From f8f968bbd38feef4664d345903e226ee66c68be6 Mon Sep 17 00:00:00 2001
From: "Tomoya Matsuura(MBA2025)" <me@matsuuratomoya.com>
Date: Fri, 1 May 2026 18:24:38 +0900
Subject: [PATCH] [obsidian] vault backup: 2026-05-01 18:24:38[

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 ...��イ・カーツワイルのインタビュー日本語訳.md | 2051 +++++++++++++++++
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+[[レイ・カーツワイルのインタビュー日本語訳]]
+
+[Ray Kurzweil \| NAMM.org](https://www.namm.org/library/oral-history/ray-kurzweil)
+1
+00:00:00,000 --> 00:00:29,980
+[Speaker 2] I really appreciate you being here. Thank you very much. Well, it's great to be here. It's great to be at NAMM. I used to come here twice, well, here once a year on the Chicago show. Oh, is that right? Yeah, starting in 83, I think. When we unveiled the Kurzweil 250, we had a prototype yet, it wasn't in production, and we had private showings, and we got a very
+
+2
+00:00:29,980 --> 00:00:59,960
+[Speaker 1] enthusiastic response, so that was kind of the beginning. Oh, that's neat. Tell me just a little brief history, if you would, on how music became so important to you. Did you have a lot growing up? Well, my father was a famous musician. He was conducting the Bell Symphony, which was the symphony orchestra, the Bell Telephone System. They were on TV a lot. He was head of the Pittsburgh Opera, Mobile Opera, Queens Concert Orchestra,
+
+3
+00:00:59,960 --> 00:01:29,940
+[Speaker 2] founded the music department at the Queensport College, and composer. So he taught me piano when I was six. Actually, in the 60s, he became very excited about the Moog synthesizer and switched on Bach. And I had an interest in computers at that time. I'd been building computers. And he said, you know, someday you're going to combine computers and music, and do something with computer music, which really didn't exist back then, because the first introduction
+
+4
+00:01:29,940 --> 00:01:59,920
+[Speaker 2] to combination of combination of technology and music was analog synthesis, which did take him, did pique his interest. He died in 1970, but I've always kept that sort of challenge in mind. My primary interest is pattern recognition as part of artificial intelligence, trying to emulate the pattern recognition capability of human beings. And I actually did a
+
+5
+00:01:59,920 --> 00:02:17,910
+[Speaker 2] project in the project in the 70s. I created the first Omni font, any type font character recognition. And then happened to sit next to a blind gentleman on a plane who said, blindness is not really a handicap. He can do anything. He's traveling around the world, but he can't really read ordinary print. And that was a handicap.
+
+6
+00:02:17,910 --> 00:02:24,410
+[Speaker 2] And so I then devoted that character recognition technology to the blind reading problem because
+
+7
+00:02:24,410 --> 00:02:27,860
+[Speaker 2] it was sort of a solution in search of a problem.
+
+8
+00:02:27,860 --> 00:02:29,970
+[Speaker 2] And we had to create two other technologies.
+
+9
+00:02:29,970 --> 00:02:33,910
+[Speaker 2] We created the first flatbed scanner and the first speech synthesis.
+
+10
+00:02:33,910 --> 00:02:41,020
+[Speaker 2] And we combined those three technologies, which today are ubiquitous, character recognition,
+
+11
+00:02:41,020 --> 00:02:45,520
+[Speaker 2] flatbed scanning, and full text-to-speech synthesis and created the first print-to-speech
+
+12
+00:02:45,520 --> 00:02:48,240
+[Speaker 2] reading machine for the blind.
+
+13
+00:02:48,240 --> 00:02:51,900
+[Speaker 2] And we introduced it.
+
+14
+00:02:51,900 --> 00:02:53,760
+[Speaker 2] It was on all three nightly networks.
+
+15
+00:02:53,760 --> 00:02:59,360
+[Speaker 2] Walter Crockett used it for his signature sign-off, and that's the way it was, January 13, 1976.
+
+16
+00:02:59,360 --> 00:03:06,120
+[Speaker 2] A few days later, I was on the Today Show, and Stevie Wonder happened to catch that show.
+
+17
+00:03:06,120 --> 00:03:10,420
+[Speaker 2] And he called us up.
+
+18
+00:03:10,420 --> 00:03:13,120
+[Speaker 2] Our receptionist didn't really believe it was him, but put him through anyway.
+
+19
+00:03:13,120 --> 00:03:15,840
+[Speaker 2] Anyway, it said, "Well, this is amazing.
+
+20
+00:03:15,840 --> 00:03:20,060
+[Speaker 2] I have to stop by, and I want to buy one."
+
+21
+00:03:20,060 --> 00:03:23,980
+[Speaker 2] We actually didn't have one, but we very quickly finished one up.
+
+22
+00:03:23,980 --> 00:03:25,360
+[Speaker 2] He came by.
+
+23
+00:03:25,360 --> 00:03:26,840
+[Speaker 2] We spent a few hours showing him how to use it.
+
+24
+00:03:26,840 --> 00:03:31,840
+[Speaker 2] He went off in a taxi with his reading machine, Kurzweil reading machine.
+
+25
+00:03:31,840 --> 00:03:34,420
+[Speaker 2] It was our first customer.
+
+26
+00:03:34,420 --> 00:03:39,860
+[Speaker 2] But that was 1976, and that started a relationship which has continued to this day.
+
+27
+00:03:39,860 --> 00:03:42,660
+[Speaker 2] So that's 30 years now.
+
+28
+00:03:42,660 --> 00:03:46,280
+[Speaker 2] And so over the years we had a lot of discussions.
+
+29
+00:03:46,280 --> 00:03:54,660
+[Speaker 2] He's actually pretty savvy about technology, both because it's a great equalizer for disabilities,
+
+30
+00:03:54,660 --> 00:03:58,680
+[Speaker 2] and because technology plays such an important role in music.
+
+31
+00:03:58,680 --> 00:04:05,500
+[Speaker 2] And in 1982 he was showing me around a new studio he had called Wonderland here in Los Angeles.
+
+32
+00:04:05,500 --> 00:04:10,300
+[Speaker 2] And it was lamenting the state of affairs that there was really these two disconnected worlds
+
+33
+00:04:10,300 --> 00:04:11,440
+[Speaker 2] of musical instruments.
+
+34
+00:04:11,440 --> 00:04:18,260
+[Speaker 2] There was the electronic world where you could do, you had all these tremendous control capabilities.
+
+35
+00:04:18,260 --> 00:04:23,240
+[Speaker 2] You could play one part and the computer would remember it, and then you could play it back
+
+36
+00:04:23,240 --> 00:04:29,620
+[Speaker 2] from the computer's memory and play another line over it, and you could build up multi-line orchestrations.
+
+37
+00:04:29,620 --> 00:04:32,040
+[Speaker 2] You could modify the sounds.
+
+38
+00:04:32,040 --> 00:04:39,080
+[Speaker 2] But the sounds you had to work with in that electronic world were very thin, synthetic sounding sounds.
+
+39
+00:04:39,080 --> 00:04:43,520
+[Speaker 2] And then there was these sounds of 19th century acoustic instruments like the piano, guitar, violin.
+
+40
+00:04:43,520 --> 00:04:51,260
+[Speaker 2] And these were still the sounds of choice of musicians because they had a lot of deep, complex resonance.
+
+41
+00:04:51,260 --> 00:04:54,380
+[Speaker 2] But they're very hard to play.
+
+42
+00:04:54,380 --> 00:04:58,360
+[Speaker 2] I mean most musicians can't play most instruments.
+
+43
+00:04:58,360 --> 00:05:02,390
+[Speaker 2] And even if you're a virtuoso and can play them all, you can't play them simultaneously.
+
+44
+00:05:02,390 --> 00:05:03,980
+[Speaker 2] Most of you can only play one note at a time.
+
+45
+00:05:03,980 --> 00:05:08,440
+[Speaker 2] So you can't modify the sounds except maybe a few modification techniques.
+
+46
+00:05:08,440 --> 00:05:12,240
+[Speaker 2] You can do vibrato and a violin, but it's very limited.
+
+47
+00:05:12,240 --> 00:05:17,640
+[Speaker 2] So wouldn't it be great if we could take this very rich array of control techniques that you
+
+48
+00:05:17,640 --> 00:05:22,700
+[Speaker 2] have in the electronic world and apply it to these very rich, complex sounds of choice of the
+
+49
+00:05:22,700 --> 00:05:24,320
+[Speaker 2] acoustic world.
+
+50
+00:05:24,320 --> 00:05:27,600
+[Speaker 2] And then maybe you could actually create new sounds that have the complexity of acoustic
+
+51
+00:05:27,600 --> 00:05:30,960
+[Speaker 2] sounds but aren't sounds that any acoustic instrument could make.
+
+52
+00:05:30,960 --> 00:05:36,440
+[Speaker 2] You could open up a whole new world of synthetic sounds that weren't so simple and synthetic and
+
+53
+00:05:36,440 --> 00:05:41,660
+[Speaker 2] thin as the electronic world was used to at that time.
+
+54
+00:05:41,660 --> 00:05:45,660
+[Speaker 2] And I felt actually using advanced signal processing and some pattern recognition insights that
+
+55
+00:05:45,660 --> 00:05:48,060
+[Speaker 2] we could do that.
+
+56
+00:05:48,060 --> 00:05:52,780
+[Speaker 2] And so we started Kurzweil Music then in 1982, July 1st actually.
+
+57
+00:05:52,780 --> 00:05:56,400
+[Speaker 2] C.V. Wonder was our advisor.
+
+58
+00:05:56,400 --> 00:06:01,640
+[Speaker 2] We set to create the Kurzweil 250, the first instrument that could really recreate the acoustic
+
+59
+00:06:01,640 --> 00:06:03,300
+[Speaker 2] piano.
+
+60
+00:06:03,300 --> 00:06:05,440
+[Speaker 2] And there are a lot of challenges.
+
+61
+00:06:05,440 --> 00:06:08,660
+[Speaker 2] You might think that, well, you just sample the piano and it'll sound like a piano.
+
+62
+00:06:08,660 --> 00:06:13,660
+[Speaker 2] But samplers, particularly at that time, for example, would loop the last waveform and then
+
+63
+00:06:13,660 --> 00:06:16,220
+[Speaker 2] have a decaying envelope.
