TED Fellows Retreat 2015
Meklit Hadero: The unexpected beauty of everyday sounds
Meklit Hadero: Keindahan Tak Terduga dari Suara Sehari-hari
Filmed:
Readability: 4.1
1,132,751 views
Menggunakan contoh nyanyian burung, nada alami dari bahasa empatik dan bahkan suara tutup panci, Meklit Hadero menunjukkan bagaimana suara sehari-hari, bahkan keheningan, bisa menciptakan musik. "Dunia ini hidup dengan ekspresi musikal, dan kita terlibat di dalamnya."
Meklit Hadero - Singer-songwriter
Meklit Hadero is an Ethiopian-American singer-songwriter living the cultural in-between, both in her own luminous compositions and as a co-founder of the Nile Project. Full bio
Meklit Hadero is an Ethiopian-American singer-songwriter living the cultural in-between, both in her own luminous compositions and as a co-founder of the Nile Project. Full bio
Double-click the English transcript below to play the video.
00:13
As a singer-songwriter,
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Sebagai penyanyi dan penulis lagu,
00:15
people often ask me about my influences
or, as I like to call them,
or, as I like to call them,
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orang sering bertanya
apa yang memengaruhiku,
apa yang memengaruhiku,
00:19
my sonic lineages.
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atau apa yang kusebut sebagai
"silsilah suaraku."
"silsilah suaraku."
00:21
And I could easily tell you
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Aku bisa bilang padamu:
00:23
that I was shaped by the jazz
and hip hop that I grew up with,
and hip hop that I grew up with,
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aku terinspirasi oleh Jazz dan hip hop
yang mengiringi masa kecilku,
yang mengiringi masa kecilku,
00:26
by the Ethiopian heritage of my ancestors,
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oleh warisan nenek moyangku dari Etiopia
00:29
or by the 1980s pop
on my childhood radio stations.
on my childhood radio stations.
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atau musik pop tahun 1980-an
dari stasiun radio masa kecilku.
dari stasiun radio masa kecilku.
00:33
But beyond genre,
there is another question:
there is another question:
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Akan tetapi, di balik aliran musik,
ada satu pertanyaan:
ada satu pertanyaan:
00:37
how do the sounds we hear every day
influence the music that we make?
influence the music that we make?
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bagaimana suara yang terdengar setiap hari
memengaruhi musik yang kita buat?
memengaruhi musik yang kita buat?
00:42
I believe that everyday soundscape
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Aku percaya bahwa bunyi-bunyian harian
00:44
can be the most unexpected
inspiration for songwriting,
inspiration for songwriting,
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bisa menjadi inspirasi paling tak terduga
dalam penulisan lagu,
dalam penulisan lagu,
00:48
and to look at this idea
a little bit more closely,
a little bit more closely,
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dan untuk melongok pemikiran ini
dengan lebih cermat
dengan lebih cermat
00:50
I'm going to talk today
about three things:
about three things:
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Aku akan bicara tentang tiga hal hari ini:
00:52
nature, language and silence --
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alam, bahasa dan keheningan --
00:55
or rather, the impossibility
of true silence.
of true silence.
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tepatnya, kemustahilan dari
keheningan mutlak.
keheningan mutlak.
00:59
And through this I hope to give you
a sense of a world
a sense of a world
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Kuharap ini membuatmu
menyadari sensasi sebuah dunia
menyadari sensasi sebuah dunia
01:02
already alive with musical expression,
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yang hidup dengan ekspresi musikal,
01:05
with each of us serving
as active participants,
as active participants,
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dengan masing-masing kita
berperan aktif di dalamnya,
berperan aktif di dalamnya,
01:09
whether we know it or not.
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entah kita menyadarinya atau tidak.
01:12
I'm going to start today with nature,
but before we do that,
but before we do that,
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Aku akan mulai dengan alam,
tapi sebelum kita melakukannya,
tapi sebelum kita melakukannya,
01:14
let's quickly listen to this snippet
of an opera singer warming up.
of an opera singer warming up.
