1 00:00:09,240 --> 00:00:12,280 S1: Tokyo Music Institute. This is K, a classical musician. 2 00:00:12,400 --> 00:00:14,520 S2: I'm Yanaka, a classical music producer. 3 00:00:14,720 --> 00:00:18,439 S1: Today we're recording again at Amazon Music Studio Tokyo. You know, 4 00:00:18,440 --> 00:00:21,560 S1: there are often opportunities to share your thoughts after a concert, 5 00:00:21,560 --> 00:00:23,880 S1: but I'm really not good at that at all. Even 6 00:00:23,880 --> 00:00:26,760 S1: if it's a friend's concert, I'll say it's my teachers. 7 00:00:26,760 --> 00:00:28,960 S1: I'm the type who won't go if I don't absolutely 8 00:00:28,960 --> 00:00:32,159 S1: have to, I'll just head home instead. I do bring gifts, 9 00:00:32,159 --> 00:00:34,120 S1: but I'll leave them with the staff and find ways 10 00:00:34,120 --> 00:00:36,559 S1: to avoid having to give my opinion afterward. 11 00:00:36,600 --> 00:00:38,920 S2: You know, there's this niche situation where you have to 12 00:00:38,960 --> 00:00:42,640 S2: give feedback to performers, topics that might seem pretty specific 13 00:00:42,640 --> 00:00:46,800 S2: to regular folks, but honestly, I think it's interesting and 14 00:00:46,800 --> 00:00:48,960 S2: could be useful in other contexts too. 15 00:00:49,280 --> 00:00:51,440 S1: So let's say I went to a concert with you 16 00:00:51,640 --> 00:00:54,360 S1: after it ends. You'd naturally say something about it, right? 17 00:00:54,360 --> 00:00:56,760 S1: It's the same in situations like that, isn't it? 18 00:00:56,760 --> 00:00:59,080 S2: This topic itself is pretty niche, but I thought it 19 00:00:59,080 --> 00:01:01,890 S2: might have some broader Their applications, so please listen with 20 00:01:01,890 --> 00:01:02,650 S2: that in mind. 21 00:01:02,690 --> 00:01:05,610 S1: No plans at all. I'm full of expectations. It's the 22 00:01:05,610 --> 00:01:08,569 S1: same with movies, right? Art galleries too. Or whenever we 23 00:01:08,569 --> 00:01:10,010 S1: enjoy something together. 24 00:01:10,010 --> 00:01:13,490 S2: That's right. It's something really important. Especially when you go 25 00:01:13,490 --> 00:01:17,729 S2: to concerts or movies with close friends afterward. The way 26 00:01:17,730 --> 00:01:20,450 S2: you share your impressions can make the meal that follows 27 00:01:20,450 --> 00:01:21,650 S2: so much more enjoyable. 28 00:01:21,930 --> 00:01:23,929 S1: And people often say that going to the movies is 29 00:01:23,930 --> 00:01:26,450 S1: good for one of your early dates, right? It's partly 30 00:01:26,450 --> 00:01:28,770 S1: because you get to spend time together in a dark, 31 00:01:28,770 --> 00:01:31,610 S1: intimate space, but it's also because afterward, when you talk 32 00:01:31,650 --> 00:01:34,490 S1: about the film, you can really understand the other person's 33 00:01:34,490 --> 00:01:36,090 S1: values and perspectives. 34 00:01:36,250 --> 00:01:40,170 S2: That's why it's so important. That's where the judgment happens. Conversely, 35 00:01:40,650 --> 00:01:43,209 S2: when it comes to sharing opinions about movies and such, 36 00:01:43,490 --> 00:01:46,970 S2: let's go back to our original topic. For instance, if 37 00:01:46,970 --> 00:01:49,570 S2: you find yourself in a situation where you've gone to 38 00:01:49,570 --> 00:01:52,370 S2: a concert of a friend or an acquaintance, maybe even 39 00:01:52,370 --> 00:01:55,970 S2: a teacher, though that might be trickier, and afterward you're 40 00:01:55,970 --> 00:01:58,570 S2: expected to give your feedback. What would you do. 41 00:01:58,730 --> 00:02:01,550 S1: If they're really close friends, I'd just say hello without 42 00:02:01,550 --> 00:02:02,750 S1: commenting on anything. 43 00:02:03,070 --> 00:02:05,990 S2: The difficulty in giving feedback to performers is, I think, 44 00:02:05,990 --> 00:02:09,430 S2: related to the unique mentality that musicians have. So do 45 00:02:09,430 --> 00:02:12,190 S2: you want people to share their thoughts after you perform, 46 00:02:12,310 --> 00:02:14,750 S2: or would you rather they didn't? Are you happy when 47 00:02:14,750 --> 00:02:17,590 S2: acquaintances who come to your concert give you their feedback? 48 00:02:17,750 --> 00:02:19,750 S1: But everyone only says nice things? 49 00:02:19,990 --> 00:02:22,590 S2: Yeah, not particularly happy about it. 50 00:02:22,630 --> 00:02:25,590 S1: Getting criticism is usually only from teachers, so when a 51 00:02:25,590 --> 00:02:29,549 S1: teacher comes and says something, I gratefully accept their words. 52 00:02:29,550 --> 00:02:31,590 S1: But with friends they just tell me it was a 53 00:02:31,590 --> 00:02:32,669 S1: good performance. 54 00:02:32,669 --> 00:02:34,190 S2: What was good about it, you know? 55 00:02:34,389 --> 00:02:35,950 S1: But that's good enough for me. 56 00:02:35,950 --> 00:02:39,950 S2: I actually think communication is incredibly important as a performer. 