+
+64
+00:06:16,220 --> 00:06:21,220
+[Speaker 2] That doesn't work for the piano because the overtones in a piano are not perfect multiples of the fundamental.
+
+65
+00:06:21,220 --> 00:06:23,220
+[Speaker 2] They're a little off.
+
+66
+00:06:23,220 --> 00:06:24,220
+[Speaker 2] They're called anharmonic.
+
+67
+00:06:24,220 --> 00:06:26,220
+[Speaker 2] That gives the piano its sort of rich character.
+
+68
+00:06:26,220 --> 00:06:29,720
+[Speaker 2] Well, if you loop one waveform, then all the overtones become perfect multiples.
+
+69
+00:06:29,720 --> 00:06:34,100
+[Speaker 2] It sounds like an organ tone and it loses its piano character.
+
+70
+00:06:34,100 --> 00:06:36,780
+[Speaker 2] So that's an insight from pattern recognition.
+
+71
+00:06:36,780 --> 00:06:41,460
+[Speaker 2] But that's very challenging for sampling, particularly then when memory was expensive because you can't
+
+72
+00:06:41,460 --> 00:06:47,640
+[Speaker 2] really afford to record the entire 20-second decay of a piano note.
+
+73
+00:06:47,640 --> 00:06:50,640
+[Speaker 2] If you hit a middle C harder, it's not just louder.
+
+74
+00:06:50,640 --> 00:06:57,840
+[Speaker 2] It has a whole different time-bearing pitch contour.
+
+75
+00:06:57,840 --> 00:07:03,820
+[Speaker 2] The different volume levels have a completely different time-bearing timbre.
+
+76
+00:07:03,820 --> 00:07:06,880
+[Speaker 2] And you can't really capture all of that with sampling.
+
+77
+00:07:06,880 --> 00:07:11,640
+[Speaker 2] And if you try to bend the pitch too much, it changes the character of the tones in unrealistic
+
+78
+00:07:11,640 --> 00:07:12,640
+[Speaker 2] ways.
+
+79
+00:07:12,640 --> 00:07:15,980
+[Speaker 2] The tones won't interact with each other when you put the pedal down.
+
+80
+00:07:15,980 --> 00:07:21,400
+[Speaker 2] So a lot of complexities of real-life piano that you really can't capture with sampling unless
+
+81
+00:07:21,400 --> 00:07:25,440
+[Speaker 2] you add some other elements of signal processing and pattern recognition.
+
+82
+00:07:25,440 --> 00:07:26,440
+[Speaker 2] So that's what we sought to do.
+
+83
+00:07:26,440 --> 00:07:37,440
+[Speaker 2] And we came actually to my first NAMM show, which was here in Anaheim in '83, and showed
+
+84
+00:07:37,440 --> 00:07:39,440
+[Speaker 2] our prototype of the Kurzweil 250.
+
+85
+00:07:39,440 --> 00:07:43,780
+[Speaker 2] And people were pretty much blown away because it really did sound like a piano.
+
+86
+00:07:43,780 --> 00:07:45,440
+[Speaker 2] We started shipping it in '84.
+
+87
+00:07:45,440 --> 00:07:52,780
+[Speaker 2] And it did get recognized as the first electronic instrument that could recreate the piano, which
+
+88
+00:07:52,780 --> 00:07:54,280
+[Speaker 2] really is the most challenging.
+
+89
+00:07:54,280 --> 00:07:57,440
+[Speaker 2] But it also could do other orchestral instruments.
+
+90
+00:07:57,440 --> 00:08:02,500
+[Speaker 2] And it has maintained its sort of edge in terms of sound quality and realism, particularly
+
+91
+00:08:02,500 --> 00:08:04,540
+[Speaker 2] of acoustic instruments.
+
+92
+00:08:04,540 --> 00:08:07,880
+[Speaker 2] But sound quality in general.
+
+93
+00:08:07,880 --> 00:08:09,440
+[Speaker 2] So that's how we got started.
+
+94
+00:08:09,440 --> 00:08:16,440
+[Speaker 1] You know, I interviewed a former president of Baldwin, and I asked him, you know, was there
+
+95
+00:08:16,440 --> 00:08:21,440
+[Speaker 1] any point during his career that they worried about the synthesizer replacing the piano?
+
+96
+00:08:21,440 --> 00:08:24,440
+[Speaker 1] And he says, "Not until the Kurzweil came out.
+
+97
+00:08:24,440 --> 00:08:25,440
+[Speaker 1] Then we started worrying."
+
+98
+00:08:25,440 --> 00:08:26,440
+[Speaker 1] Yeah.
+
+99
+00:08:26,440 --> 00:08:33,440
+[Speaker 2] Well, I think, you know, digital pianos for the home market have significantly cut into the,
+
+100
+00:08:33,440 --> 00:08:35,440
+[Speaker 2] particularly the low-end market.
+
+101
+00:08:35,440 --> 00:08:39,440
+[Speaker 2] You know, parents that want to buy a piano for their eight-year-old child.
+
+102
+00:08:39,440 --> 00:08:42,440
+[Speaker 2] Because there are a lot of advantages to electronic piano.
+
+103
+00:08:42,440 --> 00:08:49,440
+[Speaker 2] For the same price range, you can get a better quality sound in a digital piano than an acoustic.
+
+104
+00:08:49,440 --> 00:08:57,440
+[Speaker 2] You know, at the high end, there's still a market and still an advantage for acoustic pianos.
+
+105
+00:08:57,440 --> 00:09:04,440
+[Speaker 2] But if you're talking about just a routine piano for Sally to take piano lessons, you get a
+
+106
+00:09:04,440 --> 00:09:05,440
+[Speaker 2] lot of value.
+
+107
+00:09:05,440 --> 00:09:07,440
+[Speaker 2] And then there's a lot of other capabilities, you know.
+
+108
+00:09:07,440 --> 00:09:12,440
+[Speaker 2] When Sally learns how to play a piece, she can also play it on the violin and the human
+
+109
+00:09:12,440 --> 00:09:14,440
+[Speaker 2] voice and all these other instruments.
+
+110
+00:09:14,440 --> 00:09:24,440
+[Speaker 2] And then electronic instruments have autoplay and can help teach you how to play the piano,
+
+111
+00:09:24,440 --> 00:09:27,440
+[Speaker 2] can record what you're playing with sequencers.
+
+112
+00:09:27,440 --> 00:09:30,440
+[Speaker 2] So you have none of those capabilities in an acoustic piano.
+
+113
+00:09:30,440 --> 00:09:32,440
+[Speaker 2] You don't have to tune them.
+
+114
+00:09:32,440 --> 00:09:38,440
+[Speaker 2] You can use headphones so people can practice without disturbing other people.
+
+115
+00:09:38,440 --> 00:09:39,440
+[Speaker 2] So a lot of advantages.
+
+116
+00:09:39,440 --> 00:09:45,440
+[Speaker 2] And it has really cut into the, I'd say, the upright piano market.
+
+117
+00:09:45,440 --> 00:09:46,440
+[Speaker 2] Interesting.
+
+118
+00:09:46,440 --> 00:09:54,440
+[Speaker 1] And one of the things that I think that you guys set out to do was not just a piano, but
+
+119
+00:09:54,440 --> 00:09:58,440
+[Speaker 1] what other musical instruments can we recreate?
+
+120
+00:09:58,440 --> 00:10:04,440
+[Speaker 2] Well, the piano is the most challenging, but it really can recreate any orchestral instrument.
+
+121
+00:10:04,440 --> 00:10:10,440
+[Speaker 2] And also can then break down these instruments into their components and create synthetic sounds.
+
+122
+00:10:10,440 --> 00:10:16,440
+[Speaker 2] That is, you know, a new sound that no acoustic instrument could create but has the complexity
+
+123
+00:10:16,440 --> 00:10:18,440
+[Speaker 2] and richness of an acoustic sound.
+
+124
+00:10:18,440 --> 00:10:23,440
+[Speaker 2] Maybe because you started with an acoustic sound and modified it to be unrecognizable, but
+
+125
+00:10:23,440 --> 00:10:25,440
+[Speaker 2] it nonetheless keeps its complex character.
+
+126
+00:10:25,440 --> 00:10:36,440
+[Speaker 2] So, you know, if you just start from the ground up doing, say, analog synthesis, that was a very groundbreaking
+
+127
+00:10:36,440 --> 00:10:39,440
+[Speaker 2] development when it occurred and it was a new class of sounds.
+
+128
+00:10:39,440 --> 00:10:45,440
+[Speaker 2] But there's a limited complexity you can create by just building up oscillators.
+
+129
+00:10:45,440 --> 00:10:50,440
+[Speaker 2] By starting with the richness and complexity of acoustic sounds and then modifying it using
+
+130
+00:10:50,440 --> 00:10:56,440
+[Speaker 2] a whole panoply of signal processing methods, you can, you know, keep the complexity and the
+
+131
+00:10:56,440 --> 00:11:00,440
+[Speaker 2] musical depth but create a whole new class of sounds.
+
+132
+00:11:00,440 --> 00:11:03,440
+[Speaker 2] And then you can modify it with all kinds of other synthesis techniques.
+
+133
+00:11:03,440 --> 00:11:12,440
+[Speaker 2] And so we have a new chip now that does a significant amount of digital signal processing on each channel.
+
+134
+00:11:12,440 --> 00:11:17,440
+[Speaker 2] So you could start with the sampled sound but then modify it by putting it basically through
+
+135
+00:11:17,440 --> 00:11:27,440
+[Speaker 2] a whole complex set of synthesizer sound modification capabilities per channel and then apply more
+
+136
+00:11:27,440 --> 00:11:30,440
+[Speaker 2] signal processing to the mix sound.
+
+137
+00:11:30,440 --> 00:11:33,440
+[Speaker 2] So there are a lot of capabilities.
+
+138
+00:11:33,440 --> 00:11:37,440
+[Speaker 2] And one of the things, I mean, another whole interest I have is in tracking technology trends.
+
+139
+00:11:37,440 --> 00:11:43,440
+[Speaker 2] And I did that because of my interest in being an inventor and because I realized timing was critical
+
+140
+00:11:43,440 --> 00:11:46,440
+[Speaker 2] and most inventions fail because the timing is wrong.
+
+141
+00:11:46,440 --> 00:11:50,440
+[Speaker 2] And so I developed these models of how technology evolves.
+
+142
+00:11:50,440 --> 00:11:53,440
+[Speaker 2] And it evolves actually in very predictable ways.