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Mari dengarkan cuplikan
pemanasan penyanyi opera ini.
pemanasan penyanyi opera ini.
01:18
Here it is.
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Ini dia.
01:20
(Singing)
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(Nyanyian a cappella terdengar)
01:35
(Singing ends)
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(Nyanyian berakhir)
01:37
It's beautiful, isn't it?
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Indah, bukan?
01:40
Gotcha!
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Kena kalian!
01:41
That is actually not the sound
of an opera singer warming up.
of an opera singer warming up.
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Ini bukan suara penyanyi opera
yang sedang pemanasan.
yang sedang pemanasan.
01:45
That is the sound of a bird
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Ini suara kicauan burung,
01:47
slowed down to a pace
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Ini suara burung woodlark yang diperlambat
01:49
that the human ear mistakenly
recognizes as its own.
recognizes as its own.
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dan disangka telinga manusia
sebagai suaranya sendiri.
sebagai suaranya sendiri.
01:54
It was released as part of Peter Szöke's
1987 Hungarian recording
1987 Hungarian recording
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Ini adalah bagian dari rekaman Hungaria
oleh Peter Szöke tahun 1987
oleh Peter Szöke tahun 1987
01:58
"The Unknown Music of Birds,"
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"The Unknown Music of Birds"
02:01
where he records many birds
and slows down their pitches
and slows down their pitches
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dimana ia merekam suara banyak burung
dan memperlambatnya
dan memperlambatnya
02:05
to reveal what's underneath.
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mengungkap yang ada di baliknya.
02:07
Let's listen to the full-speed recording.
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Mari kita dengar dengan kecepatan normal.
02:11
(Bird singing)
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(Suara burung berkicau)
02:15
Now, let's hear the two of them together
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Mari kita dengar secara bersamaan,
02:17
so your brain can juxtapose them.
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agar otak bisa membandingkannya.
02:20
(Bird singing at slow then full speed)
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(Burung berkicau pelan, lalu makin cepat)
02:38
(Singing ends)
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(Kicauan berakhir)
02:42
It's incredible.
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Luar biasa.
02:43
Perhaps the techniques of opera singing
were inspired by birdsong.
were inspired by birdsong.
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Mungkin teknik nyanyian opera
terinspirasi oleh kicauan burung.
terinspirasi oleh kicauan burung.
02:48
As humans, we intuitively understand birds
to be our musical teachers.
to be our musical teachers.
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Sebagai manusia, kita secara naluriah
menganggap burung sebagai guru musik kita.
menganggap burung sebagai guru musik kita.
02:54
In Ethiopia, birds
are considered an integral part
are considered an integral part
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Di Etiopia, burung dianggap
sebagai bagian penting
sebagai bagian penting
02:57
of the origin of music itself.
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dari asal-usul musik itu sendiri.
03:00
The story goes like this:
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Ceritanya seperti ini:
03:03
1,500 years ago, a young man
was born in the Empire of Aksum,
was born in the Empire of Aksum,
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1.500 tahun lalu, seorang pemuda
lahir di Kerajaan Aksum,
lahir di Kerajaan Aksum,
03:08
a major trading center
of the ancient world.
of the ancient world.
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sebuah pusat niaga di dunia kuno.
03:11
His name was Yared.
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Nama pemuda itu Yared.
03:14
When Yared was seven years old
his father died,
his father died,
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Ketika Yared berumur tujuh tahun,
ayahnya meninggal,
ayahnya meninggal,
03:17
and his mother sent him to go live
with an uncle, who was a priest
with an uncle, who was a priest
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dan ibunya menyuruhnya tinggal
dengan pamannya, seorang pendeta
dengan pamannya, seorang pendeta
03:21
of the Ethiopian Orthodox tradition,
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dari tradisi Ortodoks Etiopia,
03:23
one of the oldest churches in the world.
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salah satu gereja tertua di dunia.
