:03if it's a voice or a flute instrument or what it was.
0:48:05 > 0:48:10When you write for film, you have a starting point for music,
0:48:10 > 0:48:16which makes it sometimes easier than just to start with nothing.
0:48:16 > 0:48:21You have a different kind of freedom when you write for the concert hall.
0:48:26 > 0:48:30Today is the dress rehearsal for George Benjamin's new opera,
0:48:30 > 0:48:31Written On Skin.
0:48:38 > 0:48:40Quiet, please. Thank you.
0:48:40 > 0:48:43I need quiet. Thank you.
0:48:48 > 0:48:51It's the first time we've played it with the singers,
0:48:51 > 0:48:52with all the theatre.
0:48:52 > 0:48:56We have the world premiere in three days.
0:49:10 > 0:49:14The opera deals with violence, adultery, suicide.
0:49:14 > 0:49:17It's a dark subject, and it's a dark world,
0:49:17 > 0:49:21but I hope we have managed to summon some beauty as well.
0:49:25 > 0:49:28Something which is dark confronts some frightening
0:49:28 > 0:49:34and troubling things, but the desire is there to complete,
0:49:34 > 0:49:39and that completion, which may be releasing some emotion in us,
0:49:39 > 0:49:42that can be a joyous thing as well.
0:49:55 > 0:49:57When I'm composing,
0:49:57 > 0:50:00if I can't find some form of emotion in what I'm writing,
0:50:00 > 0:50:01then I can't write.
0:50:01 > 0:50:03But I never decide the emotion beforehand
0:50:03 > 0:50:04and then try to fill it with music.
0:50:17 > 0:50:21I work on nuts and bolts and emotion grows out of that,
0:50:21 > 0:50:23and usually surprises me.
0:50:35 > 0:50:39What you're really saying is that easy emotional responses
0:50:39 > 0:50:42are not necessarily what great music is trying to do?
0:50:42 > 0:50:45In a very large amount of the music that I love,
0:50:45 > 0:50:49the emotion is inside the notes and the relationship to each other.
0:50:49 > 0:50:51It's not something imposed from the outside.
0:50:51 > 0:50:56The emotion comes from within the music itself.
0:50:58 > 0:50:59Music is very wide, you see.
0:50:59 > 0:51:02Because it's so abstract, it can go almost anywhere.
0:51:02 > 0:51:05It can go to any realm of human experience,
0:51:05 > 0:51:09because it can then go to places you're not expecting it to.
0:51:09 > 0:51:12Thank you. See you tomorrow. Thank you so much.
0:51:12 > 0:51:14MUSIC: "Ninth Symphony" by Beethoven
0:51:25 > 0:51:28Beethoven's Ninth begins with a mysterious open fifth.
0:51:28 > 0:51:32A lot of pieces in recent times have grown from a single very plain
0:51:32 > 0:51:34sound and gradually evolved,
0:51:34 > 0:51:37just like a movie where you start at night time and you gradually
0:51:37 > 0:51:40begin to see what the landscape is, and you begin to see things,
0:51:40 > 0:51:44and the music evolves from darkness and silence into saying,
0:51:44 > 0:51:45that's become very boring now,
0:51:45 > 0:51:49so one needs to escape those cliches just in the way that classical
0:51:49 > 0:51:53composers did in the past, they escaped the cliches of their days.
0:51:53 > 0:51:56So the challenge is to come up with something fresh that grabs
0:51:56 > 0:52:00the ear, and that's not necessarily easy.
0:52:00 > 0:52:05# Call me irresponsible
0:52:05 > 0:52:10# Call me unreliable. #
0:52:10 > 0:52:15Of course, some people want music to be comfortable and familiar.
0:52:15 > 0:52:17You can't beat the oldies but goodies.
0:52:17 > 0:52:20I'm with Daniel Graham from Brand Audio.
0:52:20 > 0:52:22They choose the tunes we hear
0:52:22 > 0:52:26when we're waiting on the end of a phone and at the shopping mall.