+
+143
+00:11:53,440 --> 00:12:06,440
+[Speaker 2] I have a theory called the law of accelerating returns that indicates, that says that information technology in many different areas is basically doubling its power every year in terms of price performance.
+
+144
+00:12:06,440 --> 00:12:07,440
+[Speaker 2] And capacity.
+
+145
+00:12:07,440 --> 00:12:11,440
+[Speaker 2] Doubling every year is very phenomenal exponential growth.
+
+146
+00:12:11,440 --> 00:12:13,440
+[Speaker 2] That's a factor of a thousand in ten years.
+
+147
+00:12:13,440 --> 00:12:15,440
+[Speaker 2] A million in 20 years.
+
+148
+00:12:15,440 --> 00:12:18,440
+[Speaker 2] A billion in 30 years.
+
+149
+00:12:18,440 --> 00:12:23,440
+[Speaker 2] So it's been over 20 years since we introduced the Curso 250.
+
+150
+00:12:23,440 --> 00:12:31,440
+[Speaker 2] So in those 20 years, information technology, computer technology, digital signal processing, it's all gotten a million times more powerful.
+
+151
+00:12:31,440 --> 00:12:45,440
+[Speaker 2] So, you know, we can now do in a low end instrument, you know, thousands of times more transformations in capability than was feasible in an expensive instrument 20 years ago.
+
+152
+00:12:45,440 --> 00:12:46,440
+[Speaker 2] So, you know, that's going to continue.
+
+153
+00:12:46,440 --> 00:12:52,440
+[Speaker 2] You know, because I have this whole new phenomenon of software synthesis where with a PC you can do some pretty impressive things.
+
+154
+00:12:52,440 --> 00:12:59,440
+[Speaker 1] How long did you stay focused in the company as far as developing products?
+
+155
+00:12:59,440 --> 00:13:03,440
+[Speaker 2] Well, I started the company in '82.
+
+156
+00:13:03,440 --> 00:13:05,440
+[Speaker 2] We introduced Curso 250 in '84.
+
+157
+00:13:05,440 --> 00:13:10,440
+[Speaker 2] We had our first chip based products, Curso 1000, a few years after that.
+
+158
+00:13:10,440 --> 00:13:19,440
+[Speaker 2] We sold the company to Yong Chang, a Korean piano manufacturer in 1990.
+
+159
+00:13:19,440 --> 00:13:24,440
+[Speaker 2] And I remained actively involved through '95.
+
+160
+00:13:24,440 --> 00:13:34,440
+[Speaker 2] After that I was not directly involved, although I stayed in close touch with all the engineers through the sort of ups and downs.
+
+161
+00:13:34,440 --> 00:13:44,440
+[Speaker 2] A number of key people, including myself, left around '95, '96, '97 in Yong Chang got into some financial difficulties in recent years.
+
+162
+00:13:44,440 --> 00:13:49,440
+[Speaker 2] And we were actually concerned how to revitalize the company.
+
+163
+00:13:49,440 --> 00:14:00,440
+[Speaker 2] I think that's worked out actually quite well because Hyundai has bought the company and they have very substantial resources and they know how to manufacture high quality products.
+
+164
+00:14:00,440 --> 00:14:02,440
+[Speaker 2] So they're revitalizing the company.
+
+165
+00:14:02,440 --> 00:14:09,440
+[Speaker 2] I think it's going to be a strong combination with their resources and the Kurzweil brand and the Kurzweil core technology.
+
+166
+00:14:09,440 --> 00:14:21,440
+[Speaker 2] But the technology stayed intact and there was one key project, the Mara chip, which is some products being introduced here at NAMM are based on that, which remained.
+
+167
+00:14:21,440 --> 00:14:26,440
+[Speaker 2] And it's really a very cutting edge chip.
+
+168
+00:14:26,440 --> 00:14:29,440
+[Speaker 2] So the core technology remains very strong.
+
+169
+00:14:29,440 --> 00:14:33,440
+[Speaker 2] There's very strong sound where the key engineers have remained throughout.
+
+170
+00:14:33,440 --> 00:14:37,440
+[Speaker 2] Hyundai is now building up the company again.
+
+171
+00:14:37,440 --> 00:14:40,440
+[Speaker 2] Our research and development has quadrupled in the last year.
+
+172
+00:14:40,440 --> 00:14:45,440
+[Speaker 1] So back up a little second and ask you an off the wall question.
+
+173
+00:14:45,440 --> 00:14:58,440
+[Speaker 2] Oh, and I'm actually back now advising Kurzweil Music again, helping them with technology strategy and also being a spokesperson as the founder.
+
+174
+00:14:58,440 --> 00:15:03,440
+[Speaker 2] But yeah, I'm involved again pretty closely with the new team.
+
+175
+00:15:03,440 --> 00:15:04,440
+[Speaker 1] Excellent.
+
+176
+00:15:04,440 --> 00:15:07,440
+[Speaker 1] So is there going to be new products?
+
+177
+00:15:07,440 --> 00:15:25,440
+[Speaker 2] Yeah, there's new products here, MP3, which is very impressive, 128 voices, highest, 32-bit voices, 128 of them.
+
+178
+00:15:25,440 --> 00:15:31,440
+[Speaker 2] Each voice has significant amount of digital signal processing capability per voice.
+
+179
+00:15:31,440 --> 00:15:36,440
+[Speaker 2] And then there's a very sophisticated effects processor for the mixed output.
+
+180
+00:15:36,440 --> 00:15:42,440
+[Speaker 2] And lots of other features, advanced sequencers and sound modification.
+
+181
+00:15:42,440 --> 00:15:52,440
+[Speaker 2] So it's a pretty high-end instrument, but it's going to be, I mean, list price of $2,500, so street price will be less than that.
+
+182
+00:15:52,440 --> 00:15:54,440
+[Speaker 2] It's actually quite impressive.
+
+183
+00:15:54,440 --> 00:16:01,440
+[Speaker 2] And then there's a SP2, Stage Piano 2, which is kind of a lower-end version of that, but still very impressive.
+
+184
+00:16:01,440 --> 00:16:04,440
+[Speaker 2] Sixty-four voices, which is still a lot.
+
+185
+00:16:04,440 --> 00:16:08,440
+[Speaker 2] And that'll be something like $1,500 at this price.
+
+186
+00:16:08,440 --> 00:16:11,440
+[Speaker 2] So those are pretty impressive products and they're here.
+
+187
+00:16:11,440 --> 00:16:15,440
+[Speaker 2] In fact, Stevie Wonder was just playing them a couple hours ago.
+
+188
+00:16:15,440 --> 00:16:16,440
+[Speaker 2] How great.
+
+189
+00:16:16,440 --> 00:16:25,440
+[Speaker 1] I was going to ask you, what's your, who's your thought of the father of electronic music?
+
+190
+00:16:25,440 --> 00:16:32,440
+[Speaker 1] There's a lot of names that float around in my head, and I wonder who you would consider that to be.
+
+191
+00:16:32,440 --> 00:16:36,440
+[Speaker 2] Well, I mean, Bob Moog really put it on the map.
+
+192
+00:16:36,440 --> 00:16:39,440
+[Speaker 2] He was inspired by theremin.
+
+193
+00:16:39,440 --> 00:16:46,440
+[Speaker 2] In fact, he started building theremins at a young age, but then took it in a whole new direction
+
+194
+00:16:46,440 --> 00:16:55,440
+[Speaker 2] and established the basis of synthesis using the technology of that time, which was analog synthesis and oscillators.
+
+195
+00:16:55,440 --> 00:16:59,440
+[Speaker 2] He created a whole new class of instrument and a whole new class of sound.
+
+196
+00:16:59,440 --> 00:17:02,440
+[Speaker 2] He created a lot of excitement.
+
+197
+00:17:02,440 --> 00:17:11,440
+[Speaker 2] I mean, switched on Bach, that album by Walter Carlos, I think he was Walter at that time, created a big buzz.
+
+198
+00:17:11,440 --> 00:17:18,440
+[Speaker 2] So my father, who was a classical musician, opera conductor and timpani conductor and concert pianist,
+
+199
+00:17:18,440 --> 00:17:22,440
+[Speaker 2] got very excited about that.
+
+200
+00:17:22,440 --> 00:17:26,440
+[Speaker 2] And it attracted tremendous interest from the classical world to the pop world.
+
+201
+00:17:26,440 --> 00:17:31,440
+[Speaker 2] And really put, I mean, created the synthesizer.
+
+202
+00:17:31,440 --> 00:17:33,440
+[Speaker 2] So there were roots to it.
+
+203
+00:17:33,440 --> 00:17:39,440
+[Speaker 2] He didn't create it out of nothing, but that really was the beginning of the synthesizer.
+
+204
+00:17:39,440 --> 00:17:46,440
+[Speaker 2] And then there were various efforts for digital synthesizers and samplers.
+
+205
+00:17:46,440 --> 00:17:48,440
+[Speaker 2] Emu played an important role.
+
+206
+00:17:48,440 --> 00:17:58,440
+[Speaker 2] And our goal was actually to go beyond just sampling to bring some signal processing sophistication
+
+207
+00:17:58,440 --> 00:18:05,440
+[Speaker 2] to really capture some of these complex effects of acoustic instruments that you can't just get by sampling.
+
+208
+00:18:05,440 --> 00:18:08,440
+[Speaker 2] Because samplers were pretty unsuccessful in capturing the piano.
+
+209
+00:18:08,440 --> 00:18:14,440
+[Speaker 1] We're definitely going to have to do a part two one of these days, because I'm running out of time.
+
+210
+00:18:14,440 --> 00:18:23,440
+[Speaker 1] But I do want to ask you, do you have the tape of your 1965 television appearance?
+
+211
+00:18:23,440 --> 00:18:25,440
+[Speaker 1] Is that I got a secret?
+
+212
+00:18:25,440 --> 00:18:26,440
+[Speaker 2] Yeah.
+
+213
+00:18:26,440 --> 00:18:33,440
+[Speaker 2] In fact, I was shown recently, I did a three hour interview on a program called In Depth on Book TV, C-SPAN 2.
+
+214
+00:18:33,440 --> 00:18:37,440
+[Speaker 2] I started out the program by displaying that.
+
+215
+00:18:37,440 --> 00:18:39,440
+[Speaker 2] We can send you a copy.
+
+216
+00:18:39,440 --> 00:18:41,440
+[Speaker 1] I'd love to see it, yeah.
