ABOUT THE SPEAKERS
British Paraorchestra - Contemporary music ensemble
The British Paraorchestra is the first orchestra for world-class musicians of disability

Why you should listen

Charles Hazlewood is a conductor founded the British Parorchestra to give musicians of disability a platform to collaborate and perform.

Credits for the debut British Paraorchestra performance: Dhanoday Srivastava (Baluji), James Risdon, Clarence Adoo, Lyn Levett. Alison Roberts tell a few of their stories in her Evening Standard piece on the Paraorchestra:

Clarence Adoo, for example, who used to play trumpet with Courtney Pine, suffered a devastating car accident in 1995 and is now paralysed from the shoulders down. He plays music on a laptop, using a specially designed blow tube as a computer mouse. Adoo says he'd rather be able to play an instrument again than walk.

Lyn Levett has severe cerebral palsy and can only communicate by pressing an iPad with her nose, yet makes the "most dizzyingly brilliant electronic music", says Hazlewood. Levett herself, through her iPad, tells us that when she's creating music, it feels as though she's in a cockpit, flying a plane. Sitar player and composer Baluji Shrivastav has been blind since the age of eight months, and Lloyd Coleman is both deaf and sight-impaired. All four make their living solely from music.

Read the full story >>

 

 

More profile about the speaker
British Paraorchestra | Speaker | TED.com
Charles Hazlewood - Conductor
Charles Hazlewood dusts off and invigorates classical music, adding a youthful energy and modern twists to centuries-old masterworks. At TEDGlobal, he conducts the Scottish Ensemble.

Why you should listen

Charles Hazlewood's fresh presentations of classical music shake up the traditional settings of the form -- in one performance he’ll engage in a conversation with the audience, while in another he’ll blend film or sculpture into a piece -- but his goal is always the same: exposing the deep, always-modern joy of the classics. He's a familiar face on British TV, notably in the 2009 series The Birth of British Music on BBC2. He conducts the BBC Orchestras and guest-conducts orchestras around the world.

Together with Mark Dornford-May, he founded a lyric-theatre company in South Africa called Dimpho Di Kopane (which means "combined talents") after auditioning in the townships and villages of South Africa. Of the 40 members, only three had professional training. They debuted with Bizet's Carmen, which was later transposed into a movie version called U-Carmen eKhayelitsha, spoken and sung in Xhosa, that was honored at the Berlin Flim Festival. He regularly involves children in his projects and curates his own music festival, Play the Field, on his farm in Somerset. His latest project: the ParaOrchestra.

He says: "I have loads of issues with the way classical music is presented. It has been too reverential, too 'high art' -- if you're not in the club, they're not going to let you join. It's like The Turin Shroud: don't touch it because it might fall apart."

More profile about the speaker
Charles Hazlewood | Speaker | TED.com
TEDxBrussels

Charles Hazlewood + British Paraorchestra: The debut of the British Paraorchestra

Filmed:
105,271 views

There are millions of prodigiously gifted musicians of disability around the world, and Charles Hazlewood is determined to give them a platform. Watch the debut performance of the British Paraorchestra. (Filmed at TEDxBrussels.)
- Contemporary music ensemble
The British Paraorchestra is the first orchestra for world-class musicians of disability Full bio - Conductor
Charles Hazlewood dusts off and invigorates classical music, adding a youthful energy and modern twists to centuries-old masterworks. At TEDGlobal, he conducts the Scottish Ensemble. Full bio

Double-click the English transcript below to play the video.