57 00:02:40,310 --> 00:02:42,630 S2: I give it my all, but I think it's really 58 00:02:42,630 --> 00:02:45,790 S2: valuable to get feedback on what actually reached the audience 59 00:02:45,790 --> 00:02:49,110 S2: and what impression I made. I have a few personal 60 00:02:49,110 --> 00:02:51,389 S2: rules about this, like sending messages and such. 61 00:02:51,630 --> 00:02:53,950 S1: Messages always come in, don't they? They always come in 62 00:02:53,950 --> 00:02:54,950 S1: after it's over. 63 00:02:54,950 --> 00:02:57,110 S2: I didn't want to bother them by going backstage and 64 00:02:57,110 --> 00:02:59,590 S2: taking up their time. Plus, I'd have to wait in 65 00:02:59,590 --> 00:03:00,430 S2: line anyway. 66 00:03:00,680 --> 00:03:01,520 S1: That's right. 67 00:03:01,520 --> 00:03:03,519 S2: I've set a rule for myself. And the first one 68 00:03:03,520 --> 00:03:04,639 S2: is to never tell a lie. 69 00:03:04,880 --> 00:03:07,120 S1: Yeah, even if people tell me it was good when 70 00:03:07,120 --> 00:03:08,560 S1: I know I really messed up. 71 00:03:08,560 --> 00:03:11,120 S2: I don't say things just to be sociable, but I 72 00:03:11,120 --> 00:03:13,080 S2: make sure to put into my own words what impressed 73 00:03:13,080 --> 00:03:14,520 S2: me most about the performance. 74 00:03:14,639 --> 00:03:15,480 S1: For example. 75 00:03:15,480 --> 00:03:17,839 S2: I never had that impression of the second movement of 76 00:03:17,840 --> 00:03:21,279 S2: this piece, but today I really came to love that movement. 77 00:03:21,600 --> 00:03:24,359 S2: Or I'd say things like, so that's what this piece 78 00:03:24,360 --> 00:03:27,639 S2: was about. I understood it for the first time and 79 00:03:27,639 --> 00:03:30,760 S2: it was wonderful. That's why I tried to express which 80 00:03:30,760 --> 00:03:33,160 S2: part of the piece I liked, which part left an 81 00:03:33,160 --> 00:03:36,640 S2: impression on me. I don't necessarily just say the performance 82 00:03:36,640 --> 00:03:40,320 S2: was good, the performance was good. Rather, I might say 83 00:03:40,320 --> 00:03:43,040 S2: how the piece itself really resonated with me, or how 84 00:03:43,040 --> 00:03:45,880 S2: it matched my current emotional state and what I'm taking 85 00:03:45,880 --> 00:03:49,480 S2: away from it. But, you know, quite a few artists 86 00:03:49,760 --> 00:03:52,120 S2: tell me they find it incredibly satisfying when I share 87 00:03:52,120 --> 00:03:53,400 S2: my impressions with them. 88 00:03:53,600 --> 00:03:55,600 S1: It would be nice to have you by my side. 89 00:03:55,600 --> 00:03:58,400 S1: You're likely to get a lot of invitations from now on. 90 00:03:58,440 --> 00:04:01,010 S1: In my case, I don't really go to concerts much 91 00:04:01,050 --> 00:04:03,210 S1: this time. When I asked you for tickets, it's because 92 00:04:03,210 --> 00:04:05,970 S1: I actually want to go, which is quite rare for me. 93 00:04:06,010 --> 00:04:06,530 S2: Yeah. 94 00:04:06,930 --> 00:04:08,810 S1: Um, when I go to a friend's concert, it's partly 95 00:04:08,810 --> 00:04:11,250 S1: about listening to the music, but there's also this feeling 96 00:04:11,250 --> 00:04:14,010 S1: of going to support my friends. So I never go backstage. 97 00:04:14,010 --> 00:04:16,370 S1: I just leave a message. Usually afterward, I'll get a 98 00:04:16,370 --> 00:04:18,930 S1: message from my friend saying, this part went like this 99 00:04:18,930 --> 00:04:21,050 S1: and that. How did it sound to you? That's when 100 00:04:21,050 --> 00:04:24,810 S1: I respond. Friends ask honestly, how was this part? As 101 00:04:24,810 --> 00:04:27,210 S1: someone who plays the same instrument because they feel something 102 00:04:27,210 --> 00:04:30,090 S1: didn't go well, they're not asking about how to improve 103 00:04:30,089 --> 00:04:32,570 S1: or what they should do differently, but rather how it 104 00:04:32,570 --> 00:04:35,490 S1: actually sounded. I'm honest in my response, but I'll say 105 00:04:35,490 --> 00:04:38,850 S1: things like, honestly, I didn't really notice that. Or yes, 106 00:04:38,850 --> 00:04:41,170 S1: that might have been the case, but it wasn't noticeable. 107 00:04:41,170 --> 00:04:43,250 S1: Am I that I tried to communicate in a way 108 00:04:43,250 --> 00:04:46,450 S1: that doesn't leave them dwelling on it after they finished performing? 109 00:04:46,450 --> 00:04:48,730 S2: That's the kind of thoughtfulness that only comes from a 110 00:04:48,730 --> 00:04:52,010 S2: musician who truly understands what other performers need. 111 00:04:52,050 --> 00:04:53,370 S1: It's all in the past anyway. 112 00:04:53,370 --> 00:04:55,890 S2: I think there's quite a difference between the impressions and 113 00:04:55,890 --> 00:04:59,650 S2: feelings we have and what the performers themselves are experiencing. 114 00:04:59,650 --> 00:05:02,140 S1: I find that female performers are often pleased when I 115 00:05:02,180 --> 00:05:04,580 S1: compliment them on how beautiful their dress is, or things 116 00:05:04,580 --> 00:05:05,260 S1: like that. 117 00:05:05,300 --> 00:05:08,700 S2: I wouldn't say things like your tailcoat looked absolutely gorgeous 118 00:05:08,980 --> 00:05:10,260 S2: or anything like that. 119 00:05:10,460 --> 00:05:13,099 S1: Tailcoats all look the same, don't they? Come to think 120 00:05:13,100 --> 00:05:15,580 S1: of it, I recently asked where do they even sell 121 00:05:15,620 --> 00:05:16,940 S1: tailcoats these days. 122 00:05:16,940 --> 00:05:20,540 S2: In my line of work. A producer also represents the audience. 