+
+217
+00:18:41,440 --> 00:18:44,440
+[Speaker 2] But yeah, actually, that was actually a music project I did in high school,
+
+218
+00:18:44,440 --> 00:18:50,440
+[Speaker 2] where I used pattern recognition to find patterns in melodies.
+
+219
+00:18:50,440 --> 00:18:54,440
+[Speaker 2] So I'd feed in Bach melodies or Chopin or Beethoven,
+
+220
+00:18:54,440 --> 00:18:58,440
+[Speaker 2] and it would actually model the types of patterns that those composers used,
+
+221
+00:18:58,440 --> 00:19:01,440
+[Speaker 2] and then compose original music using those patterns.
+
+222
+00:19:01,440 --> 00:19:07,440
+[Speaker 2] And it would sound like a second-rate student of Mozart or Chopin, as the case may be.
+
+223
+00:19:07,440 --> 00:19:13,440
+[Speaker 2] And I won some science contests, got to meet President Johnson.
+
+224
+00:19:13,440 --> 00:19:17,440
+[Speaker 2] I was invited on this network show.
+
+225
+00:19:17,440 --> 00:19:21,440
+[Speaker 2] There weren't very many TV shows back then, so I've got a secret.
+
+226
+00:19:21,440 --> 00:19:23,440
+[Speaker 2] And my secret, I came on, I played a piece of music,
+
+227
+00:19:23,440 --> 00:19:26,440
+[Speaker 2] and my secret was that I built a computer that composed the music.
+
+228
+00:19:26,440 --> 00:19:32,440
+[Speaker 1] Did most Americans even know what a computer was then, you think?
+
+229
+00:19:32,440 --> 00:19:36,440
+[Speaker 2] Yeah, there had been publicity about these giant brains,
+
+230
+00:19:36,440 --> 00:19:38,440
+[Speaker 2] and there was already speculation about, you know,
+
+231
+00:19:38,440 --> 00:19:41,440
+[Speaker 2] are they thinking and what will they be able to do?
+
+232
+00:19:41,440 --> 00:19:44,440
+[Speaker 2] And some of these early computers were able to do things
+
+233
+00:19:44,440 --> 00:19:48,440
+[Speaker 2] that professional mathematicians had not been able to do.
+
+234
+00:19:48,440 --> 00:19:56,440
+[Speaker 2] Interestingly, ironically, the history of artificial intelligence is the opposite of human skill.
+
+235
+00:19:56,440 --> 00:20:00,440
+[Speaker 2] Computers very quickly learned how to do things that professional humans do,
+
+236
+00:20:00,440 --> 00:20:04,440
+[Speaker 2] like solving mathematical theorems, diagnosing disease.
+
+237
+00:20:04,440 --> 00:20:09,440
+[Speaker 2] But today they still struggle, say, telling the difference between a dog and a cat,
+
+238
+00:20:09,440 --> 00:20:11,440
+[Speaker 2] and things that a five-year-old child can do.
+
+239
+00:20:11,440 --> 00:20:15,440
+[Speaker 2] They're actually learning how to tell a different machine, a dog and a cat.
+
+240
+00:20:15,440 --> 00:20:16,440
+[Speaker 2] But it's been backwards.
+
+241
+00:20:16,440 --> 00:20:18,440
+[Speaker 2] They first learned to do what adults can do,
+
+242
+00:20:18,440 --> 00:20:21,440
+[Speaker 2] and now they're backing up and learning what children can do.
+
+243
+00:20:21,440 --> 00:20:27,440
+[Speaker 2] But there had been a lot of publicity even in the '50s about these giant brains
+
+244
+00:20:27,440 --> 00:20:30,440
+[Speaker 2] and what they will eventually be able to do.
+
+245
+00:20:30,440 --> 00:20:33,440
+[Speaker 2] And there was already perception of this accelerating returns.
+
+246
+00:20:33,440 --> 00:20:36,440
+[Speaker 2] Computers were getting twice as powerful every year.
+
+247
+00:20:36,440 --> 00:20:39,440
+[Speaker 2] So yes, people had heard of computers.
+
+248
+00:20:39,440 --> 00:20:43,440
+[Speaker 2] But they weren't using them because when I started using computers,
+
+249
+00:20:43,440 --> 00:20:48,440
+[Speaker 2] which was about 1960, there were like 10 or 12 computers in New York.
+
+250
+00:20:48,440 --> 00:20:51,440
+[Speaker 2] And one of which I had access to.
+
+251
+00:20:51,440 --> 00:20:56,440
+[Speaker 1] Well, you're a good cat to spend some time with me.
+
+252
+00:20:56,440 --> 00:20:57,440
+[Speaker 1] I really do appreciate it.
+
+253
+00:20:57,440 --> 00:20:58,440
+[Speaker 1] My pleasure.
+
+254
+00:20:58,440 --> 00:20:59,440
+[Speaker 2] Thank you very much.
+
+255
+00:20:59,440 --> 00:21:00,440
+[Speaker 1] Thank you very much.
diff --git a/content/レイ・カーツワイルのインタビュー日本語訳.md b/content/レイ・カーツワイルのインタビュー日本語訳.md
new file mode 100644
index 00000000..11ee2e60
--- /dev/null
+++ b/content/レイ・カーツワイルのインタビュー日本語訳.md
@@ -0,0 +1,2051 @@
+1
+
+00:00:00,000 --> 00:00:29,980
+
+[スピーカー2] お集まりいただき、本当にありがとうございます。どうもありがとうございます。ええ、ここに来られて嬉しいです。NAMMに来られて嬉しいです。以前は年に2回、いや、シカゴのショーで年に1回ここに来ていました。ああ、そうなんですか？ええ、83年からだったと思います。Kurzweil 250を発表した時、まだプロトタイプで、量産前でしたが、非公開の展示会を開いたところ、 非常に
+
+  
+
+2
+
+00:00:29,980 --> 00:00:59,960
+
+[スピーカー1] 熱狂的な反響をいただいたんです。それがきっかけのようなものでした。ああ、それは素敵ですね。もしよろしければ、音楽があなたにとってこれほど重要になった経緯について、少しお話しいただけますか？子供の頃、音楽に囲まれて育ったのでしょうか？ええ、父は有名な音楽家でした。ベル・シンフォニー、つまりベル電話会社の交響楽団を指揮していました。テレビにもよく出ていました。彼はピッツバーグ・オペラ、モービル・オペラ、クイーンズ・コンサート・オーケストラの代表を務め、
+
+  
+
+3
+
+00:00:59,960 --> 00:01:29,940
+
+[話者2] クイーンズポート・カレッジの音楽科を設立し、作曲家でもありました。だから、私が6歳の時に父がピアノを教えてくれたんです。実は60年代、父はムーグ・シンセサイザーに夢中になり、バッハの曲を演奏し始めました。当時、私はコンピュータに興味を持っていました。私は 自分でコンピュータを組み立てていました。すると彼は、「いつか君はコンピュータと音楽を融合させ、コンピュータ音楽で何かをするようになるだろう」と言いました。当時はまだコンピュータ音楽というものは存在していなかったのですが、最初の導入
+
+  
+
+4
+
+00:01:29,940 --> 00:01:59,920
+
+[スピーカー2] 技術と音楽の融合の最初の導入はアナログ・シンセシスでしたが、それが彼の興味を強く引きつけました。父は1970年に亡くなりましたが、私は常にその種の挑戦を心に留めてきました。私の主な関心事は、人工知能の一環としてのパターン認識であり、人間のパターン認識能力を模倣しようとするものです。そして実際に私は
+
+  
+
+5
+
+00:01:59,920 --> 00:02:17,910
+
+[スピーカー2] 70年代にプロジェクトを行いました。私は最初のOmniフォント、つまりあらゆる書体の文字認識システムを開発しました。その後、飛行機でたまたま隣に座った視覚障害のある男性から、「盲目であることは、実はハンディキャップではない。何でもできる。世界中を旅しているが、普通の活字が読めないことこそがハンディキャップなのだ」と聞かされました。