00:07
Music音乐 is the most universal普遍
language语言 that we have,
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音乐是我们拥有的最通用的语言,
00:11
way more so than any dialect方言 or tongue.
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它比任何方言及语言都更重要。
你可以给中国的一个孩子
演奏一段旋律,
00:15
You can play a melody旋律 to a child儿童 in China中国
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00:18
and the same相同 melody旋律
to a child儿童 in South Africa非洲.
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然后给南非的一个孩子
演奏同样的旋律。
尽管两个孩子之间有巨大的差异,
00:22
And despite尽管 the huge巨大 differences分歧
between之间 those two children孩子,
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00:25
they will still draw some of the same相同
truths真理 from that melody旋律.
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他们仍然可以从旋律中
得出一些相同的真理。
00:30
Now, I think the reason原因 why
music音乐 has this universality普遍性,
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我认为音乐之所以有这种普遍性,
00:34
this way of speaking请讲
to each and every一切 one of us,
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可以通过这种方式与我们每个人沟通,
00:37
is that somehow不知何故 it's capable
of holding保持 up a mirror镜子 to us
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是因为它就像在我们面前
摆放的一面镜子,
00:41
that reveals揭示, in some small or large way,
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以某种大小不同的方式一点点地
00:44
a little bit of who or what we are.
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告诉我们是谁或者我们是什么。
推而广之,
00:49
By logical合乎逻辑 extension延期 of this,
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如果音乐就是这种普遍力量,
00:51
if music音乐 is this universal普遍 force,
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00:54
then surely一定 groups of musicians音乐家 --
let's call them orchestras乐团 --
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那么有一群音乐家——
我们称他们为管弦乐队——
00:58
should reflect反映 every一切 aspect方面
of the community社区.
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肯定可以反映出社区的方方面面。
01:02
Logical逻辑, but not necessarily一定 true真正.
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这符合逻辑,但是不一定是事实。
01:06
At TEDxBrusselsTEDx 布鲁塞尔 today今天, we've我们已经 been looking
forward前锋 to the future未来 --
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今天在TEDx 布鲁塞尔,
我们一直在展望未来——
01:09
50 years年份 from now.
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50年后的今天。
01:10
Well, I'm going to ask you
to go in the other direction方向 for a minute分钟,
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好,那现在让我们朝
另外一个方向看,
和我一起回到50年前,
01:14
to come back with me
50 years年份 into the past过去,
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确切来讲回到60年代初。
01:16
the early 1960s to be precise精确.
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01:18
And if you took a look
at all the great orchestras乐团
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如果你去看看当时所有
01:21
of the world世界 at that time, a snapshot快照,
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举世闻名的管弦乐队的照片,
01:23
how many许多 women妇女 do you think you would find
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你觉得你能找到多少女性
01:26
playing播放 in those orchestras乐团?
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在管弦乐队演奏?
01:28
The answer回答: virtually实质上 none没有.
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答案是:一个都没有。
01:32
Well, here we are 50 years年份 on, in 2011,
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那么现在50年过去了,
我们来到2011年,
01:36
and pretty漂亮 much
every一切 orchestra乐队 on the planet行星
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几乎世界上每一个管弦乐队
在男女比例上都达到了极佳的均衡。
01:38
has a fantastic奇妙 and healthy健康 balance平衡
between之间 the sexes两性.
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01:41
"Of course课程!" I hear you
say, "Totally完全 logical合乎逻辑."
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“当然了,” 你们一定会说,
“这完全符合逻辑。”
01:46
But how about another另一个 aspect方面
of the community社区?
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但是社区共同体的另外一个方面呢?
残疾人社区。
01:49
The disabled community社区.
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01:51
Do we find them well-represented很好的体现
in the great orchestras乐团 of our world世界?
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我们能在世界闻名的管弦乐队中
找到他们的踪影吗?
01:56
Well, I can tell you as a conductor导体,
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那么,作为一个指挥家,
我可以告诉你,
01:58
I work with orchestras乐团
around the world世界 all the time,
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我一直在和全世界的管弦乐队合作,
02:01
and I can count计数 on the fingers手指 of one hand
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我用一个手的手指就可以数得清
02:05
the number of disabled
musicians音乐家 I've encountered遇到
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我所遇到的残疾音乐家有多少,
02:07
in any orchestra乐队,
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在任何一个管弦乐队,
02:09
anywhere随地.
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任何地方。
02:10
Why is this?
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这是为什么?
02:12
You can't tell me that there
aren't millions百万 upon millions百万
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你不能否认的是,世界上有成千上万
02:16
of prodigiously不歇 gifted天才 musicians音乐家
of disability失能 around the world世界.
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天赋异禀的音乐家是残疾人。
02:23
Where is their platform平台?
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他们的舞台在哪里?
02:24
Where is the infrastructure基础设施
that creates创建 a space空间 for them
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让他们有机会和其他伟大
的音乐家一起合作,
为他们创造空间
的基础设施又在哪里?
02:28
so that they can collaborate合作
with other great musicians音乐家?