123 00:05:20,779 --> 00:05:25,580 S2: I'm essentially standing in for the listeners when organising concerts. 124 00:05:25,820 --> 00:05:28,979 S2: I try to take the audience's perspective, thinking about what 125 00:05:28,980 --> 00:05:32,060 S2: would work best for them. I usually don't get too 126 00:05:32,060 --> 00:05:36,100 S2: involved with the actual content, but I definitely maintain that viewpoint. 127 00:05:36,660 --> 00:05:39,620 S2: I make a point of attending the performances I've produced, 128 00:05:39,620 --> 00:05:43,779 S2: and afterward I'll share. Feedback like that went well, or 129 00:05:44,100 --> 00:05:49,020 S2: this particular moment was especially impressive, or that part really resonated. 130 00:05:49,620 --> 00:05:53,620 S2: The audience responded very positively. I always try to deliver 131 00:05:53,620 --> 00:05:56,500 S2: these comments from the perspective of an audience member. 132 00:05:56,700 --> 00:05:59,100 S1: What would you say to someone who's made a huge mistake? 133 00:05:59,100 --> 00:06:01,480 S1: I hope this isn't something that happens often, but I'm 134 00:06:01,480 --> 00:06:03,240 S1: curious enough to ask anyway. 135 00:06:03,279 --> 00:06:05,520 S2: A tap on the shoulder just to let you know. 136 00:06:05,520 --> 00:06:07,000 S2: These things happen sometimes. 137 00:06:07,200 --> 00:06:08,039 S1: Kind. 138 00:06:08,080 --> 00:06:10,799 S2: Is that all you can say? No matter what you say, 139 00:06:11,000 --> 00:06:12,520 S2: it won't bring any comfort. 140 00:06:12,560 --> 00:06:14,000 S3: You're really kind after all. 141 00:06:14,000 --> 00:06:16,320 S2: Let's be there for them. All we can do is 142 00:06:16,320 --> 00:06:19,360 S2: try to move forward. I mean, everyone already knows that. 143 00:06:19,560 --> 00:06:21,960 S1: During the break between the first and second half, I 144 00:06:21,960 --> 00:06:24,880 S1: saw someone being asked if they were okay. It wasn't me, 145 00:06:24,880 --> 00:06:27,320 S1: but I felt really bad about it in the second half. 146 00:06:27,560 --> 00:06:30,159 S1: When you put it that way, the second half becomes impossible, 147 00:06:30,160 --> 00:06:33,520 S1: doesn't it? Anyone who hears that would feel completely cornered. 148 00:06:33,560 --> 00:06:37,799 S2: Audiences often struggle to understand a certain nervousness that performers have. 149 00:06:38,080 --> 00:06:40,120 S2: There are quite a few people around who say things 150 00:06:40,120 --> 00:06:43,240 S2: like why are they so unfriendly? Or why do they 151 00:06:43,240 --> 00:06:47,000 S2: look so intimidating? Or are they looking down on the audience? 152 00:06:47,560 --> 00:06:50,560 S2: I find myself caught in the middle. People tell me 153 00:06:50,560 --> 00:06:53,840 S2: that being unfriendly is bad for business, but the fundamental 154 00:06:53,839 --> 00:06:57,880 S2: reality is that these performers are attempting an incredibly severe 155 00:06:57,880 --> 00:06:58,880 S2: tightrope walk. 156 00:06:59,080 --> 00:07:01,690 S1: I always think I might lose my job at any moment. 157 00:07:01,690 --> 00:07:04,570 S2: So, you know, it's just easier being the one who listens. 158 00:07:04,610 --> 00:07:07,409 S1: I'd lose my job, and I'd also ruin the reputation 159 00:07:07,410 --> 00:07:10,290 S1: of the teachers who've trained me all this time. These 160 00:07:10,290 --> 00:07:12,810 S1: are the kinds of things I worry about. After all, 161 00:07:12,810 --> 00:07:14,970 S1: my name is right there in my profile. 162 00:07:14,970 --> 00:07:17,290 S2: So there's probably a huge gap between those kinds of 163 00:07:17,290 --> 00:07:21,890 S2: feelings and what the audience actually comes to hear. In reality, 164 00:07:22,210 --> 00:07:24,090 S2: most people would prefer it to be done in a 165 00:07:24,090 --> 00:07:25,210 S2: more entertaining way. 166 00:07:25,410 --> 00:07:27,770 S1: But it would be strange to laugh at the Mahler concert, 167 00:07:27,770 --> 00:07:28,450 S1: wouldn't it? 168 00:07:28,490 --> 00:07:31,170 S2: Mahler and such. It's completely different when it comes to 169 00:07:31,210 --> 00:07:34,970 S2: Brahms or Shostakovich pieces. Isn't it more like Salut D'Amour? 170 00:07:35,170 --> 00:07:37,010 S1: That's totally an encore song already. 171 00:07:37,210 --> 00:07:39,850 S2: Short pieces are great when a performer stands alone in 172 00:07:39,850 --> 00:07:42,250 S2: front of a large audience to play a piece. I 173 00:07:42,250 --> 00:07:44,530 S2: think if you could just imagine the bomb they're carrying 174 00:07:44,530 --> 00:07:48,210 S2: inside that incredibly nervous feeling, you'd actually want to cheer 175 00:07:48,210 --> 00:07:48,770 S2: them on. 176 00:07:49,010 --> 00:07:49,450 S1: I see. 177 00:07:49,490 --> 00:07:52,130 S2: Yes, because if a baseball player is smiling in the 178 00:07:52,130 --> 00:07:55,650 S2: batter's box during a crucial moment, you'd think, come on, 179 00:07:55,890 --> 00:07:57,890 S2: take this seriously. Right. 180 00:07:57,930 --> 00:07:59,620 S1: What are you grinning about? You know. 181 00:07:59,700 --> 00:08:02,940 S2: I want people to appreciate that seriousness. And I think 182 00:08:02,940 --> 00:08:06,260 S2: there's quite a gap there. It's not about being unfriendly 183 00:08:06,260 --> 00:08:09,740 S2: or anything. It's like a surgeon doesn't enter the operating 184 00:08:09,740 --> 00:08:12,940 S2: room with a smile, saying, I'll do my best when 185 00:08:12,940 --> 00:08:16,740 S2: they're about to perform a life or death procedure. Right. 