+
+  
+
+6
+
+00:02:17,910 --> 00:02:24,410
+
+[話者2] そこで私は、その文字認識技術を視覚障害者の読書問題に注力することにしたのです。なぜなら
+
+  
+
+7
+
+00:02:24,410 --> 00:02:27,860
+
+[話者2] それは、いわば「問題を探している解決策」のようなものだったからです。
+
+  
+
+8
+
+00:02:27,860 --> 00:02:29,970
+
+[話者2] そして、さらに2つの技術を開発する必要がありました。
+
+  
+
+9
+
+00:02:29,970 --> 00:02:33,910
+
+[話者2] 私たちは、世界初のフラットベッドスキャナーと音声合成システムを開発しました。
+
+  
+
+10
+
+00:02:33,910 - -> 00:02:41,020
+
+[話者2] そして、今日では至る所で見られるこれら3つの技術、文字認識、
+
+  
+
+11
+
+00:02:41,020 --> 00:02:45,520
+
+[話者2] 文字認識、11
+
+00:02:41,020 --> 00:02:45,520
+
+[話者2] フラットベッドスキャン、そして完全なテキスト読み上げ合成を組み合わせ、世界初の「印刷物読み上げ」
+
+  
+
+12
+
+00:02:45,520 --> 00:02:48,240
+
+[話者2] 視覚障害者向けの読み上げ機を開発しました。
+
+  
+
+13
+
+00:02:48,240 --> 00:02:51,900
+
+[話者2] そして、それを発表しました。
+
+  
+
+14
+
+00:02:51,900 --> 00:02:53,760
+
+[話者2] 3大ネットワークの夜のニュース番組すべてで取り上げられました。
+
+  
+
+15
+
+00:02:53,760 --> 00:02:59,360
+
+[話者2] ウォルター・クロケットは、彼のトレードマークである締めくくりの挨拶でこれを使いました。そうして、1976年1月13日は過ぎ去ったのです。
+
+  
+
+16
+
+00:02:59,360 --> 00:03:06,120
+
+[話者2] 数日後、私は『トゥデイ・ショー』に出演したのだが、たまたまスティーヴィー・ワンダーがその番組を見ていた。
+
+  
+
+17
+
+00:03:06,120 --> 00:03:10,420
+
+[話者2] そして、彼が私たちに電話をかけてきたのです。
+
+  
+
+18
+
+00:03:10,420 --> 00:03:13,120
+
+[話者2] 受付は、それが彼本人だとはあまり信じていませんでしたが、とにかく電話をつなぎました。
+
+  
+
+19
+
+00:03:13,120 --> 00:03:15,840
+
+[話者2] とにかく、彼は「これはすごいね。
+
+  
+
+20
+
+00:03:15,840 --> 00:03:20,060
+
+[話者2] 「ぜひ立ち寄って、一つ買いたい」と言われました。
+
+  
+
+21
+
+00:03:20,060 --> 00:03:23,980
+
+[話者2] 実は在庫がなかったのですが、急いで一つ仕上げておきました。
+
+  
+
+22
+
+00:03:23,980 --> 00:03:25,360
+
+[話者 2] 彼が立ち寄ってくれました。
+
+  
+
+23
+
+00:03:25,360 --> 00:03:26,840
+
+[話者 2] 私たちは数時間かけて、その使い方を彼に説明しました。
+
+  
+
+24
+
+00:03:26,840 --> 00:03:31,840
+
+[話者 2] 彼は、自分の読書機、カーツワイルの読書機を持ってタクシーで去っていきました。
+
+  
+
+25
+
+00:03:31,840 --> 00:03:34,420
+
+[話者2] それが私たちの最初の顧客でした。
+
+  
+
+26
+
+00:03:34,420 --> 00:03:39,860
+
+[話者2] しかし、それは1976年のことで、そこから今日まで続く関係が始まりました。
+
+  
+
+27
+
+00:03:39,860 --> 00:03:42,660
+
+[話者2] つまり、もう30年になるわけですね。
+
+  
+
+28
+
+00:03:42,660 --> 00:03:46,280
+
+[話者2] そして、長年にわたり、私たちは多くの議論を交わしてきました。
+
+  
+
+29
+
+00:03:46,280 --> 00:03:54,660
+
+[話者2] 彼は実はテクノロジーにかなり詳しいんです。それは、テクノロジーが障害の壁を取り払う素晴らしい手段であるからであり、
+
+  
+
+30
+
+00:03:54,660 --> 00:03:58,680
+
+[話者 2] それに、テクノロジーは音楽において非常に重要な役割を果たしているからです。
+
+  
+
+31
+
+00:03:58,680 --> 00:04:05,500
+
+[話者 2] そして 1982 年、彼はロサンゼルスにある「ワンダーランド」という新しいスタジオを私に見せてくれました。
+
+  
+
+32
+
+00:04:05,500 --> 00:04:10,300
+
+[話者2] そして、楽器の世界には、これら2つの切り離された世界が実際に存在しているという現状を嘆いていました。
+
+  
+
+33
+
+00:04:10,300 --> 00:04:11,440
+
+[話者2] 楽器の世界には、2つの切り離された世界が実在していたことを嘆いていました。
+
+  
+
+34
+
+00:04:11,440 --> 00:04:18,260
+
+[話者2] 電子の世界では、あらゆることを行うことができ、途方もない制御能力を手にしていたのです。
+
+  
+
+35
+
+00:04:18,260 --> 00:04:23,240
+
+[話者2] あるパートを演奏すると、コンピューターがそれを記憶し、後でそれを再生することができたのです。
+
+  
+
+36
+
+00:04:23,240 --> 00:04:29,620
+
+[話者 2] コンピュータのメモリから再生し、その上に別のフレーズを乗せて、多声のオーケストレーションを構築することができたのです。
+
+  
+
+37
+
+00:04:29,620 --> 00:04:32,040
+
+[話者 2] 音を加工することもできました。
+
+  
+
+38
+
+00:04:32,040 --> 00:04:39,080
+
+[話者2] しかし、あの電子音楽の世界で扱わなければならなかった音は、非常に薄っぺらで、 人工的な響きのする音でした。
+
+  
+
+39
+
+00:04:39,080 --> 00:04:43,520
+
+[話者2] そして、ピアノ、ギター、バイオリンといった19世紀のアコースティック楽器の音もありました。
+
+  
+
+40
+
+00:04:43,520 --> 00:04:51,260
+
+[話者2] そして、これらは深く複雑な共鳴を持っていたため、依然としてミュージシャンに好まれる音でした。
+
+  
+
+41
+
+00:04:51,260 --> 00:04:54,380
+
+[話者2] しかし、演奏するのは非常に難しいのです。
+
+  
+
+42
+
+00:04:54,380 --> 00:04:58,360
+
+[話者 2] つまり、ほとんどの音楽家は、ほとんどの楽器を演奏できないということです。
+
+  
+
+43
+
+00:04:58,360 --> 00:05:02,390
+
+[話者 2] たとえ名手であっても、それらすべてを演奏できたとしても、同時に演奏することはできない。
+
+  
+
+44
+
+00:05:02,390 --> 00:05:03,980
+
+[話者 2] 皆さんのほとんどは、一度に1つの音しか演奏できません。
+
+  
+
+45
+
+00:05:03,980 --> 00:05:08,440
+
+[話者2] ですから、いくつかの加工テクニックを除けば、音を変化させることはできません。
+
+  
+
+46
+
+00:05:08,440 --> 00:05:12,240
+
+[話者 2] バイオリンならビブラートをかけることはできますが、その表現は非常に限られています。
+
+  
+
+47
+
+00:05:12,240 --> 00:05:17,640
+
+[話者 2] ですから、電子音楽の世界で私たちが
+
+  
+
+48
+
+00:05:17,640 --> 00:05:22,700
+
+[話者2] 電子音楽の世界で持っている、この非常に豊富なコントロール技法を、
+
+  
+
+49
+
+00:05:22,700 --> 00:05:24,320
+
+[話者2] アコースティックな世界の、この非常に豊かで複雑な音に適用できたら、素晴らしいと思いませんか。
+
+  
+
+50
+
+00:05:24,320 --> 00:05:27,600
+
+[話者 2] そうすれば、アコースティックな音の複雑さを持ちながら、
+
+  
+
+51
+
+00:05:27,600 --> 00:05:30,960
+
+[話者 2] 音のような複雑さを持ちながらも、どのアコースティック楽器でも作り出すことのできない音です。
+
+  
+
+52
+
+00:05:30,960 --> 00:05:36,440
+
+[話者 2] それほど単純で人工的ではなく、
+
+  
+
+53
+
+00:05:36,440 --> 00:05:41,660
+
+[話者 2] 当時、電子音楽の世界で当たり前だったような、単純で薄っぺらなものではなかった。
+
+  
+
+54
+
+00:05:41,660 --> 00:05:45,660
+
+[話者 2] そして、高度な信号処理とパターン認識の知見を活用すれば、実際にそれが可能だと感じた。
+
+  
+
+55
+
+00:05:45,660 --> 00:05:48,060
+
+[話者2] それが実現できると確信しました。
+
+  
+
+56
+
+00:05:48,060 --> 00:05:52,780
+
+[話者2] そこで、1982年、正確には7月1日に、Kurzweil Musicを立ち上げました。
+
+  
+
+57
+
+00:05:52,780 --> 00:05:56,400
+
+[話者 2] C.V. ワンダーが私たちのアドバイザーでした。
+
+  
+
+58
+
+00:05:56,400 --> 00:06:01,640
+
+[話者 2] 私たちは、アコースティックピアノの音を忠実に再現できる最初の楽器、Kurzweil 250 の開発に着手しました。
+
+  
+
+59
+
+00:06:01,640 --> 00:06:03,300
+
+[話者 2] ピアノを再現できる最初の楽器、「Kurzweil 250」の制作に取り掛かりました。
+
+  
+
+60
+
+00:06:03,300 --> 00:06:05,440
+
+[話者 2] そして、そこには多くの課題がありました。
+
+  
+
+61
+
+00:06:05,440 --> 00:06:08,660
+
+[話者 2] ピアノをサンプリングすれば、ピアノのような音になるだろうと思うかもしれません。
+
+  
+
+62
+
+00:06:08,660 --> 00:06:13,660
+
+[話者 2] しかし、例えば当時のサンプラーは、最後の波形をループさせて、その後
+
+  
+
+63
+
+00:06:13,660 --> 00:06:16,220
+
+[話者2] 減衰するエンベロープを持っていたのです。
+
+  
+
+64
+
+00:06:16,220 --> 00:06:21,220
+
+[話者 2] ピアノの場合、倍音が基音の完全な倍数ではないため、これはうまくいきません。
+
+  
+
+65
+
+00:06:21,220 --> 00:06:23,220
+
+[話者 2] 少しズレているのです。
+
+  
+
+66
+
+00:06:23,220 --> 00:06:24,220
+
+[話者 2] それらは非調和音と呼ばれています。
+
+  
+
+67
+
+00:06:24,220 --> 00:06:26,220
+
+[話者2] それがピアノに、ある種の豊かな個性を与えているのです。