03:26
Now, this tradition has an enormous amount
of scholarship and learning,
of scholarship and learning,
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Tradisi ini banyak mementingkan
kecendekiaan dan pengajaran,
kecendekiaan dan pengajaran,
03:30
and Yared had to study and study
and study and study,
and study and study,
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dan Yared harus belajar, belajar,
belajar, dan belajar,
belajar, dan belajar,
03:33
and one day he was studying under a tree,
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dan suatu hari, ia belajar di bawah pohon,
03:36
when three birds came to him.
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dan tiga ekor burung menghampirinya.
03:39
One by one, these birds
became his teachers.
became his teachers.
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Satu persatu, burung-burung ini
menjadi gurunya.
menjadi gurunya.
03:42
They taught him music -- scales, in fact.
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Mereka mengajarinya musik --
tangga nada, sebenarnya.
tangga nada, sebenarnya.
03:47
And Yared, eventually
recognized as Saint Yared,
recognized as Saint Yared,
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Yared, yang akhirnya dikenal
sebagai Santo Yared,
sebagai Santo Yared,
03:50
used these scales to compose
five volumes of chants and hymns
five volumes of chants and hymns
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menggunakan tangga nada ini untuk
menggubah 5 volume puji-pujian dan himne
menggubah 5 volume puji-pujian dan himne
03:54
for worship and celebration.
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untuk ibadah dan perayaan.
03:56
And he used these scales
to compose and to create
to compose and to create
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Dan ia menggunakan tangga nada ini
untuk menyusun dan menciptakan
untuk menyusun dan menciptakan
04:00
an indigenous musical notation system.
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sistem notasi musik pribumi.
04:03
And these scales evolved
into what is known as kiñit,
into what is known as kiñit,
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Tangga nada ini berkembang
menjadi apa yang disebut kiñit,
menjadi apa yang disebut kiñit,
04:07
the unique, pentatonic, five-note,
modal system that is very much alive
modal system that is very much alive
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sistem pentatonik lima-nada unik
yang masih sangat hidup
yang masih sangat hidup
04:13
and thriving and still evolving
in Ethiopia today.
in Ethiopia today.
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dan berkembang serta berevolusi
di Etiopia saat ini.
di Etiopia saat ini.
04:18
Now, I love this story because
it's true at multiple levels.
it's true at multiple levels.
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Aku suka cerita ini karena benar
dalam berbagai tingkatan.
dalam berbagai tingkatan.
04:21
Saint Yared was a real, historical figure,
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Santo Yared sosok yang benar-benar ada,
04:24
and the natural world
can be our musical teacher.
can be our musical teacher.
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dan alam dapat menjadi guru musik kita.
04:29
And we have so many examples of this:
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Dan ada banyak contohnya:
04:31
the Pygmies of the Congo
tune their instruments
tune their instruments
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kaum Pigmi di Kongo
menyetel alat musik mereka
menyetel alat musik mereka
04:33
to the pitches of the birds
in the forest around them.
in the forest around them.
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dengan nada burung-burung
di hutan sekitar mereka.
di hutan sekitar mereka.
04:36
Musician and natural soundscape
expert Bernie Krause describes
expert Bernie Krause describes
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Menurut musisi dan pakar suara alam
Bernie Krause
Bernie Krause
04:39
how a healthy environment
has animals and insects
has animals and insects
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lingkungan yang sehat
punya hewan-hewan dan serangga
punya hewan-hewan dan serangga
04:42
taking up low, medium
and high-frequency bands,
and high-frequency bands,
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yang memainkan frekuensi rendah,
sedang dan tinggi,
sedang dan tinggi,
04:46
in exactly the same way
as a symphony does.
as a symphony does.
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sama seperti sebuah simfoni.
04:50
And countless works of music
were inspired by bird and forest song.
were inspired by bird and forest song.
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Dan banyak komposisi musik
terinspirasi nyanyian burung dan hutan.
terinspirasi nyanyian burung dan hutan.
04:54
Yes, the natural world
can be our cultural teacher.
can be our cultural teacher.
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Ya, alam bisa menjadi guru budaya kita.