186 00:08:16,940 --> 00:08:17,900 S1: I can't do it. 187 00:08:17,940 --> 00:08:21,340 S2: Isn't that right? Great job, doctor. You must be exhausted 188 00:08:21,340 --> 00:08:22,820 S2: after such a major operation. 189 00:08:23,060 --> 00:08:24,740 S1: There are just no words for it, you know. 190 00:08:24,980 --> 00:08:27,900 S2: Hmm. The more you understand something, the harder it becomes 191 00:08:27,900 --> 00:08:29,940 S2: to explain it in simple terms. You know. 192 00:08:30,180 --> 00:08:32,340 S1: There's no way I could ever say something like. We 193 00:08:32,340 --> 00:08:33,980 S1: should have done it differently. There. 194 00:08:34,059 --> 00:08:36,500 S2: I'll never say it. I think it's fine to let 195 00:08:36,500 --> 00:08:39,780 S2: them know that you really enjoyed the concert. In psychology, 196 00:08:40,020 --> 00:08:43,180 S2: there's basically this tendency where nobody wants to hear someone 197 00:08:43,179 --> 00:08:46,579 S2: badmouthing others. When you're with someone who says a lot 198 00:08:46,580 --> 00:08:50,420 S2: of negative things, it's not enjoyable and you start thinking 199 00:08:50,420 --> 00:08:53,980 S2: they probably view you negatively too, since you've just spent 200 00:08:53,980 --> 00:08:56,900 S2: some quality time together. Wouldn't it be best to focus 201 00:08:56,900 --> 00:09:00,950 S2: first on the positive aspects? Yeah, I like that. That's good. 202 00:09:01,270 --> 00:09:03,950 S1: Um, I tend to only remember the good parts. Of course, 203 00:09:03,950 --> 00:09:07,790 S1: many performers deliver absolutely flawless performances. But even if there 204 00:09:07,790 --> 00:09:09,870 S1: are things that make you think otherwise, that's just the 205 00:09:09,870 --> 00:09:12,750 S1: nature of live music. In fact, when they make mistakes, 206 00:09:12,750 --> 00:09:15,870 S1: it's almost like you get to witness a precious moment. 207 00:09:15,870 --> 00:09:19,750 S2: I generally don't make many mistakes, but that's exactly why 208 00:09:19,750 --> 00:09:22,150 S2: it can sound like, of course you can do it 209 00:09:22,150 --> 00:09:28,510 S2: perfectly is expected. It's like people think you're walking a tightrope, 210 00:09:28,910 --> 00:09:33,630 S2: but obviously you won't fall. But the moment you do fall, 211 00:09:33,630 --> 00:09:38,430 S2: they realize, oh, even professional musicians can slip off the tightrope. 212 00:09:38,429 --> 00:09:42,710 S2: Sometimes you are actually doing something incredible all along. That's 213 00:09:42,710 --> 00:09:44,429 S2: when they finally understand. 214 00:09:44,429 --> 00:09:46,910 S1: But you know, I don't really care much about mistakes. 215 00:09:46,910 --> 00:09:49,510 S1: Not when others make them anyway. I do care about 216 00:09:49,510 --> 00:09:52,229 S1: my own mistakes, but when it comes to other people's, 217 00:09:52,230 --> 00:09:54,590 S1: they don't bother me at all. What matters more to 218 00:09:54,630 --> 00:09:57,870 S1: me is the beautiful tone or sound quality. That's what's 219 00:09:57,870 --> 00:10:00,890 S1: truly important. Who cares about mistakes, right? Even if there's 220 00:10:00,890 --> 00:10:03,530 S1: a slip up here or there, I just think so. What? 221 00:10:03,570 --> 00:10:04,650 S1: What does it matter? 222 00:10:04,770 --> 00:10:08,730 S2: That's interesting. You know, I have this theory that recitals, 223 00:10:08,730 --> 00:10:13,089 S2: solo performances are actually the most nerve wracking, challenging and 224 00:10:13,090 --> 00:10:18,089 S2: significant concerts for performers. They're actually more demanding than playing 225 00:10:18,090 --> 00:10:20,650 S2: with the full orchestra. I think of a recital as 226 00:10:20,650 --> 00:10:24,210 S2: a home party. It's essentially inviting friends to your home, 227 00:10:24,450 --> 00:10:28,610 S2: preparing and arranging the food yourself, serving drinks and entertaining 228 00:10:28,610 --> 00:10:32,210 S2: them until they leave. That's one of the essential aspects 229 00:10:32,210 --> 00:10:35,570 S2: of a recital. When you listen to someone's recital from 230 00:10:35,570 --> 00:10:38,770 S2: beginning to end, you get an incredible insight into who 231 00:10:38,809 --> 00:10:40,370 S2: they truly are as a person. 232 00:10:40,610 --> 00:10:42,610 S1: It shows on your face, doesn't it? It comes through 233 00:10:42,610 --> 00:10:44,010 S1: in your expressions too. 234 00:10:44,050 --> 00:10:47,130 S2: First, if they serve pizza and pasta right from the start, 235 00:10:47,170 --> 00:10:50,490 S2: it's too heavy. People who are experienced with hosting home 236 00:10:50,490 --> 00:10:53,650 S2: parties know to start with lighter foods and gradually move 237 00:10:53,650 --> 00:10:54,809 S2: to heavier dishes. 238 00:10:55,090 --> 00:10:56,489 S1: Appetizers first. 