+
+  
+
+68
+
+00:06:26,220 --> 00:06:29,720
+
+[話者 2] ええと、ある波形をループさせると、すべての倍音が整数倍になります。
+
+  
+
+69
+
+00:06:29,720 --> 00:06:34,100
+
+[話者 2] それはオルガンの音のように聞こえ、ピアノの個性を失ってしまいます。
+
+  
+
+70
+
+00:06:34,100 --> 00:06:36,780
+
+[話者2] つまり、これはパターン認識から得られた知見ですね。
+
+  
+
+71
+
+00:06:36,780 --> 00:06:41,460
+
+[話者2] しかし、サンプリングにとっては非常に難しい課題です。特に当時はメモリが高価だったため、
+
+  
+
+72
+
+00:06:41,460 --> 00:06:47,640
+
+[話者 2] ピアノの音の 20 秒にわたる減衰をすべて録音する余裕など、実際にはありませんでした。
+
+  
+
+73
+
+00:06:47,640 --> 00:06:50,640
+
+[話者 2] 中央の C を強く弾くと、単に音量が大きくなるだけではありません。
+
+  
+
+74
+
+00:06:50,640 --> 00:06:57,840
+
+[話者 2] 音の高さの変化の経時的な傾向が、まったく異なってくるのです。
+
+  
+
+75
+
+00:06:57,840 --> 00:07:03,820
+
+[話者 2] 音量のレベルが異なると、音色の経時的な変化もまったく異なってきます。
+
+  
+
+76
+
+00:07:03,820 --> 00:07:06,880
+
+[話者2] そして、サンプリングでは、そのすべてを本当に捉えることはできません。
+
+  
+
+77
+
+00:07:06,880 --> 00:07:11,640
+
+[話者 2] また、ピッチをあまりに大きく変えようとすると、音色の特徴が非現実的な
+
+  
+
+78
+
+00:07:11,640 --> 00:07:12,640
+
+[話者 2] 方向に変化してしまいます。
+
+  
+
+79
+
+00:07:12,640 --> 00:07:15,980
+
+[話者 2] ペダルを踏んでも、音色同士が相互作用しなくなります。
+
+  
+
+80
+
+00:07:15,980 --> 00:07:21,400
+
+[話者2] つまり、サンプリングでは、
+
+  
+
+81
+
+00:07:21,400 --> 00:07:25,440
+
+[話者2] 信号処理やパターン認識といった他の要素を加えない限り、サンプリングでは再現できないのです。
+
+  
+
+82
+
+00:07:25,440 --> 00:07:26,440
+
+[スピーカー2] そこで、私たちはそれを実現しようと試みたのです。
+
+  
+
+83
+
+00:07:26,440 --> 00:07:37,440
+
+[話者2] そして、実際に私たちが初めてNAMMショーに出展したのは、83年のここアナハイムでのことで、そこで
+
+  
+
+84
+
+00:07:37,440 --> 00:07:39,440
+
+[スピーカー2] クルツワイル250のプロトタイプを展示しました。
+
+  
+
+85
+
+00:07:39,440 --> 00:07:43,780
+
+[スピーカー2] そして、人々は本当に驚かされました。なぜなら、それはまさにピアノのような音だったからです。
+
+  
+
+86
+
+00:07:43,780 --> 00:07:45,440
+
+[スピーカー2] 私たちは84年にその出荷を開始しました。
+
+  
+
+87
+
+00:07:45,440 --> 00:07:52,780
+
+[話者2] そして、それはピアノの音を再現できる最初の電子楽器として認められました。
+
+  
+
+88
+
+00:07:52,780 --> 00:07:54,280
+
+[話者2] 実際、最も難しい楽器です。
+
+  
+
+89
+
+00:07:54,280 --> 00:07:57,440
+
+[話者2] しかし、他のオーケストラ楽器も演奏できました。
+
+  
+
+90
+
+00:07:57,440 --> 00:08:02,500
+
+[話者2] そして、音質とリアリズムの面では、特に
+
+  
+
+91
+
+00:08:02,500 --> 00:08:04,540
+
+[話者2] アコースティック楽器に関してです。
+
+  
+
+92
+
+00:08:04,540 --> 00:08:07,880
+
+[話者2] ですが、音質全般においてもです。
+
+  
+
+93
+
+00:08:07,880 --> 00:08:09,440
+
+[話者2] そうして私たちはスタートを切ったのです。
+
+  
+
+94
+
+00:08:09,440 --> 00:08:16,440
+
+[話者1] 実は、ボールドウィンの元社長にインタビューした際、彼にこう尋ねたんです。「キャリアの中で、シンセサイザーがピアノに取って代わってしまうのではないかと心配したことはありましたか？
+
+  
+
+95
+
+00:08:16,440 --> 00:08:21, 440
+
+[話者1] 彼のキャリアの中で、シンセサイザーがピアノに取って代わることを心配した時期はあったか、と尋ねたんです。
+
+  
+
+96
+
+00:08:21,440 --> 00:08:24,440
+
+[話者1] すると彼は、「カーツウェイルが登場するまではなかった」と言いました。
+
+  
+
+97
+
+00:08:24,440 --> 00:08:25,440
+
+[話者1] それから心配し始めたんだ。」
+
+  
+
+98
+
+00:08:25,440 --> 00:08:26,440
+
+[話者1] そう。
+
+  
+
+99
+
+00:08:26,440 --> 00:08:33,440
+
+[話者 2] そうですね、家庭用市場のデジタルピアノは、
+
+  
+
+100
+
+00:08:33,440 --> 00:08:35,440
+
+[話者 2] 特にローエンド市場ですね。
+
+  
+
+101
+
+00:08:35,440 --> 00:08:39,440
+
+[話者2] 8歳の子供にピアノを買ってあげたいと思っている親御さんたちですね。
+
+  
+
+102
+
+00:08:39,440 --> 00:08:42,440
+
+[話者 2] 電子ピアノには多くの利点があるからです。
+
+  
+
+103
+
+00:08:42,440 --> 00:08:49,440
+
+[話者 2] 同じ価格帯であれば、アコースティックピアノよりもデジタルピアノの方が、より高品質な音を得ることができます。
+
+  
+
+104
+
+00:08:49,440 --> 00:08:57,440
+
+[話者2] ご存知のように、ハイエンドの分野では、依然として市場があり、アコースティックピアノには依然として利点があります。
+
+  
+
+105
+
+00:08:57,440 --> 00:09:04,440
+
+[話者 2] しかし、サリーがピアノのレッスンを受けるための、ごく普通のピアノについて言えば、
+
+  
+
+106
+
+00:09:04,440 --> 00:09:05,440
+
+[話者 2] 非常に高い価値があります。
+
+  
+
+107
+
+00:09:05,440 --> 00:09:07,440
+
+[話者 2] それに、他にもたくさんの機能がありますよね。
+
+  
+
+108
+
+00:09:07,440 --> 00:09:12,440
+
+[話者 2] サリーが曲の弾き方を覚えると、バイオリンや人間の声、その他あらゆる楽器でもそれを演奏できるようになります。
+
+  
+
+109
+
+00:09:12,440 --> 00:09:14,440
+
+[話者 2] 声や、その他すべての楽器で演奏することもできます。
+
+  
+
+110
+
+00:09:14,440 --> 00:09:24,440
+
+[話者 2] さらに、電子楽器には自動再生機能があり、ピアノの弾き方を教えてくれるほか、
+
+  
+
+111
+
+00:09:24,440 --> 00:09:27,440
+
+[話者2] シーケンサーを使って演奏を録音することもできます。
+
+  
+
+112
+
+00:09:27,440 --> 00:09:30,440
+
+[話者2] つまり、アコースティックピアノにはそうした機能は一切ないわけです。
+
+  
+
+113
+
+00:09:30,440 --> 00:09:32,440
+
+[話者2] 調律する必要もありません。
+
+  
+
+114
+
+00:09:32,440 --> 00:09:38,440
+
+[話者 2] ヘッドフォンを使用できるので、他の人に迷惑をかけることなく練習することができます。
+
+  
+
+115
+
+00:09:38,440 --> 00:09:39,440
+
+[話者 2] つまり、多くの利点があるわけです。
+
+  
+
+116
+
+00:09:39,440 --> 00:09:45,440
+
+[話者 2] そして、それは、私が思うに、アップライトピアノの市場をかなり食いつぶしてしまいました。
+
+  
+
+117
+
+00:09:45,440 --> 00:09:46,440
+
+[話者2] 興味深いですね。
+
+  
+
+118
+
+00:09:46,440 --> 00:09:54,440
+
+[話者1] そして、皆さんが目指していたことの一つは、単にピアノだけでなく、
+
+  
+
+119
+
+00:09:54,440 --> 00:09:58,440
+
+[話者1] 他にどんな楽器を再現できるのか？
+
+  
+
+120
+
+00:09:58,440 --> 00:10:04,440
+
+[話者2] そうですね、ピアノは最も難しいですが、実際にはどんなオーケストラの楽器でも再現できます。
+
+  
+
+121
+
+00:10:04,440 --> 00:10:10,440
+
+[話者2] また、これらの楽器を構成要素に分解して、合成音を作り出すこともできます。
+
+  
+
+122
+
+00:10:10,440 --> 00:10:16,440
+
+[話者 2] つまり、アコースティック楽器では作り出せない、しかしアコースティックサウンドの複雑さと豊かさを兼ね備えた、新しいサウンドなのです。
+
+  
+
+123
+
+00:10:16,440 --> 00:10:18,440
+
+[話者 2] そして、アコースティックサウンドの豊かさを兼ね備えています。
+
+  
+
+124
+
+00:10:18,440 --> 00:10:23,440
+
+[話者 2] おそらく、アコースティックな音から始めて、それが認識できないほどに加工したからでしょうが、
+
+  
+
+125
+
+00:10:23,440 --> 00:10:25,440
+
+[話者2] それでもなお、その複雑な特徴は保たれている。
+
+  
+
+126
+
+00:10:25,440 --> 00:10:36,440
+
+[話者2] つまり、例えばアナログシンセシスを一から作り上げるようなことをすれば、それは当時としては非常に画期的な
+
+  
+
+127
+
+00:10:36,440 --> 00:10:39,440
+
+[話者2] 発展であり、まったく新しい種類のサウンドでした。
+
+  
+
+128
+
+00:10:39,440 --> 00:10:45,440
+
+[話者 2] しかし、オシレーターを積み重ねるだけでは、作り出せる複雑さには限界があります。
+
+  
+
+129
+
+00:10:45,440 --> 00:10:50,440
+
+[話者 2] アコースティックサウンドの豊かさと複雑さを土台とし、それを
+
+  
+
+130
+
+00:10:50,440 --> 00:10:56,
+
+440
+
+[話者 2] 信号処理手法のあらゆる手段を用いてそれを加工することで、その複雑さと
+
+  
+
+131
+
+00:10:56,440 --> 00:11:00,440
+
+[話者 2] 音楽的な深みを保ちつつ、まったく新しい種類の音を作り出すことができるのです。