05:00
So let's go now to the uniquely
human world of language.
human world of language.
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Sekarang mari kita pindah
ke dunia bahasa manusia yang unik.
ke dunia bahasa manusia yang unik.
05:05
Every language communicates
with pitch to varying degrees,
with pitch to varying degrees,
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Setiap bahasa berkomunikasi
dengan variasi perbedaan nada,
dengan variasi perbedaan nada,
05:08
whether it's Mandarin Chinese,
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entah itu bahasa Mandarin,
05:09
where a shift in melodic inflection
gives the same phonetic syllable
gives the same phonetic syllable
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dimana perpindahan nada suara
memberikan silabus fonetis yang sama
memberikan silabus fonetis yang sama
05:13
an entirely different meaning,
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makna yang sangat berbeda,
05:15
to a language like English,
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hingga bahasa Inggris,
05:16
where a raised pitch
at the end of a sentence ...
at the end of a sentence ...
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dimana nada suara yang naik
di akhir kalimat...
di akhir kalimat...
05:19
(Going up in pitch) implies a question?
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(menaikkan suara) bermakna pertanyaan?
05:21
(Laughter)
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(Tertawa)
05:23
As an Ethiopian-American woman,
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Sebagai wanita Amerika-Etiopia,
05:24
I grew up around the language
of Amharic, Amhariña.
of Amharic, Amhariña.
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aku tumbuh dengan bahasa Amharic,
Amhariña..
Amhariña..
05:27
It was my first language,
the language of my parents,
the language of my parents,
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Itu adalah bahasa pertamaku,
bahasa orangtuaku,
bahasa orangtuaku,
05:29
one of the main languages of Ethiopia.
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salah satu bahasa utama di Etiopia.
05:32
And there are a million reasons
to fall in love with this language:
to fall in love with this language:
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Ada jutaan alasan untuk jatuh cinta
dengan bahasa ini:
dengan bahasa ini:
05:35
its depth of poetics,
its double entendres,
its double entendres,
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kedalaman puitisnya, makna gandanya,
05:38
its wax and gold, its humor,
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kecemerlangannya, humornya,
05:41
its proverbs that illuminate
the wisdom and follies of life.
the wisdom and follies of life.
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peribahasa yang menyorot kebijaksanaan
dan kebodohan dalam hidup.
dan kebodohan dalam hidup.
05:46
But there's also this melodicism,
a musicality built right in.
a musicality built right in.
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Tapi, ada juga melodinya,
musikalitas yang terbangun di dalamnya.
musikalitas yang terbangun di dalamnya.
05:50
And I find this distilled most clearly
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Aku menyadari hal ini sangat jelas
05:52
in what I like to call
emphatic language --
emphatic language --
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dalam apa yang kusebut bahasa empatik --
05:55
language that's meant
to highlight or underline
to highlight or underline
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bahasa yang dimaksudkan untuk menegaskan
05:57
or that springs from surprise.
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atau yang muncul dari keterkejutan.
06:00
Take, for example, the word: "indey."
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Ambil contoh kata "indey."
06:03
Now, if there are Ethiopians
in the audience,
in the audience,
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Kalau ada orang Etiopia di sini,
06:05
they're probably chuckling to themselves,
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mereka pasti akan tertawa,
06:07
because the word means
something like "No!"
something like "No!"
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karena kata itu bermakna seperti "Tidak!"
06:09
or "How could he?" or "No, he didn't."
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"Bisanya dia?" atau "Yang benar saja."
06:11
It kind of depends on the situation.
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Tergantung situasinya.
06:13
But when I was a kid,
this was my very favorite word,
this was my very favorite word,
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Tapi, ketika aku masih kecil,
itu adalah kata kesukaanku,
itu adalah kata kesukaanku,
06:17
and I think it's because it has a pitch.
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dan kupikir itu karena
kata tersebut punya nada.
kata tersebut punya nada.
06:20
It has a melody.
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Ada melodinya.