239 00:10:56,530 --> 00:11:00,020 S2: Since our work often involves creating menus, I'm constantly thinking 240 00:11:00,020 --> 00:11:03,660 S2: about the overall structure. It's all about figuring out what 241 00:11:03,700 --> 00:11:08,179 S2: structure will ensure people enjoy themselves and leave happy. This 242 00:11:08,179 --> 00:11:11,420 S2: is especially apparent in recitals. There are all kinds of 243 00:11:11,420 --> 00:11:14,940 S2: artists out there, some who say, thank you for coming. 244 00:11:15,100 --> 00:11:18,140 S2: Please enjoy yourselves. Some who ask you to appreciate their 245 00:11:18,140 --> 00:11:21,540 S2: hard work, and others who perform without any particular concept 246 00:11:21,540 --> 00:11:24,380 S2: in mind. And you can really tell the difference. 247 00:11:24,580 --> 00:11:26,579 S1: I see what you mean. I can relate to that. 248 00:11:26,620 --> 00:11:29,900 S1: I totally get that when it's outside my area of expertise, 249 00:11:29,900 --> 00:11:31,900 S1: I don't really know what to say. I can understand 250 00:11:31,900 --> 00:11:34,860 S1: things like tone quality and musicality, but when it comes 251 00:11:34,860 --> 00:11:38,220 S1: to the actual composition, I can't really offer deep insights. 252 00:11:38,220 --> 00:11:40,140 S1: So I end up just saying things like, wow, the 253 00:11:40,140 --> 00:11:43,260 S1: sound was really beautiful or that was amazing. That's about 254 00:11:43,260 --> 00:11:44,380 S1: all I can manage. 255 00:11:44,500 --> 00:11:47,500 S2: What really stays with you isn't necessarily the performance style 256 00:11:47,500 --> 00:11:51,620 S2: or the music itself, but those little moments. A pianist's 257 00:11:51,620 --> 00:11:54,260 S2: brief communication with the audience or the way they bow. 258 00:11:54,900 --> 00:11:58,140 S2: Those subtle things can be quite revealing. Someone who shows 259 00:11:58,140 --> 00:12:00,990 S2: composure in those moments usually has composure in their playing 260 00:12:00,990 --> 00:12:01,550 S2: as well. 261 00:12:01,550 --> 00:12:04,230 S1: But I really want to express my appreciation in a 262 00:12:04,230 --> 00:12:07,430 S1: more meaningful way. I usually just say things like that 263 00:12:07,429 --> 00:12:10,350 S1: was good or the sound was nice, so I'd like 264 00:12:10,350 --> 00:12:13,510 S1: to learn some more sophisticated expressions, you know, as part 265 00:12:13,510 --> 00:12:15,790 S1: of being a cultured adult. I went to see a 266 00:12:15,790 --> 00:12:18,430 S1: movie the other day, the live action Snow White, after 267 00:12:18,429 --> 00:12:20,310 S1: watching it, when my friend asked me what I thought 268 00:12:20,309 --> 00:12:23,550 S1: about it, my only comment was, oh, they're singing in it. 269 00:12:23,550 --> 00:12:26,750 S2: I watched it for two hours and my only impression was, oh, 270 00:12:26,870 --> 00:12:27,870 S2: so they're singing. 271 00:12:28,030 --> 00:12:30,550 S1: I was startled when you suddenly started singing. 272 00:12:30,550 --> 00:12:33,990 S2: It's challenging. There's a concept called interactive appreciation that's popular 273 00:12:33,990 --> 00:12:36,469 S2: in the art world, and some people are bringing that 274 00:12:36,470 --> 00:12:38,670 S2: into music as well. So there are quite a few 275 00:12:38,670 --> 00:12:43,750 S2: different methodologies. It's essentially a methodological technique where multiple people 276 00:12:43,750 --> 00:12:47,349 S2: share their impressions of a particular work. It's an appreciation 277 00:12:47,350 --> 00:12:51,270 S2: method through dialogue where people appreciate while conversing with each other. 278 00:12:51,510 --> 00:12:54,990 S1: Recently, I saw something like a joint event between Japanese 279 00:12:54,990 --> 00:12:58,150 S1: and American museums, where they had people active in various 280 00:12:58,290 --> 00:13:01,130 S1: fields share their thoughts on the same painting. It was 281 00:13:01,130 --> 00:13:04,330 S1: first posted on their website, and they also invited viewers 282 00:13:04,330 --> 00:13:06,770 S1: to consider what they see when looking at the painting. 283 00:13:06,770 --> 00:13:09,170 S1: I wonder if that's similar to what you're talking about. 284 00:13:09,170 --> 00:13:12,290 S2: That's a bit close. I think there are various layers. 285 00:13:12,610 --> 00:13:15,610 S2: There's the layer where you simply express your impression, and 286 00:13:15,610 --> 00:13:18,730 S2: then there's stating facts like the structure of the work, 287 00:13:19,050 --> 00:13:23,089 S2: its external features, how the composition was arranged or how 288 00:13:23,090 --> 00:13:27,610 S2: the colours were used. The first is a surface level impression. 