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02:33
So, ladies女士们 and gentlemen绅士,
as you can probably大概 tell,
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那么,女士们先生们,
你们大概也明白了,
今天我是带着使命来的。
02:35
I'm on a bit of a mission任务.
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这个使命也有一定的个人根源。
02:36
And this mission任务 has
a personal个人 root to it.
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我有四个孩子,其中
最小的生来就患有脑瘫。
02:38
I have four children孩子, the youngest最年轻的 of whom
was born天生 with cerebral颅内 palsy麻痹.
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02:42
She's now five, and through通过
her glorious辉煌 existence存在,
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她现在已经5岁了,
在经历了她的光辉成长后,
02:45
I suppose假设 I have now become成为
a fully充分 paid-up实收 member会员
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可以说我已经成了这个光彩夺目的
02:49
of the amazing惊人, dizzyingly令人眼花缭乱 wonderful精彩
disabled community社区.
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残疾人社区的正式成员。
02:54
And I find myself looking
at the Paralympics残奥会
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我发现自己开始观看残奥会,
并开始感叹这是一个多么
让人难以置信的典范。
02:56
and thinking思维 what
an incredible难以置信 model模型 that is.
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02:59
It's taken采取 a good five decades几十年, actually其实,
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实际上已经花了50年的时间了,
03:02
but I can say with hand on heart
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但是我可以摸着良心说,
03:04
that when the Paralympics残奥会
comes to London伦敦 next下一个 year,
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明年伦敦举办残奥会的时候,
03:06
there will not be an intelligent智能
person anywhere随地 on the planet行星
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这个世界上的任何
一个角落都将不会有人
03:11
who does not absolutely绝对 believe
in the validity合法性 of disabled sportspeople运动员.
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对残疾运动员们的价值有任何质疑。
这是一件多么了不起的事情!
03:17
What an amazing惊人 position位置 to be in!
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03:19
So, ladies女士们 and gentlemen绅士,
where the hell地狱 is music音乐 in all this?
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所以,女士们先生们,
音乐的位置到底在哪里?
03:23
Apologies道歉 to any of you
who are sports体育 fans球迷,
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观众席里的体育迷们,不好意思,
03:25
but music音乐 is far more
universal普遍 than sport运动.
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但音乐远比体育运动更普遍。
03:29
Where is the platform平台?
Where is their voice语音?
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他们的舞台在哪里?
他们的声音在哪里?
03:32
So, we in the UK联合王国 are at the very early
stages阶段 in forming成型 what will be
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在英国,我们正处于组建英国
03:37
Britain's英国的 first-ever史无前例的
national国民 disabled orchestra乐队.
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首个国家残疾人管弦乐队的初期阶段。
03:41
We are going to call it
the British英国的 ParaorchestraParaorchestra,
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我们将称它为 “英国残疾人管弦乐队”,
03:43
because with the world's世界 eyes眼睛
on London伦敦 next下一个 year
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因为当明年,世界
将目光投向伦敦的时候,
03:46
and particularly尤其 on the Paralympics残奥会,
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尤其在残奥会时,
03:48
we want to throw down the gauntlet长手套
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我们将向全世界发起挑战,
03:50
to every一切 single other country国家
that is represented代表 there,
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对在场的每一个国家代表队说,
03:53
to say to them, "Here's这里的 our paraorchestraparaorchestra.
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“这是我们的残疾人管弦乐队,
03:56
Where's哪里 yours你的?"
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你们的在哪里?”
03:58
Every一切 country国家 should have
a multiplicity多重 of paraorchestrasparaorchestras
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每个国家都应该有各种各样
的残疾人管弦乐队,
有不同的组成形式,或是不同的规模,
04:02
of all shapes形状 and sizes大小,
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04:04
no question.
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这是毋庸置疑的。
04:05
Now, today今天 is a very special特别 day for me,
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今天对我来说是一个特殊的日子,
04:08
because it is the first time
that the first four members会员
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因为今天四位来自我的
04:11
of my little embryonic胚胎 paraorchestraparaorchestra
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残疾人管弦乐队的第一批成员,
04:14
are going to play in public上市;
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将首次亮相为大家公开演奏。
04:16
four extraordinary非凡 musicians音乐家
of which哪一个 the number will grow增长 and grow增长.
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这四位都是非凡的音乐家,
乐队的成员还会不断增加。
04:21
I hope希望 in the end结束 the ParaorchestraParaorchestra
could even be as big as 50 musicians音乐家.
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我希望最终甚至可以
达到50个音乐家的规模。
04:25
We present当下 to you today今天
a little sonic adventure冒险,
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今天我们为你们带来
一次声音的小冒险,
04:28
a little piece of improvisational即兴
whimsy怪念头, if you like,
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换句话说,一曲奇思妙想的即兴演奏,
04:32
a piece on which哪一个, of course课程,
the ink墨水 is still wet湿,
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当然,这段旋律尚未成熟,
04:35
the clay粘土 is still wet湿.
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仍需润色。
毕竟即兴创作从来就不是固定的事。
04:36
After all, improvisation即兴
is never a fixed固定 thing.
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04:39
We decided决定 what we wanted
to share分享 with you,