06:21
You can almost see the shape
as it springs from someone's mouth.
as it springs from someone's mouth.
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Kau nyaris bisa melihatnya
saat muncul dari mulut seseorang.
saat muncul dari mulut seseorang.
06:24
"Indey" -- it dips, and then raises again.
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"Indey" -- turun, lalu naik lagi.
06:28
And as a musician and composer,
when I hear that word,
when I hear that word,
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Sebagai musisi dan komposer,
ketika aku mendengar kata itu,
ketika aku mendengar kata itu,
06:31
something like this
is floating through my mind.
is floating through my mind.
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sesuatu seperti ini muncul di benakku.
06:35
(Music and singing "Indey")
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(Menyanyikan "Indey" diiringi musik)
06:45
(Music ends)
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(Musik berakhir)
06:48
Or take, for example, the phrase
for "It is right" or "It is correct" --
for "It is right" or "It is correct" --
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Atau, ambil contoh frase "itu benar"
atau "itu betul" --
atau "itu betul" --
06:52
"Lickih nehu ... Lickih nehu."
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"Lickih nehu...Lickih nehu."
06:54
It's an affirmation, an agreement.
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Itu afirmasi, persetujuan.
06:56
"Lickih nehu."
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"Lickih nehu."
06:58
When I hear that phrase,
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Ketika aku mendengarnya,
06:59
something like this starts rolling
through my mind.
through my mind.
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seuatu seperti ini muncul di pikiranku,
07:04
(Music and singing "Lickih nehu")
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(Menyanyikan "Lickih nehu" diiringi musik)
07:11
(Music ends)
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(Musik berakhir)
07:14
And in both of those cases,
what I did was I took the melody
what I did was I took the melody
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Dalam keduanya, aku mengambil melodi
07:17
and the phrasing
of those words and phrases
of those words and phrases
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dan pengucapan kata-kata serta frase itu
07:19
and I turned them into musical parts
to use in these short compositions.
to use in these short compositions.
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mengubahnya menjadi potongan musikal
untuk komposisi pendek.
untuk komposisi pendek.
07:24
And I like to write bass lines,
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Aku suka baris-baris bas,
07:26
so they both ended up
kind of as bass lines.
kind of as bass lines.
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sehingga mereka jadi
mirip baris-baris bas.
mirip baris-baris bas.
07:29
Now, this is based on the work
of Jason Moran and others
of Jason Moran and others
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Ini bisa ditemukan
dalam karya Jason Moran dan lainnya
dalam karya Jason Moran dan lainnya
07:32
who work intimately
with music and language,
with music and language,
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yang berkecimpung dalam musik dan bahasa,
07:35
but it's also something I've had
in my head since I was a kid,
in my head since I was a kid,
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tapi ini juga ada di benakku
sejak aku kecil,
sejak aku kecil,
07:38
how musical my parents sounded
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betapa musikalnya suara orangtuaku
07:40
when they were speaking
to each other and to us.
to each other and to us.
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saat mereka bicara berdua dan pada kami.
07:44
It was from them
and from Amhariña that I learned
and from Amhariña that I learned
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Dari mereka
dan bahasa Amhariña aku belajar
dan bahasa Amhariña aku belajar
07:46
that we are awash in musical expression
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bahwa kita kaya akan ekspresi musikal
07:49
with every word,
every sentence that we speak,
every sentence that we speak,
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dalam tiap kata,
tiap kalimat yang kita ucapkan,
tiap kalimat yang kita ucapkan,
07:52
every word, every sentence
that we receive.
that we receive.
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tiap kata, tiap kalimat yang kita dengar.
07:54
Perhaps you can hear it
in the words I'm speaking even now.
in the words I'm speaking even now.
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Mungkin kau bisa mendengarnya
dari kata-kataku saat ini.
dari kata-kataku saat ini.