289 00:13:28,370 --> 00:13:32,729 S2: Then there's understanding why that occurs, things like structure or composition, 290 00:13:32,929 --> 00:13:36,890 S2: and going further, what background it has. For example, the 291 00:13:36,890 --> 00:13:40,010 S2: flow within that person's body of work, the characteristics of 292 00:13:40,050 --> 00:13:44,690 S2: that era, or various historical contexts. By deepening your impressions 293 00:13:44,690 --> 00:13:49,690 S2: through these layers, your perspective actually becomes more profound. This 294 00:13:49,690 --> 00:13:53,969 S2: might have some applicable aspects. Saying that was good is 295 00:13:53,970 --> 00:13:56,970 S2: the most surface level layer and saying, oh, they sing 296 00:13:56,970 --> 00:13:59,620 S2: is actually around the second layer because it's a fact 297 00:13:59,620 --> 00:14:03,220 S2: about the structure. The fact is, it's actually really important 298 00:14:03,220 --> 00:14:06,780 S2: to properly organize and listen to these facts. This work 299 00:14:06,780 --> 00:14:10,300 S2: might have been created with certain performance techniques or expressions 300 00:14:10,300 --> 00:14:13,780 S2: based on similar backgrounds, which closely resemble the structure of 301 00:14:13,780 --> 00:14:17,980 S2: novels and other literary works. You could keep analyzing deeper 302 00:14:17,980 --> 00:14:20,580 S2: in this way, but if you do it too much, 303 00:14:20,940 --> 00:14:24,500 S2: I think it gets annoying. You start sounding like some critic, 304 00:14:25,380 --> 00:14:28,860 S2: but when you take those surface level impressions, verify them 305 00:14:28,860 --> 00:14:31,620 S2: against the facts, and then discuss why things are the 306 00:14:31,620 --> 00:14:34,460 S2: way they are. That's when it gets interesting. When you 307 00:14:34,460 --> 00:14:37,100 S2: talk about something, by connecting it to your own experiences 308 00:14:37,100 --> 00:14:40,140 S2: or knowledge. Even though we're both looking at the same work, 309 00:14:40,540 --> 00:14:42,940 S2: it becomes about what each of us got from it. 310 00:14:43,580 --> 00:14:47,020 S2: Sharing what I gained from it shows others that, oh, 311 00:14:47,380 --> 00:14:50,980 S2: it can be seen that way too. How interesting. It 312 00:14:50,980 --> 00:14:53,460 S2: becomes a communication of this is how I saw it. 313 00:14:53,460 --> 00:14:55,620 S1: I see even I had more to say about the 314 00:14:55,620 --> 00:14:58,590 S1: movie than just wow, they sing. I actually said he 315 00:14:58,590 --> 00:15:00,870 S1: wasn't a prince. You know how Snow White has a 316 00:15:00,870 --> 00:15:03,270 S1: prince in it, right? But he wasn't actually a prince. 317 00:15:03,550 --> 00:15:05,910 S1: Speaking of the live action Snow White, there's this movie 318 00:15:05,910 --> 00:15:08,030 S1: where the prince wasn't in it, so they never played. 319 00:15:08,030 --> 00:15:10,790 S1: Someday my prince will come. You know, we were talking 320 00:15:10,790 --> 00:15:13,830 S1: about how Snow White doesn't really feel like Snow White without. 321 00:15:13,830 --> 00:15:16,270 S1: Someday my prince will come playing at some point. But 322 00:15:16,270 --> 00:15:18,390 S1: I think this might be sending a message that in 323 00:15:18,390 --> 00:15:20,990 S1: modern times, women shouldn't just be waiting around for a 324 00:15:20,990 --> 00:15:22,190 S1: prince to save them. 325 00:15:22,390 --> 00:15:23,510 S2: You're doing just fine. 326 00:15:23,510 --> 00:15:26,390 S1: But we discussed whether fairy tales with princes might actually 327 00:15:26,390 --> 00:15:27,990 S1: be necessary for children. 328 00:15:28,070 --> 00:15:31,590 S2: Perfect. You got a hundred points. But even with music, 329 00:15:31,950 --> 00:15:34,030 S2: if you were to have this kind of conversation or 330 00:15:34,030 --> 00:15:36,870 S2: create a story like we just did, you really need 331 00:15:37,230 --> 00:15:40,790 S2: background knowledge and various other things to truly fall in 332 00:15:40,790 --> 00:15:44,510 S2: love with it. Still, you can say similar things. You 333 00:15:44,510 --> 00:15:48,270 S2: can say that was such a beautiful, cool piece or 334 00:15:48,430 --> 00:15:51,830 S2: that was really intense. And you can discuss the structure 335 00:15:51,830 --> 00:15:55,190 S2: of the song like it had this kind of composition. 336 00:15:55,910 --> 00:15:59,040 S2: You can talk about how this composer is like this, 337 00:15:59,360 --> 00:16:02,360 S2: or music from that era tends to be this way, 338 00:16:02,560 --> 00:16:05,800 S2: or discuss the social context behind it. It's a bit 339 00:16:05,800 --> 00:16:07,120 S2: stiff and formal though. 340 00:16:07,680 --> 00:16:10,080 S1: Yeah, it gets so stiff when you dig deep into 341 00:16:10,080 --> 00:16:13,680 S1: classical music reviews, it turns into this pretentious lecture. Like 342 00:16:13,680 --> 00:16:16,520 S1: this era was like this. So that's why it's like that. 343 00:16:16,520 --> 00:16:19,040 S1: But we already know all that, don't we? We already 344 00:16:19,040 --> 00:16:22,480 S1: understand the composer's era, so there's no need to mention it. 345 00:16:22,480 --> 00:16:24,960 S1: For example, when you go to hear a concerto, you 346 00:16:24,960 --> 00:16:27,080 S1: don't need all that talk about its structure. 347 00:16:27,320 --> 00:16:28,440 S2: That's certainly true. 348 00:16:28,720 --> 00:16:31,240 S1: Well, not exactly. It's complicated, you know. 349 00:16:31,600 --> 00:16:32,040 S2: Mhm. 350 00:16:32,320 --> 00:16:34,200 S1: For example, I can say things like I heard this 351 00:16:34,200 --> 00:16:36,080 S1: song here before and it was like this then, but 352 00:16:36,080 --> 00:16:38,640 S1: this time they did it differently. But that's not really 353 00:16:38,640 --> 00:16:39,520 S1: an opinion. 