0:52:26 > 0:52:29- You call it captive music.- Indeed.
0:52:29 > 0:52:33We have a captive audience here, and obviously,
0:52:33 > 0:52:37the music side is finding the right music for those people.
0:52:37 > 0:52:39Sound generates emotions.
0:52:39 > 0:52:43Emotions generate behaviour, and that's what we're looking to do.
0:52:43 > 0:52:46To have the kind of behaviour that makes people go out and spend money.
0:52:46 > 0:52:48Absolutely. Absolutely.
0:52:52 > 0:52:56Audio has that ability to reach you at a subconscious level,
0:52:56 > 0:53:00where it creates a feeling or an emotion, but at the same time,
0:53:00 > 0:53:03not distracting you from what you're here to do.
0:53:04 > 0:53:09- Who are your most popular performers?- Adele's very popular.
0:53:09 > 0:53:12She's a very unique artist in the sense that she's able to
0:53:12 > 0:53:16really transcend many, many generations of people,
0:53:16 > 0:53:19and I think it's that balance of having a sort of contemporary edge
0:53:19 > 0:53:21to what is a very sort of classical style.
0:53:24 > 0:53:27Is there any room for classical music?
0:53:27 > 0:53:32Classical music has got interesting properties within retail space.
0:53:32 > 0:53:35Where it's been played on mainline train stations,
0:53:35 > 0:53:40it actually deters and reduces crime by 30%.
0:53:40 > 0:53:42- Is that right?- Absolutely.
0:53:44 > 0:53:46Certain stores, like fast food chains,
0:53:46 > 0:53:49use classical music at the end of the evening because
0:53:49 > 0:53:54it actually reduces crime and deters youths loitering within the mall.
0:53:54 > 0:53:55It's very powerful.
0:53:59 > 0:54:01Your average loutish youth don't want to sit
0:54:01 > 0:54:04listening to classical music.
0:54:08 > 0:54:13Some young people who do like classical music are rehearsing
0:54:13 > 0:54:15Nico Muhly new piece, Gait.
0:54:28 > 0:54:31Like George Benjamin, Nick Mooney is hugely admiring
0:54:31 > 0:54:35of the 20th century composer Olivier Messiaen, whose work
0:54:35 > 0:54:40Turangalila is being performed at the Proms in tandem with Gait.
0:54:40 > 0:54:44The deal with this piece is I was terrified of writing something
0:54:44 > 0:54:47that had to go with Turangalila, which is one of my favourite pieces
0:54:47 > 0:54:50in the world, so I made a list of everything that piece does not do
0:54:50 > 0:54:52and tried to do it all in this.
0:54:53 > 0:54:57I was obsessed with these little repeating patterns that would line up in strange ways.
0:55:09 > 0:55:13It's not that you haven't experienced the emotions,
0:55:13 > 0:55:15it's that every emotion is the biggest deal ever,
0:55:15 > 0:55:20every small little twinge of something turns into this sort
0:55:20 > 0:55:23of ocean, which is how I always thought about the music of the 19th century.
0:55:23 > 0:55:26I find myself very alienated from romantic music.
0:55:26 > 0:55:29Like Tchaikovsky for me, I don't feel that.
0:55:29 > 0:55:32I do not feel this passion, I do not feel this despair.
0:55:36 > 0:55:38For me, music has been the most moving
0:55:38 > 0:55:40when it's not clear what I'm meant to feel,
0:55:40 > 0:55:43it'll just be a tiny little cadence and a tiny little turn of phrase,
0:55:43 > 0:55:45and you think, I don't know what that was,
0:55:45 > 0:55:47I don't know what I was meant to feel,
0:55:47 > 0:55:50but I felt something really strongly.
0:56:08 > 0:56:11Stravinsky said music doesn't express feelings,
0:56:11 > 0:56:13but just expresses itself.
0:56:15 > 0:56:20Oh, that's very interesting. Doesn't express feelings.
0:56:20 > 0:56:23Well, I'm sure that I would in a way agree with that,
0:56:23 > 0:56:29because what music does is to help you to find your own feelings.