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我们想要和你们分享的内容
04:41
at the heart of our improvisation即兴,
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也就是我们即兴创作的核心,
04:43
was a tune which哪一个 is beloved心爱
of British英国的 people.
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是备受英国人喜爱的一首曲子,
04:46
It's one of the only folk民间 melodies旋律
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我们唯一仍然具有文化认同感
04:47
that we still recognize认识 in our culture文化.
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的民间小调之一。
04:50
And here's这里的 an interesting有趣 thing:
folk民间 music音乐 can tell you an awful可怕 lot
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有趣的是,你可以
从民谣音乐中了解很多
04:54
about the cultural文化 DNA脱氧核糖核酸 of the country国家
from which哪一个 it originates起源.
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关于这个国家文化
的DNA以及它的起源。
04:58
You see, we in Britain英国
are quietly悄悄 melancholic忧郁.
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很明显,我们英国人
总是带着一种静默的忧郁。
05:02
You know, the rain ... it does rain.
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你也知道,这里确实经常下雨。
05:04
The food's食品的 not so good.
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吃的也不怎么样。
05:05
(Laughter笑声)
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(笑声)
05:06
Quietly悄悄 地 melancholic忧郁.
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静默的忧郁。
05:08
Not blackly恶毒地 so, just quietly悄悄 so.
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不是那种抑郁,只是安静的。
05:11
And as Shakespeare莎士比亚 put it so
brilliantly出色 in "Twelfth十二 Night,"
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就像莎士比亚在“第十二夜”
里生动的描写一样,
05:15
he loves music音乐 that has "a dying垂死 fall秋季."
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他喜欢有“垂死的秋天”的音乐。
05:19
So this melody旋律, "Greensleeves绿袖,"
is chock-full塞满 of "dying垂死 fall秋季."
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所以“绿袖子”这首旋律里
充满了“垂死的秋天”的感觉。
05:23
You may可能 know this tune.
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你可能知道这首曲子。
(歌声)Da, da, da da da da, 垂死的秋天。
05:25
(Singing唱歌) Da, daDA, daDA daDA daDA daDA, dying垂死 fall秋季.
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05:27
(Laughter笑声)
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(笑声)
Da da da, da da da da, 垂死的秋天。
05:28
Da daDA daDA, daDA daDA daDA daDA, dying垂死 fall秋季.
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05:31
Da dee迪伊, daDA daDA na na ... dying垂死 fall秋季 ...
na na nee东东, na ah ah ah ah.
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Da dee, da da na na, 垂死的秋天,
na na nee na ah ah ah ah。
05:34
Brief简短 burst爆裂 of sunshine阳光, ladies女士们
and gentlemen绅士, the chorus合唱 --
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破云而出的阳光,稍纵即逝。
女士们先生们,合唱——
(歌声)Ya da da da, 垂死的秋天。
05:37
(Singing唱歌) Ya daDA daDA daDA, dying垂死 fall秋季 ...
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05:40
(Laughter笑声)
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(笑声)
05:41
(Singing唱歌) Da daDA dee迪伊,
daDA daDA daDA daDA, dying垂死 fall秋季 ...
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(歌声)
Da da dee, da da da da, 垂死的秋天。
Ya da da da, 垂死的秋天。
05:43
Ya daDA daDA daDA, dying垂死 fall秋季 ...
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05:47
OK?
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知道了吧?
感觉我们的文化里需要一些
有旋律感的伟哥,女士们,先生们。
05:48
It's like we need some melodic旋律 Viagra伟哥
in our culture文化, ladies女士们 and gentlemen绅士.
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05:52
(Laughter笑声)
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(笑声)
05:54
(Applause掌声)
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(掌声)
06:00
It goes without saying
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不言而喻的是,
06:01
that we are very much
at the starting开始 gates with this project项目.
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我们还处于这个项目的起点。
06:04
We need your help, we need
the global全球 community社区
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我们需要你们的帮助,
我们需要全球的社区
06:07
to help us deliver交付 this dream梦想,
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来帮助我们把这个梦想传递下去,
06:09
so that this orchestra乐队
can be full充分 steam蒸汽 ahead
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这样这个管弦乐队
就可以在2012年夏季前
06:12
by summer夏季 2012.
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全速前进了。
如果你们觉得可以
通过任何方式帮助我们,
06:14
If you think there's any way
that you can help us,
123
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拜托,请一定要联系我们。
06:17
please, please, get in touch触摸.
124
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2381
06:19
And so, ladies女士们 and gentlemen绅士, it gives
me enormous巨大 pride自豪, pleasure乐趣 and joy喜悦
125
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那么,女士们先生们,
我带着无比的骄傲、荣幸及喜悦之情,
06:24
to introduce介绍 to you,
with a short improvisation即兴
126
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在这里向你们介绍“绿袖子”,
06:26
upon that most melancholic忧郁
tune, "Greensleeves绿袖,"
127
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一个简短的最具忧郁感的即兴曲调,
06:29
the first four members会员
of the British英国的 ParaorchestraParaorchestra.
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英国残疾人管弦乐队
的第一批四位成员!
(掌声)(欢呼声)
06:33
(Applause掌声) (Cheers干杯)
129
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6585
06:44
(Music音乐)
130
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(音乐)
(掌声)
12:58
(Applause掌声)
131
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5491
13:07
(Cheers干杯) (Applause掌声)
132
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6147
(欢呼声)(掌声)
Translated by Kathy Liumx
Reviewed by 裕如 胡