354 00:16:39,520 --> 00:16:42,040 S2: We need to find something to say if we're expected 355 00:16:42,040 --> 00:16:44,880 S2: to give our thoughts. Right. I should be paying attention 356 00:16:44,880 --> 00:16:46,480 S2: from the moment I start listening. 357 00:16:46,600 --> 00:16:48,600 S1: I was just thinking that maybe I don't need to 358 00:16:48,600 --> 00:16:52,240 S1: share my impressions about classical music anymore at this point, 359 00:16:52,240 --> 00:16:54,200 S1: but if it's a friend, that's fine. But when I 360 00:16:54,200 --> 00:16:56,280 S1: have to contact someone who's a bit more distant than 361 00:16:56,280 --> 00:16:59,500 S1: a friend after attending their concert. I definitely feel I 362 00:16:59,500 --> 00:17:02,300 S1: should say something though, just saying it was really good. 363 00:17:02,340 --> 00:17:03,500 S1: Seems rather shallow. 364 00:17:03,540 --> 00:17:06,859 S2: It depends on who you're talking to. For me, it's 365 00:17:06,859 --> 00:17:09,700 S2: all about who I'm sharing my impressions with. If I'm 366 00:17:09,740 --> 00:17:12,940 S2: talking to someone who's not familiar with concerts, I can 367 00:17:12,940 --> 00:17:16,500 S2: offer my perspective on what I thought was good, which 368 00:17:16,500 --> 00:17:19,660 S2: gives them a reference point for how to listen. Or 369 00:17:19,660 --> 00:17:22,460 S2: if we're comparing different concerts, I can point out how 370 00:17:22,460 --> 00:17:25,180 S2: this particular artist had such powerful expressions. 371 00:17:25,340 --> 00:17:27,940 S1: I personally have this one phrase that I really hate 372 00:17:27,940 --> 00:17:30,060 S1: I enjoyed it. I think it's fine to say it 373 00:17:30,060 --> 00:17:32,580 S1: was fun. Saying I was able to enjoy it has 374 00:17:32,580 --> 00:17:33,979 S1: a different meaning, doesn't it? 375 00:17:34,020 --> 00:17:37,659 S2: What do you think that means? I know right? It 376 00:17:37,660 --> 00:17:40,940 S2: feels disconnected from what the performer is actually doing. It's 377 00:17:40,940 --> 00:17:44,940 S2: like watching TV. That expression, I enjoyed it. 378 00:17:44,940 --> 00:17:46,980 S1: I rarely hear this said to me personally, but I 379 00:17:46,980 --> 00:17:49,859 S1: see it quite often online, like in comments about movies 380 00:17:49,859 --> 00:17:52,820 S1: or TV shows or on YouTube to people writing. I 381 00:17:52,820 --> 00:17:55,580 S1: was able to enjoy it as their reaction. I think 382 00:17:55,580 --> 00:17:59,070 S1: it's better not to use this expression, doesn't it was fun. 383 00:17:59,070 --> 00:18:00,790 S1: Give a completely different impression. 384 00:18:00,790 --> 00:18:04,389 S2: Sharing your impressions is really about offering words to others. 385 00:18:04,590 --> 00:18:08,109 S2: And fundamentally, when you direct words at someone, it's for 386 00:18:08,109 --> 00:18:12,070 S2: their benefit. So when you're spending time with someone after 387 00:18:12,070 --> 00:18:15,149 S2: enjoying a concert together and want to share your thoughts, 388 00:18:15,670 --> 00:18:18,390 S2: you should consider what would make them happy to hear. 389 00:18:18,390 --> 00:18:21,149 S1: For example, in YouTube comment sections, I think people only 390 00:18:21,150 --> 00:18:23,909 S1: bother to leave comments because they genuinely like something and 391 00:18:23,950 --> 00:18:25,949 S1: had a good time. If you're going to take the 392 00:18:25,950 --> 00:18:27,909 S1: time to leave a comment, I think it's better to 393 00:18:27,950 --> 00:18:31,270 S1: write something that boosts motivation for creators. I think it's 394 00:18:31,270 --> 00:18:33,990 S1: better to say things like looking forward to next time 395 00:18:33,990 --> 00:18:36,270 S1: and such. There might not be a deep meaning behind it, 396 00:18:36,270 --> 00:18:38,670 S1: but I feel like we shouldn't let expressions like I 397 00:18:38,670 --> 00:18:40,550 S1: enjoyed it become too trendy. 398 00:18:40,590 --> 00:18:42,990 S2: Certainly it does feel like you're paying for a service 399 00:18:43,230 --> 00:18:45,990 S2: and saying I enjoyed it expresses that. 400 00:18:46,030 --> 00:18:48,030 S1: Now. For example, you know when clothes get delivered and 401 00:18:48,030 --> 00:18:49,669 S1: you say I was able to wear it, well, that 402 00:18:49,670 --> 00:18:51,830 S1: just means you could physically put it on, right? 403 00:18:51,830 --> 00:18:55,470 S2: Indeed. That's the psychology of the provider. So I see 404 00:18:55,470 --> 00:18:59,040 S2: what you mean. It's something to be careful about. Just 405 00:18:59,040 --> 00:19:01,480 S2: 1 or 2 characters can change how people perceive you. 406 00:19:02,080 --> 00:19:05,240 S2: Maybe that's especially true in Japanese, but it really kills 407 00:19:05,240 --> 00:19:06,200 S2: your motivation. 408 00:19:06,359 --> 00:19:08,159 S1: I hope this gets across in English too. 409 00:19:08,200 --> 00:19:10,720 S2: I think my impression might be a bit negative, and 410 00:19:10,720 --> 00:19:13,640 S2: it seems the expected value is slightly on the low side. 411 00:19:13,880 --> 00:19:17,840 S1: It was surprisingly fun with that surprisingly qualifier attached. I 412 00:19:17,840 --> 00:19:19,800 S1: think we might get a lot of feedback on the 413 00:19:19,800 --> 00:19:22,280 S1: show in the future, and many people might just say 414 00:19:22,280 --> 00:19:25,120 S1: I enjoyed it. The review section might end up being 415 00:19:25,160 --> 00:19:28,400 S1: filled with nothing, but I enjoyed it. We're fine with 416 00:19:28,400 --> 00:19:31,040 S1: any kind of feedback, really. Also, I don't want to 417 00:19:31,040 --> 00:19:32,959 S1: make a big deal about this, but there's something on 418 00:19:32,960 --> 00:19:36,160 S1: my mind. Reviews and comments are similar in a way. 419 00:19:36,400 --> 00:19:39,280 S1: You can only write a review once, right? With comments. 