08:00
Finally, we go to the 1950s United States
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Akhirnya, kita ke Amerika Serikat
tahun 1950-an
tahun 1950-an
08:02
and the most seminal work
of 20th century avant-garde composition:
of 20th century avant-garde composition:
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serta karya terawal
komposisi avant-garde abad ke-20:
komposisi avant-garde abad ke-20:
08:06
John Cage's "4:33,"
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"4:33" karya John Cage,
08:08
written for any instrument
or combination of instruments.
or combination of instruments.
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yang digubah untuk instrumen atau
kombinasi instrumen apa saja.
kombinasi instrumen apa saja.
08:12
The musician or musicians are invited
to walk onto the stage
to walk onto the stage
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Para musisi diundang ke panggung
08:16
with a stopwatch and open the score,
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dengan stopwatch dan kemudian
memulai komposisinya
memulai komposisinya
08:19
which was actually purchased
by the Museum of Modern Art --
by the Museum of Modern Art --
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yang kemudian dibeli oleh
Museum of Modern Art --
Museum of Modern Art --
08:22
the score, that is.
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komposisinya, maksudku.
08:24
And this score has not
a single note written
a single note written
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Tak ada satupun nada ditulis
dari komposisi ini
dari komposisi ini
08:28
and there is not a single note played
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dan tak ada satupun nada yang dimainkan
08:30
for four minutes and 33 seconds.
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selama empat menit dan 33 detik.
08:34
And, at once enraging and enrapturing,
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Dengan menggetarkan dan menakjubkan,
08:39
Cage shows us that even
when there are no strings
when there are no strings
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Cage menunjukkan bahwa
walaupun tak ada senar
walaupun tak ada senar
08:42
being plucked by fingers
or hands hammering piano keys,
or hands hammering piano keys,
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yang dipetik oleh jemari,
atau tangan menekan tuts piano,
atau tangan menekan tuts piano,
08:47
still there is music,
still there is music,
still there is music,
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masih ada musik, masih ada musik,
08:49
still there is music.
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masih ada musik.
08:51
And what is this music?
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Dan musik apakah itu?
08:54
It was that sneeze in the back.
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Itu adalah suara bersin di belakang sana.
08:57
(Laughter)
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(Tertawa)
08:58
It is the everyday soundscape
that arises from the audience themselves:
that arises from the audience themselves:
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Itu adalah suara sehari-hari yang dibuat
para penonton:
para penonton:
09:03
their coughs, their sighs, their rustles,
their whispers, their sneezes,
their whispers, their sneezes,
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batuk, desahan, desiran, bisikan, bersin,
09:08
the room, the wood
of the floors and the walls
of the floors and the walls
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ruangan, kayu di lantai dan dinding
09:10
expanding and contracting,
creaking and groaning
creaking and groaning
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mengembang dan menyempit,
berderit dan mengerang
berderit dan mengerang
09:13
with the heat and the cold,
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bersama panas dan dingin,
09:14
the pipes clanking and contributing.
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pipa-pipa berkelontang dan berkontribusi.
09:19
And controversial though it was,
and even controversial though it remains,
and even controversial though it remains,
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Walaupun saat itu kontroversial,
dan masih sampai sekarang,
dan masih sampai sekarang,
09:22
Cage's point is that there is no
such thing as true silence.
such thing as true silence.
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Maksud Cage adalah
tak ada yang namanya keheningan mutlak.
tak ada yang namanya keheningan mutlak.
09:28
Even in the most silent environments,
we still hear and feel the sound
we still hear and feel the sound
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Bahkan di lingkungan paling senyap,
kita masih mendengar dan merasakan suara
kita masih mendengar dan merasakan suara
09:32
of our own heartbeats.
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dari detak jantung kita.
09:34
The world is alive
with musical expression.
with musical expression.
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Dunia ini hidup dengan ekspresi musikal.
09:38
We are already immersed.
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Kita terlibat di dalamnya.
09:42
Now, I had my own moment of,
let's say, remixing John Cage
let's say, remixing John Cage
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Aku sempat menggubah ulang karya John Cage
09:46
a couple of months ago
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beberapa bulan yang lalu
09:47
when I was standing
in front of the stove cooking lentils.
in front of the stove cooking lentils.