+
+  
+
+132
+
+00:11:00,440 --> 00:11:03,440
+
+[話者2] そして、あらゆる種類の他の合成技術を使ってそれを修正することができます。
+
+  
+
+133
+
+00:11:03,440 --> 00:11:12,440
+
+[スピーカー2] そこで、各チャンネルでかなりの量のデジタル信号処理を行う新しいチップを用意しました。
+
+  
+
+134
+
+00:11:12,440 --> 00:11:17,440
+
+[スピーカー2] つまり、サンプリングされた音から始めて、それを基本的に
+
+  
+
+135
+
+00:11:17,440 --> 00:11:27,440
+
+[話者2] チャンネルごとに、シンセサイザーによる音色変更機能の非常に複雑なセットを適用し、さらに
+
+  
+
+136
+
+00:11:27,440 --> 00:11:30,440
+
+[話者2] 信号処理をミックス音に適用することもできます。
+
+  
+
+137
+
+00:11:30,440 --> 00:11:33,440
+
+[話者2] つまり、多くの機能があるわけです。
+
+  
+
+138
+
+00:11:33,440 --> 00:11:37,440
+
+[スピーカー 2] そして、私がもうひとつ興味を持っているのは、テクノロジーのトレンドを追うことです。
+
+  
+
+139
+
+00:11:37,440 --> 00:11:43,440
+
+[話者 2] 発明家になりたいという興味があったことと、タイミングが極めて重要だと気づいたから、そうしました
+
+  
+
+140
+
+00:11:43,440 --> 00:11:46,440
+
+[話者 2] そして、ほとんどの発明はタイミングが合わないために失敗するのです。
+
+  
+
+141
+
+00:11:46,440 --> 00:11:50,440
+
+[話者 2] そこで、私はテクノロジーがどのように進化するかというモデルを開発しました。
+
+  
+
+142
+
+00:11:50,440 --> 00:11:53,440
+
+[話者2] そして、技術は実際には非常に予測可能な方法で進化します。
+
+  
+
+143
+
+00:11:53,440 --> 00:12:06,440
+
+[話者2] 私には「加速するリターンの法則」と呼ばれる理論があります。これは、多くの異なる分野における情報技術が、価格性能の面で基本的に毎年その能力を倍増させていることを示しています。
+
+  
+
+144
+
+00:12:06,440 -
+
+-> 00:12:07,440
+
+[話者 2] そして容量も。
+
+  
+
+145
+
+00:12:07,440 --> 00:12:11,440
+
+[話者 2] 毎年倍増というのは、非常に驚異的な指数関数的成長です。
+
+  
+
+146
+
+00:12:11,440 --> 00:12:13,440
+
+[スピーカー2] つまり、10年で1000倍になるということです。
+
+  
+
+147
+
+00:12:13,440 --> 00:12:15,440
+
+[話者 2] 20 年で 100 万倍。
+
+  
+
+148
+
+00:12:15,440 --> 00:12:18,440
+
+[話者 2] 30 年で 10 億倍。
+
+  
+
+149
+
+00:12:18,440 --> 00:12:23,440
+
+[話者 2] つまり、Curso 250 を発売してから 20 年以上が経ったことになります。
+
+  
+
+150
+
+00:12:23,440 --> 00:12:31,440
+
+[話者 2] つまり、この 20 年間で、情報技術、コンピュータ技術、デジタル信号処理は、すべて 100 万倍も強力になったのです。
+
+  
+
+151
+
+00:12:31,440 --> 00:12:45,440
+
+[話者 2] つまり、今では、20 年前に高価な機器でしか実現できなかった何千倍もの変換能力を、ローエンドの機器で実現できるようになったのです。
+
+  
+
+152
+
+00:12:45,440 --> 00:12:46,440
+
+[話者 2] ですから、この傾向は今後も続くでしょう。
+
+  
+
+153
+
+00:12:46,440 --> 00:12:52,440
+
+[話者 2] ご存知のように、PC を使えばかなり素晴らしいことができるという、ソフトウェア・シンセシスというまったく新しい現象があるからです。
+
+  
+
+154
+
+00:12:52,440 --> 00:12:59,440
+
+[話者1] 製品開発に関して、どのくらいその会社に専念していたんですか？
+
+  
+
+155
+
+00:12:59,440 --> 00:13:03,440
+
+[話者2] ええと、会社を立ち上げたのは82年です。
+
+  
+
+156
+
+00:13:03,440 --> 00:13:05,440
+
+[話者 2] 84年にCurso 250を発売しました。
+
+  
+
+157
+
+00:13:05,440 --> 00:13:10,440
+
+[話者 2] その数年後、最初のチップ搭載製品である「Curso 1000」を発売しました。
+
+  
+
+158
+
+00:13:10,440 --> 00:13:19,440
+
+[話者2] 1990年に、当社は韓国のピアノメーカーであるヨンチャンに会社を売却しました。
+
+  
+
+159
+
+00:13:19,440 --> 00:13:24,440
+
+[話者 2] そして、私は95年まで積極的に関わり続けました。
+
+  
+
+160
+
+00:13:24,440 --> 00:13:34,440
+
+[話者 2] その後、私は直接関わることはなくなりましたが、浮き沈みのある中で、すべてのエンジニアたちとは密接に連絡を取り合っていました。
+
+  
+
+161
+
+00:13:34,440 --> 00:13:44,440
+
+[話者 2] 私を含め、多くの主要メンバーが 95 年、96 年、97 年頃に去りました。Yong Chang は近年、財政難に陥っていました。
+
+  
+
+162
+
+00:13:44,440 --> 00:13:49,440
+
+[話者 2] そして、私たちは実際に、どうすれば会社を再生できるかについて懸念を抱いていました。
+
+  
+
+163
+
+00:13:49,440 --> 00:14:00,440
+
+[話者 2] 現代自動車が当社を買収し、同社は豊富なリソースを持ち、高品質な製品の製造方法も熟知しているため、実際には非常にうまくいったと思います。
+
+  
+
+164
+
+00:14:00,440 --> 00:14:02,440
+
+[話者 2] ですから、彼らは会社を再生させているのです。
+
+  
+
+165
+
+00:14:02,440 --> 00:14:09,440
+
+[話者 2] 彼らのリソースと、Kurzweil のブランド、そして Kurzweil のコアテクノロジーが組み合わさって、強力な組み合わせになると思います。
+
+  
+
+166
+
+00:14:09,440 --> 00:14:21,440
+
+[話者 2] しかし、技術はそのまま残っており、重要なプロジェクトのひとつである「Mara」チップがありました。NAMM で紹介されている製品の一部は、このチップをベースにしており、それは残っていました。
+
+  
+
+167
+
+00:14:21,440 --> 00:14:26,440
+
+[スピーカー 2] そして、それは本当に最先端のチップです。
+
+  
+
+168
+
+00:14:26,440 --> 00:14:29,440
+
+[スピーカー 2] ですから、コア技術は非常に強力なままです。
+
+  
+
+169
+
+00:14:29,440 --> 00:14:33,440
+
+[話者2] 主要なエンジニアたちが一貫して残っているという点で、非常に強固な基盤があります。
+
+  
+
+170
+
+00:14:33,440 --> 00:14:37,440
+
+[話者 2] 現代自動車は現在、会社を再建しているところです。
+
+  
+
+171
+
+00:14:37,440 --> 00:14:40,440
+
+[話者 2] 昨年の 1 年間で、当社の研究開発費は 4 倍になりました。
+
+  
+
+172
+
+00:14:40,440 --> 00:14:45,440
+
+[スピーカー1] ちょっと話を戻して、ちょっと突拍子もない質問をさせてください。
+
+  
+
+173
+
+00:14:45,440 --> 00:14:58,440
+
+[話者 2] ああ、実は今、再び Kurzweil Music の顧問として戻ってきて、技術戦略の支援や、創業者としての広報活動も担当しています。
+
+  
+
+174
+
+00:14:58,440 --> 00:15:03,440
+
+[話者 2] ええ、新しいチームともかなり密接に関わっています。
+
+  
+
+175
+
+00:15:03,440 --> 00:15:04,440
+
+[話者1] 素晴らしいですね。
+
+  
+
+176
+
+00:15:04,440 --> 00:15:07,440
+
+[話者1] では、新製品が出る予定ですか？
+
+  
+
+177
+
+00:15:07,440 --> 00:15:25,440
+
+[話者 2] ええ、新製品があります。MP3です。これは非常に印象的で、最大128音色、32ビット音色を128個搭載しています。
+
+  
+
+178
+
+00:15:25,440 --> 00:15:31,440
+
+[話者 2] 各ボイスには、ボイスごとにかなりの量のデジタル信号処理能力があります。
+
+  
+
+179
+
+00:15:31,440 --> 00:15:36,440
+
+[話者 2] そして、ミックス出力用の非常に洗練されたエフェクトプロセッサーも搭載されています。
+
+  
+
+180
+
+00:15:36,440 --> 00:15:42,440
+
+[スピーカー 2] その他にも、高度なシーケンサーやサウンドの修正機能など、多くの機能があります。
+
+  
+
+181
+
+00:15:42,440 --> 00:15:52,440
+
+[話者2] つまり、かなりハイエンドな楽器ですが、定価は2,500ドルなので、実売価格はそれより安くなるでしょう。
+
+  
+
+182
+
+00:15:52,440 --> 00:15:54,440
+
+[スピーカー2] 実はかなり素晴らしいです。
+
+  
+
+183
+
+00:15:54,440 --> 00:16:01,440
+
+[話者2] それからSP2、Stage Piano 2というモデルもあります。これはいわばその廉価版ですが、それでも非常に素晴らしいです。
+
+  
+
+184
+
+00:16:01,440 --> 00:16:04,440
+
+[話者2] 64ボイスですが、それでも十分多いですね。
+
+  
+
+185
+
+00:16:04,440 --> 00:16:08,440
+
+[スピーカー2] 価格は1,500ドル程度になるでしょう。
+
+  
+
+186
+
+00:16:08,440 --> 00:16:11,440
+
+[話者2] つまり、これらはかなり素晴らしい製品で、ここにあるわけです。
+
+  
+
+187
+
+00:16:11,440 --> 00:16:15,440
+
+[話者2] 実際、スティーヴィー・ワンダーがほんの数時間前にこれらを演奏していました。
+
+  
+
+188
+
+00:16:15,440 --> 00:16:16,440
+
+[話者2] 素晴らしいですね。
+
+  
+
+189
+
+00:16:16,440 --> 00:16:25,440
+
+[話者1] 聞こうと思っていたんですが、あなたにとって、電子音楽の父とは誰だと思いますか？
+
+  
+
+190
+
+00:16:25,440 --> 00:16:32,440
+
+[話者1] 頭の中にはたくさんの名前が浮かびますが、あなたなら誰をそう考えるのでしょうか。
+
+  
+
+191
+
+00:16:32,440 --> 00:16:36,440
+