420 00:19:39,280 --> 00:19:41,680 S1: I think it's for a specific piece of content, like 421 00:19:41,680 --> 00:19:44,399 S1: a single video, but there are people who only write 422 00:19:44,400 --> 00:19:48,200 S1: something when they're unhappy. I often see reviews saying, I've 423 00:19:48,200 --> 00:19:50,440 S1: been listening until now, but because of this issue, I 424 00:19:50,440 --> 00:19:53,679 S1: won't listen anymore. When people only email or write reviews 425 00:19:53,680 --> 00:19:56,200 S1: when they're upset, I wish they would just quietly leave. 426 00:19:56,320 --> 00:19:59,169 S1: If that person had been actively engaging and writing various 427 00:19:59,170 --> 00:20:02,050 S1: things before, I'd understand. But when someone just drops in 428 00:20:02,090 --> 00:20:05,129 S1: to write something negative and then disappears, I think, couldn't 429 00:20:05,130 --> 00:20:07,290 S1: you just quietly leave with a thanks for the good 430 00:20:07,290 --> 00:20:08,370 S1: times until now? 431 00:20:08,410 --> 00:20:10,970 S2: It seems like we're talking about parting ways or something. 432 00:20:11,050 --> 00:20:13,649 S1: It's pretty common among women, isn't it? They keep holding 433 00:20:13,650 --> 00:20:16,050 S1: things in, but then finally bring up something that happened 434 00:20:16,050 --> 00:20:18,730 S1: last year, like remember when you did this? But maybe 435 00:20:18,730 --> 00:20:22,570 S1: it's also necessary for us as communicators to simultaneously express 436 00:20:22,570 --> 00:20:24,850 S1: what we don't like about this kind of behavior? 437 00:20:24,890 --> 00:20:28,930 S2: One negative criticism feels much heavier than 100 positive responses. 438 00:20:29,770 --> 00:20:32,090 S2: I think that's something I need to change about myself. 439 00:20:32,369 --> 00:20:34,730 S1: It happens, doesn't it? You know, when the performance goes 440 00:20:34,730 --> 00:20:37,770 S1: well overall, but you obsess over that one mistake you made. 441 00:20:37,930 --> 00:20:40,810 S2: The tricky part in everyday life is that if you 442 00:20:40,810 --> 00:20:44,369 S2: stop caring about things, your quality drops. But if you 443 00:20:44,410 --> 00:20:49,169 S2: care too much, you become unstable. That balance is incredibly important, 444 00:20:49,170 --> 00:20:51,369 S2: and I think that applies to everything, doesn't it? 445 00:20:51,650 --> 00:20:52,170 S1: Yeah. 446 00:20:52,530 --> 00:20:53,930 S2: 1 or 2 is fine. 447 00:20:53,930 --> 00:20:56,530 S1: But you know, I've heard that on platforms like YouTube, 448 00:20:56,530 --> 00:21:00,030 S1: content isn't even considered legitimate unless about 20% of the 449 00:21:00,030 --> 00:21:03,590 S1: comments are negative. So apparently, from a marketing perspective, it's 450 00:21:03,630 --> 00:21:06,990 S1: actually correct that on average, about 20% of comments should 451 00:21:06,990 --> 00:21:07,950 S1: be negative. 452 00:21:07,990 --> 00:21:11,470 S2: That's fine. It's not supposed to be interesting. Only people 453 00:21:11,470 --> 00:21:13,550 S2: who already like it come to see it anyway. 454 00:21:13,550 --> 00:21:15,670 S1: But please don't leave just at the end, just when 455 00:21:15,670 --> 00:21:16,590 S1: it's time to go. 456 00:21:16,630 --> 00:21:17,830 S2: I don't like that idea. 457 00:21:18,030 --> 00:21:20,590 S1: We're accepting emails, so we'd be happy to hear from 458 00:21:20,590 --> 00:21:22,870 S1: you about whether you enjoyed the show or anything else 459 00:21:22,869 --> 00:21:25,590 S1: you'd like to share. Our email address is info at 460 00:21:25,630 --> 00:21:27,430 S1: Tokyo Music Lab.com. 461 00:21:27,550 --> 00:21:30,429 S2: It's not good because only the negative things get communicated 462 00:21:30,430 --> 00:21:31,270 S2: to the person. 463 00:21:31,510 --> 00:21:33,790 S1: That part of this episode was really funny. You know, 464 00:21:33,830 --> 00:21:35,869 S1: even though I kept saying how difficult it is to 465 00:21:35,910 --> 00:21:38,430 S1: share my thoughts about it, I can't help but think 466 00:21:38,430 --> 00:21:40,630 S1: that maybe the reason I can't express my opinion is 467 00:21:40,630 --> 00:21:43,190 S1: rather superficial. But you know what? That's probably okay. 468 00:21:43,230 --> 00:21:45,709 S2: Maybe it's okay. That makes me the happiest. 469 00:21:45,869 --> 00:21:47,350 S1: I finally understand. 470 00:21:47,350 --> 00:21:50,550 S2: Say what you feel. That's all that matters. If possible, 471 00:21:50,830 --> 00:21:53,350 S2: it would be nice to be specific and properly express 472 00:21:53,350 --> 00:21:55,630 S2: your own feelings. Shorter is better. 473 00:21:55,869 --> 00:21:57,630 S1: That was refreshing. Thank you very much.