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ketika aku berdiri di depan kompor,
memasak kacang.
memasak kacang.
09:50
And it was late one night
and it was time to stir,
and it was time to stir,
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Saat itu larut malam,
dan sudah waktunya mengaduk,
dan sudah waktunya mengaduk,
09:53
so I lifted the lid off the cooking pot,
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jadi aku mengangkat tutup panci,
09:55
and I placed it onto
the kitchen counter next to me,
the kitchen counter next to me,
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dan meletakkannya di meja dapur
di sebelahku,
di sebelahku,
09:58
and it started to roll back and forth
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dan tutup itu mulai bergoyang maju mundur
10:00
making this sound.
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membuat suara ini.
10:04
(Sound of metal lid
clanking against a counter)
clanking against a counter)
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(Suara tutup logam menyentuh meja dapur)
10:10
(Clanking ends)
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(Suara berakhir)
10:13
And it stopped me cold.
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Dan itu membuatku terdiam.
10:15
I thought, "What a weird, cool swing
that cooking pan lid has."
that cooking pan lid has."
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Kupikir, "goyangan tutup panci ini aneh
dan keren sekali."
dan keren sekali."
10:22
So when the lentils were ready and eaten,
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Ketika kacangnya sudah matang dan kumakan,
10:26
I hightailed it to my backyard studio,
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aku bergegas ke studio belakang rumahku,
10:30
and I made this.
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dan aku membuat ini.
10:33
(Music, including the sound
of the lid, and singing)
of the lid, and singing)
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(Musik dengan suara tutup panci
dan nyanyian)
dan nyanyian)
10:50
(Music ends)
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(Musik berakhir)
10:52
Now, John Cage
wasn't instructing musicians
wasn't instructing musicians
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John Cage tidak menyuruh para musisi
10:54
to mine the soundscape
for sonic textures to turn into music.
for sonic textures to turn into music.
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mengambil bebunyian sebagai tekstur sonik
untuk dijadikan musik.
untuk dijadikan musik.
10:59
He was saying that on its own,
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Dia berkata bahwa, secara alami,
11:01
the environment is musically generative,
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lingkungan sekitar kaya musikalitas,
11:05
that it is generous, that it is fertile,
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sangat melimpah, sangat subur,
11:09
that we are already immersed.
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dan kita sudah terlibat di dalamnya.
11:12
Musician, music researcher, surgeon
and human hearing expert Charles Limb
and human hearing expert Charles Limb
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Musisi, peneliti musik, ahli bedah
dan pakar pendengaran Charles Limb
dan pakar pendengaran Charles Limb
11:18
is a professor at Johns Hopkins University
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adalah profesor di John Hopkins University
11:20
and he studies music and the brain.
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dan dia memelajari musik dan otak.
11:24
And he has a theory
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Dia punya teori
11:27
that it is possible -- it is possible --
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bahwa sangat memungkinkan
11:30
that the human auditory system
actually evolved to hear music,
actually evolved to hear music,
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sistem auditori manusia sebenarnya
berevolusi untuk mendengar musik,
berevolusi untuk mendengar musik,
11:36
because it is so much more complex
than it needs to be for language alone.
than it needs to be for language alone.
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karena otak lebih rumit
dari sekedar untuk berbahasa.
dari sekedar untuk berbahasa.
11:41
And if that's true,
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Dan jika itu benar,
11:43
it means that we're hard-wired for music,
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artinya kita disetel
untuk mendengar musik,
untuk mendengar musik,
11:46
that we can find it anywhere,
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bahwa kita bisa menemukannya di mana saja,
11:48
that there is no such thing
as a musical desert,
as a musical desert,
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tak ada yang namanya kering musikalitas,
11:51
that we are permanently
hanging out at the oasis,
hanging out at the oasis,
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dan kita selalu berada di oase,
11:55
and that is marvelous.
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dan itu luar biasa.
11:58
We can add to the soundtrack,
but it's already playing.
but it's already playing.