+[話者2] そうですね、ボブ・ムーグが本当にその存在を世に広めたと思います。
+
+  
+
+192
+
+00:16:36,440 --> 00:16:39,440
+
+[話者2] 彼はテルミンに触発されました。
+
+  
+
+193
+
+00:16:39,440 --> 00:16:46,440
+
+[話者2] 実際、彼は若い頃からテルミンの製作を始めていましたが、その後、それを全く新しい方向へと発展させました
+
+  
+
+194
+
+00:16:46,440 --> 00:16:55,440
+
+[話者 2] そして、当時の技術、つまりアナログ合成と発振器を用いて、シンセサイザーの基礎を確立しました。
+
+  
+
+195
+
+00:16:55,440 --> 00:16:59,440
+
+[話者 2] 彼は、まったく新しい種類の楽器と、まったく新しい種類の音を生み出したのです。
+
+  
+
+196
+
+00:16:59,440 --> 00:17:02,440
+
+[話者2] 彼は大きな興奮を巻き起こしました。
+
+  
+
+197
+
+00:17:02,440 --> 00:17:11,440
+
+[話者2] つまり、ウォルター・カルロスによるアルバム『スイッチ・オン・バッハ』は、当時はウォルターという名前だったと思いますが、大きな話題を呼びました。
+
+  
+
+198
+
+00:17:11,440 --> 00:17:18,440
+
+[話者2] そこで、クラシック音楽家であり、オペラ指揮者、ティンパニ指揮者、そしてコンサートピアニストでもあった私の父は、
+
+  
+
+199
+
+00:
+
+17:18,440 --> 00:17:22,440
+
+[話者2] それにすごく興奮したんだ。
+
+  
+
+200
+
+00:17:22,440 --> 00:17:26,440
+
+[話者2] そして、クラシック界からポップス界に至るまで、とてつもない関心を集めたんだ。
+
+  
+
+201
+
+00:17:26,440 --> 00:17:31,440
+
+[話者2] そして、まさに、つまり、シンセサイザーを生み出したのです。
+
+  
+
+202
+
+00:17:31,440 --> 00:17:33,440
+
+[話者2] つまり、それにはルーツがあったのです。
+
+  
+
+203
+
+00:17:33,440 --> 00:17:39,440
+
+[スピーカー2] 彼がゼロから作り出したわけではありませんが、それがまさにシンセサイザーの始まりでした。
+
+  
+
+204
+
+00:17:39,440 --> 00:17:46,440
+
+[話者2] その後、デジタルシンセサイザーやサンプラーに向けた様々な取り組みが行われました。
+
+  
+
+205
+
+00:17:46,440 --> 00:17:48,440
+
+[スピーカー2] Emuは重要な役割を果たしました。
+
+  
+
+206
+
+00:17:48,440 --> 00:17:58,440
+
+[スピーカー2] そして、私たちの目標は、単なるサンプリングにとどまらず、洗練された信号処理を取り入れることでした。
+
+  
+
+207
+
+00:17:58,440 --> 00:18:05,440
+
+[話者2] そうすることで、サンプリングだけでは得られない、アコースティック楽器の複雑な効果を実際に捉えることができるのです。
+
+  
+
+208
+
+00:18:05,440 --> 00:18:08,440
+
+[話者2] というのも、サンプラーではピアノの音をうまく捉えることができなかったからです。
+
+  
+
+209
+
+00:18:08,440 --> 00:18:14,440
+
+[話者1] 時間がなくなってきましたので、近いうちに必ずパート2をやらなければなりませんね。
+
+  
+
+210
+
+00:18:14,440 --> 00:18:23,440
+
+[話者1] でも、一つお聞きしたいのですが、1965年のテレビ出演のテープはお持ちですか？
+
+  
+
+211
+
+00:18:23,440 --> 00:18:25,440
+
+[話者1] それは、私に秘密があるということですか？
+
+  
+
+212
+
+00:18:25,440 --> 00:18:26,440
+
+[話者2] ええ。
+
+  
+
+213
+
+00:18:26,440 --> 00:18:33,440
+
+[話者2]
+
+実は、最近、C-SPAN 2の「Book TV」にある『In Depth』という番組で、3時間のインタビューを受けました。
+
+  
+
+214
+
+00:18:33,440 --> 00:18:37,440
+
+[話者2] 番組の冒頭で、それを紹介しました。
+
+  
+
+215
+
+00:18:37,440 --> 00:18:39,440
+
+[話者2] コピーをお送りできますよ。
+
+  
+
+216
+
+00:18:39,440 --> 00:18:41,440
+
+[話者1] ぜひ見てみたいです、ええ。
+
+  
+
+217
+
+00:18:41,440 --> 00:18:44,440
+
+[話者2] ええ、実はあれは高校時代にやった音楽プロジェクトで、
+
+  
+
+218
+
+00:18:44,440 --> 00:18:50,440
+
+[話者2] そこで、パターン認識を使ってメロディのパターンを見つけたりしたんだ。
+
+  
+
+219
+
+00:18:50,440 --> 00:18: 54,440
+
+[話者2] だから、バッハやショパン、ベートーヴェンのメロディーを入力すると、
+
+  
+
+220
+
+00:18:54,440 --> 00:18:58,440
+
+[話者2] それが実際に、それらの作曲家が用いたパターンの種類をモデル化し、
+
+  
+
+221
+
+00:18:58,440 --> 00:19:01,440
+
+[話者2] そして、それらのパターンを使ってオリジナルの音楽を作曲するんです。
+
+  
+
+222
+
+00:19:01,440 --> 00:19:07,440
+
+[話者2] そして、場合によっては、モーツァルトやショパンの二流の弟子のような音になるでしょう。
+
+  
+
+223
+
+00:19:07,440 --> 00:19:13,440
+
+[話者2] そして、いくつかの科学コンテストで入賞し、ジョンソン大統領にお会いする機会も得ました。
+
+  
+
+224
+
+00:19:13,440 --> 00:19:17,440
+
+[話者2] あるテレビ番組に招待されました。
+
+  
+
+225
+
+00:19:17,440 --> 00:19:21,440
+
+[話者2] 当時はテレビ番組があまりなかったので、秘密があるんです。
+
+  
+
+226
+
+00:19:21,440 --> 00:19:23,440
+
+[話者2] 私の秘密は、番組に出て、曲を演奏したんですが、
+
+  
+
+227
+
+00:19:23,440 --> 00:19:26,440
+
+[話者2] その秘密とは、その曲を作曲したコンピュータを私が作ったということでした。
+
+  
+
+228
+
+00:19:26,440
+
+--> 00:19:32,440
+
+[話者1] 当時、ほとんどのアメリカ人はコンピュータが何なのかさえ知っていたと思いますか？
+
+  
+
+229
+
+00:19:32,440 --> 00:19:36,440
+
+[話者2] ええ、あの巨大な「ブレイン」についてはすでに話題になっていましたし、
+
+  
+
+230
+
+00:19:36,440 --> 00:19:38,440
+
+[話者2] それに、もう当時から、あのね、
+
+  
+
+231
+
+00:19:38,440 --> 00:19:41,440
+
+[話者2] それらは思考しているのか、そして何ができるようになるのか？
+
+  
+
+232
+
+00:19:41,440 --> 00:19:44,440
+
+[話者2] そして、初期のコンピュータの中には、
+
+  
+
+233
+
+00:19:44,440 --> 00:19:48,440
+
+[話者2] プロの数学者たちにはできなかったようなことを。
+
+  
+
+234
+
+00:19:48,440 --> 00:19:56,440
+
+[話者2] 興味深いことに、皮肉なことに、人工知能の歴史は人間の技能とは正反対のものです。
+
+  
+
+235
+
+00:19:56,440 --> 00:20:00,440
+
+[話者 2] コンピュータは、専門家の行うようなことを、非常に早く習得しました。
+
+  
+
+236
+
+00:20:00,440 --> 00:20:04,440
+
+[話者 2] 例えば、数学の定理を解いたり、病気を診断したりといったことです。
+
+  
+
+237
+
+00:20:04,440 --> 00:20:09,440
+
+[話者2] しかし今日でも、例えば犬と猫の違いを見分けること、
+
+  
+
+238
+
+00:20:09,440 --> 00:20:11,440
+
+[話者 2] 5歳の子供でもできるようなことなのに。
+
+  
+
+239
+
+00:20:11,440 --> 00:20:15,440
+
+[話者 2] 彼らは実際に、別の機械、つまり犬と猫を見分ける方法を学んでいるのです。
+
+  
+
+240
+
+00:20:15,440 --> 00:20:16,440
+
+[話者2] しかし、それは逆だったのです。
+
+  
+
+241
+
+00:20:16,440 --> 00:20:18,440
+
+[話者2] 彼らはまず、大人ができることを学ぶようになりました。
+
+  
+
+242
+
+00:20:18,440 --> 00:20:21,440
+
+[話者2] そして今、彼らはその逆の順序で、子供ができることを学んでいる。
+
+  
+
+243
+
+00:20:21,440 --> 00:20:27,440
+
+[話者2] しかし、50年代でさえ、これらの巨大な脳について
+
+  
+
+244
+
+00:20:27,440 --> 00:20:30,440
+
+[話者2] そして、それらが最終的に何ができるようになるかについて、多くの報道がなされていました。
+
+  
+
+245
+
+00:20:30,440 --> 00:20:33,440
+
+[話者 2] そして、この「加速するリターン」については、すでに認識されていました。
+
+  
+
+246
+
+00:20:33,440 --> 00:20:36,440
+
+[話者 2] コンピュータの性能は毎年2倍になっていました。
+
+  
+
+247
+
+00:20:36,440 --> 00:20:39,440
+
+[話者2] そう、人々はコンピュータのことを知っていました。
+
+  
+
+248
+
+00:20:39,440 --> 00:20:43,440
+
+[話者2] しかし、彼らはコンピュータを使ってはいませんでした。私が使い始めた頃、
+
+  
+
+249
+
+00:20:43,440 --> 00:20:48,440
+
+[話者2] 1960年頃のことですが、当時ニューヨークには10台か12台ほどのコンピュータしかありませんでした。
+
+  
+
+250
+
+00:20:48,440 --> 00:20:51,440
+
+[話者2] そのうちの1台に、私はアクセスできたんです。
+
+  
+
+251
+
+00:20:51,440 --> 00:20:56,440
+
+[話者1] まあ、君は 私と一緒に時間を過ごしてくれるなんて、君はいい奴だ。
+
+  
+
+252
+
+00:20:56,440 --> 00:20:57,440
+
+[話者1] 本当に感謝しているよ。
+
+  
+
+253
+
+00:20:57,440 --> 00:20:58,440
+
+[話者1] どういたしまして。
+
+  
+
+254
+
+00:20:58,440 --> 00:20:59,440
+
+[話者2] どうもありがとうございました。
+
+  
+
+255
+
+00:20:59,440 --> 00:21:00,440
+
+[話者 1] どうもありがとうございます。
\ No newline at end of file