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ABOUT THE SPEAKERS
British Paraorchestra - Contemporary music ensemble
The British Paraorchestra is the first orchestra for world-class musicians of disability

Why you should listen

Charles Hazlewood is a conductor founded the British Parorchestra to give musicians of disability a platform to collaborate and perform.

Credits for the debut British Paraorchestra performance: Dhanoday Srivastava (Baluji), James Risdon, Clarence Adoo, Lyn Levett. Alison Roberts tell a few of their stories in her Evening Standard piece on the Paraorchestra:

Clarence Adoo, for example, who used to play trumpet with Courtney Pine, suffered a devastating car accident in 1995 and is now paralysed from the shoulders down. He plays music on a laptop, using a specially designed blow tube as a computer mouse. Adoo says he'd rather be able to play an instrument again than walk.

Lyn Levett has severe cerebral palsy and can only communicate by pressing an iPad with her nose, yet makes the "most dizzyingly brilliant electronic music", says Hazlewood. Levett herself, through her iPad, tells us that when she's creating music, it feels as though she's in a cockpit, flying a plane. Sitar player and composer Baluji Shrivastav has been blind since the age of eight months, and Lloyd Coleman is both deaf and sight-impaired. All four make their living solely from music.

Read the full story >>

 

 

More profile about the speaker
British Paraorchestra | Speaker | TED.com
Charles Hazlewood - Conductor
Charles Hazlewood dusts off and invigorates classical music, adding a youthful energy and modern twists to centuries-old masterworks. At TEDGlobal, he conducts the Scottish Ensemble.

Why you should listen

Charles Hazlewood's fresh presentations of classical music shake up the traditional settings of the form -- in one performance he’ll engage in a conversation with the audience, while in another he’ll blend film or sculpture into a piece -- but his goal is always the same: exposing the deep, always-modern joy of the classics. He's a familiar face on British TV, notably in the 2009 series The Birth of British Music on BBC2. He conducts the BBC Orchestras and guest-conducts orchestras around the world.

Together with Mark Dornford-May, he founded a lyric-theatre company in South Africa called Dimpho Di Kopane (which means "combined talents") after auditioning in the townships and villages of South Africa. Of the 40 members, only three had professional training. They debuted with Bizet's Carmen, which was later transposed into a movie version called U-Carmen eKhayelitsha, spoken and sung in Xhosa, that was honored at the Berlin Flim Festival. He regularly involves children in his projects and curates his own music festival, Play the Field, on his farm in Somerset. His latest project: the ParaOrchestra.

He says: "I have loads of issues with the way classical music is presented. It has been too reverential, too 'high art' -- if you're not in the club, they're not going to let you join. It's like The Turin Shroud: don't touch it because it might fall apart."

More profile about the speaker
Charles Hazlewood | Speaker | TED.com