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Kita bisa menambahkan lagu,
tapi lagu itu sudah bermain.
tapi lagu itu sudah bermain.
12:02
And it doesn't mean don't study music.
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Bukannya tidak harus memelajari musik.
12:04
Study music, trace your sonic lineages
and enjoy that exploration.
and enjoy that exploration.
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Pelajari musik, telusuri warisan suaramu,
nikmati penjelajahan itu.
nikmati penjelajahan itu.
12:09
But there is a kind of sonic lineage
to which we all belong.
to which we all belong.
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Akan tetapi, ada warisan suara
yang kita semua memilikinya.
yang kita semua memilikinya.
12:14
So the next time you are seeking
percussion inspiration,
percussion inspiration,
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Kali berikutnya kau mencari
inspirasi musik perkusi,
inspirasi musik perkusi,
12:16
look no further than your tires,
as they roll over the unusual grooves
as they roll over the unusual grooves
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lihatlah ban mobilmu saat berputar
di atas permukaan tak rata
di atas permukaan tak rata
12:20
of the freeway,
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di jalan tol,
12:22
or the top-right burner of your stove
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atau tungku kompormu
12:24
and that strange way that it clicks
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dan suara klik-klik anehnya
12:25
as it is preparing to light.
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saat kompor hendak dinyalakan.
12:28
When seeking melodic inspiration,
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Ketika mencari inspirasi melodi,
12:30
look no further than dawn
and dusk avian orchestras
and dusk avian orchestras
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dengarkan orkestra burung
saat fajar dan petang
saat fajar dan petang
12:33
or to the natural lilt
of emphatic language.
of emphatic language.
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atau ritme alami bahasa empatik.
12:37
We are the audience
and we are the composers
and we are the composers
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Kita adalah penonton dan komposer
12:40
and we take from these pieces
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dan kita mengambil sepotong-sepotong
12:41
we are given.
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dari yang kita dapat.
12:43
We make, we make, we make, we make,
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Kita mencipta, mencipta dan mencipta,
12:45
knowing that when it comes to nature
or language or soundscape,
or language or soundscape,
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tahu bahwa di alam,
bahasa atau bunyi-bunyian,
bahasa atau bunyi-bunyian,
12:49
there is no end to the inspiration --
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inspirasi tak ada habisnya --
12:52
if we are listening.
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jika kita mendengarkan.
12:55
Thank you.
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Terima kasih.
12:56
(Applause)
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(Tepuk tangan)
ABOUT THE SPEAKER
Meklit Hadero - Singer-songwriterMeklit Hadero is an Ethiopian-American singer-songwriter living the cultural in-between, both in her own luminous compositions and as a co-founder of the Nile Project.
Why you should listen
Meklit Hadero's music is imbued with poetry and multiplicity, from hybridized sounds of Tizita (haunting and nostalgic music) drawing from her Ethiopian heritage, to the annals of jazz, folk songs and rock & roll. Hadero describes her music as emanating from “in-between spaces,” and the result is a smoky, evocative world peopled by strong bass, world instruments and her soothing voice.
In the Nile Project, founded along with Egyptian ethnomusicologist Mina Girgis, Hadero set out to explore the music of the Nile basin, pulling influences from countries along the river, from Uganda, Kenya, Tanzania, Ethiopia, South Sudan, Sudan, and finally to Egypt. The project brings together hip-hop, traditional and contemporary music, with instruments and traditions old and new. As she says, "My work on a lot of levels is about multiplicity." Their new record is Aswan.
About her own music, here's what people say:
“Soulful, tremulous and strangely cinematic, Meklit’s voice will implant scenes in your mind — a softly lit supperclub, a Brooklyn stoop, a sun-baked road. Close your eyes, listen and dream." -- Seattle Times
"Meklit… combines N.Y. jazz with West Coast folk and African flourishes, all bound together by her beguiling voice, which is part sunshine and part cloudy day.” -- Filter Magazine
Meklit Hadero | Speaker | TED.com