Name: レナード・バーンスタイン - ロック・レボリューション（シンクロナイズド (Leonard Bernstein - The Rock Revolution (synchronized))
Uploaded: 2021-01-14T07:09:22.000Z
Duration: 22 min 51 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

-You see you're supposed to say to me “You represent everything I hate”.

- But that's not true. - I’m supposed to say to you:

“You represent everything I don’t understand.”

But so far I understand everything you've said             and so far you say you trust me

-I shall not put down a whole group of people                        because of some of them

-Well, in addition to the age I represent:                            I represent a bourgeois family man,

I represent an institution like the New York Philharmonic which I am the head of

I represent establishment if you wish in a way I hate that word

and I don't like to think of myself that way but that's something that you would naturally rebel against.

- Yes... - But I don't find you rebelling against me,

This is David Oppenheim for CBS News. What this broadcast is about is the gap,

the aching gap between the two generations;

we of the middle-agers trying to understand,                 the young ones trying to explain.

Tonight these young ones are pop musicians... on tour

-The kids today aren't just going to accept what's laid down for them by the older generation.

-We want to have the adults around, we just don't want them constantly tell us what to do.

-Pop singers get through to millions of people              and I really mean millions.

-What kind of people are they?                                   They don't get through to the adults.

- They get through to the kids                                       that are gonna become adults.

- Lot of the kids that are walking                              around the street with long hair,

Lot of kids that you see                                                        from time to time and wretch over

are going to be running your government for you.

Music is the key to all this                                                              and so the first part of this broadcast

is a look at the songs themselves;                              both the notes and the words.

For this phase here's Leonard Bernstein. -For a long time now I've been fascinated

by this strange and compelling scene                       called pop music.

I say strange because it's unlike any scene I can think of in the history of all music.

By kids I mean anyone                                               from 8 years old to 25.

They write the songs, they sing them,                          own them, record them.

They also buy the records, create the market. They set the fashions in the music, in dress,

in dance, in hairstyle, lingo, social attitudes.

And I say compelling because it shows                            no sign of abatement;

but the songs keep coming increasingly odd, defiant and free.

This music raises lots of questions but right now for openers

here are the two that concern me most: 1. Why do adults resent it so?

-I came to these songs naturally                             through my children

but I have a sneaky feeling I would have heard and responded to them anyway.

After all they are part of music which is my world

and a part that is so pervasive                                       as to be almost inescapable.

and even forbid it on the grounds that it is noisy, unintelligible or morally corruptive.

I have neither escaped nor forbidden it,                   neither as a musician, nor as a father.

I think this music has something terribly important to tell us, adults,

and we would be wise not to behave                            like ostriches about it.

Of course, what I like is maybe 5% of the whole output which pours over this country

like the two oceans from both coasts, and it's mostly trash.

But that good 5% is so exciting and vital

and may I say significant, that it claims the attention of every thinking person.

Ok, let's get down to some specific songs,                      to the music itself.

Now, that's not just cheery, it's also very unorthodox.

For one thing: it suddenly, if you noticed, leaves out a beat,

so that an ordinary 4 beat measure becomes a 3 beat measure, listen...

You see just 1 sudden bar of 3 among all those fours.

We never used to find that in pop music,                        it's new.

And then just as suddenly there was that arbitrary change of key.

Then there was that odd little canon at the end,               a sort of round.

What a way to fade out; in a new key,                               a shifting meter, a sudden new counterpoint.

But that's the Beatles - always unpredictable               and a bit more inventive than most.

You know a remarkable song of theirs called             "She said, she said"

In that song which goes nicely along in 4,               there's again a sneaky switch to 3/4 time

only this time it's not just for one bar,                            but for a whole passage

Did you get it? If not, listen again,                                    to the Beatles this time.

and we're back again safely in the old 4 beat

Now, the point I want to make is that such oddities as these are not just tricks or show-off devices.

In terms of pop music's basic English, so to speak, they are real inventions.

And it's not only the Beatles who make                      these inventions.

For instance, there's a group known as "The Left Bank",                                                                 that has a tune called "Pretty Ballerina".

This tune is built not in the usual major or minor scale,

but in a combination of the Lydian                                and Mixolydian modes, imagine that !!

Comes out with a sort of Turkish or Greek sound.

And even so commonplace a number as                     The Monkeys' recent hit I'm a Believer

It's going along in the standard                                        gospel shouting tradition

What a place to end on:                                                                   a totally unexpected chord.

Now I know you may say: "Well what's so great about that chord, it's ordinary.

We've had much more sophisticated                                   and adventurous harmonies

in pop music of the 30ies. What about Gershwin?

What about Duke Ellington,"Sophisticated Lady" with those rich chromatic parallel 7th chords."

Yes, but that's the whole point: this pop generation has rejected that old

chromatic sound as too sophisticated, the sound of an older, sleeker generation,

the old-fashioned sound of the cocktail lounge.

This new music is much more primitive                          in its harmonic language,

Never forget that this music employs                               a highly limited musical vocabulary:

limited harmonically, rhythmically and melodically.

But within that restricted language all these new adventures are simply extraordinary.