0:56:32 > 0:56:38Whether they are remembering something that was wonderful
0:56:38 > 0:56:43or maybe sad, or whether you're simply in the moment.
0:56:46 > 0:56:49I was taken very reluctantly to see this cartoon about classical music,
0:56:49 > 0:56:52and from the first moment I was transfixed like I've never
0:56:52 > 0:56:55been transfixed by anything else in my life.
0:56:56 > 0:56:59I can still remember the works in Fantasia.
0:56:59 > 0:57:01MUSIC: "Toccata And Fugue In D Minor" by Bach
0:57:08 > 0:57:13The imagery mixed with this wonderful music, for a child,
0:57:13 > 0:57:16at least this child, it struck an incredibly profound note,
0:57:16 > 0:57:17and it changed my life.
0:57:32 > 0:57:35Finally, we have episodic memory.
0:57:35 > 0:57:38Here, emotions are aroused because the music evokes
0:57:38 > 0:57:41a memory from a specific event of the past.
0:57:41 > 0:57:43You may recall childhood memories.
0:57:45 > 0:57:49Music memories from early adulthood have a special emotional
0:57:49 > 0:57:54significance, perhaps because music has an important function
0:57:54 > 0:57:55in regard to identity.
0:57:55 > 0:57:57As a kid, I was very quiet, very shy,
0:57:57 > 0:58:03I found it very difficult to speak to peers and people older than me,
0:58:03 > 0:58:08but when it came to music, suddenly I was so loud and I just wanted to perform a song,
0:58:08 > 0:58:13and there was something inside me that, when I had written something,
0:58:13 > 0:58:18I just wanted to show it to somebody immediately, and it gave me a voice.
0:58:23 > 0:58:28That's what I can see, when I've sat in on sessions, somebody had
0:58:28 > 0:58:32a voice, and that's what I could really understand and connect with.
0:58:54 > 0:58:57Music has got this wonderful ability to enliven.
0:59:01 > 0:59:03Most of the people here have dementia.
0:59:05 > 0:59:07A lot of the time, the people here would be
0:59:07 > 0:59:11sitting in their comfy chair, just staring at the ground.
0:59:13 > 0:59:17Music can bring joy. Everybody knows that.
0:59:17 > 0:59:22And joy in this environment is something really worth working for.
0:59:26 > 0:59:33We use music to reach into the person and bring out who they are.
0:59:34 > 0:59:37And who they have been, and bring it into the now.
0:59:37 > 0:59:42# Rum bum baa baa baa
0:59:42 > 0:59:46# Baa baa bum ba ba ba. #
0:59:46 > 0:59:53HE CONTINUES SINGING
1:00:00 > 1:00:03Music brings energy into them,
1:00:03 > 1:00:07because that's what music has inside of it.
1:00:18 > 1:00:22# Singing ai ai ippy
1:00:22 > 1:00:25# Ai ai ippy
1:00:25 > 1:00:31# Ai ai ippy ippy ai. #
1:00:31 > 1:00:37HE HUMS SOMEWHERE OVER THE RAINBOW
1:01:03 > 1:01:11# Somewhere over the rainbow... #
1:01:13 > 1:01:17We learn to be human beings through music.
1:01:17 > 1:01:21It's the first thing that we start using as language.
1:01:21 > 1:01:25So it's one of the last things that goes.
1:01:25 > 1:01:28Music is deep, deep, deep down inside.
1:01:28 > 1:01:31SHE JOINS IN
1:01:31 > 1:01:33Do you want to sit with me, Daphne?
1:01:33 > 1:01:34There's a chair here.
1:01:36 > 1:01:43# Nothing can harm you Nothing can harm my baby
1:01:43 > 1:01:50# With your daddy and mamma
1:01:50 > 1:01:58# Standing
1:02:02 > 1:02:06# By. #
1:02:06 > 1:02:09Subtitles by Red Bee Media Ltd
1:02:10 > 1:02:12Summertime!