ABOUT THE SPEAKER
Pamelia Kurstin - Theremin player
Pamelia Kurstin excavates a dusty artifact from the prehistoric strata of electronic music -- and demonstrates how to squeeze soul from an instrument you can't even touch.

Why you should listen

The theremin, the first electronic instrument ever invented, was on the brink of historic oblivion when it was rescued from obscurity by director Steven Martin's classic 1994 documentary Theremin: An Electronic Odyssey . And while a few brave souls have sought to master this temperamental instrument since then, none have done so with more sly effervescence than Pamelia Kurstin.

From the rock-steady composure she assumes behind the instrument (necessary lest her breathing drive the sensors out of tune), one might presume a shrinking conservatory personality, but a quick glance at the MySpace page of the self-described "bird-punching rollerskating thereminist" will quickly dash any of these quaint notions. Far from being a quirky curiosity, however, Kurstin is a sensitive, emotional stylist capable of coaxing sublime melodic content out of an instrument usually doomed to B-movie sci-fi soundtracks. (And her walking bass imitation is pretty cool too.)

Born in Los Angeles, Kurstin currently resides in Vienna, and performs with her latest project Blueblut, among many others. Her latest solo CD, Thinking Out Loud, was released in 2007 on John Zorn's legendary Tzadik label. She'll bathe your dog and give you a haircut ("if you're daring," she warns) in exchange for a six-pack.

More profile about the speaker
Pamelia Kurstin | Speaker | TED.com
TED2002

Pamelia Kurstin: The untouchable music of the theremin

Pamelia Kurstin toca o Theremin -- A música intocável

Filmed:
2,115,903 views

A virtuosa Pamelia Kurstin apresente e discute seu theremin, o não-apenas-para-ficção científica instrumento eletrônico que é tocado sem ser encostado. Músicas incluem "Autumn Leaves," "Lush Life e "Listen, Words Are Gone" de David Mash.
- Theremin player
Pamelia Kurstin excavates a dusty artifact from the prehistoric strata of electronic music -- and demonstrates how to squeeze soul from an instrument you can't even touch. Full bio

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

00:12
(Music)
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(Música) - "Autumn Leaves" - "Folhas de Outono"
05:20
(Applause)
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(Aplausos)
05:35
Thank you. Ooh, I'm like, "Phew, phew, calm down. Get back into my body now." (Laughter)
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Acalme-se. Volte ao meu corpo agora.
05:40
Usually when I play out, the first thing that happens is
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Normalmente quando eu toco, a primeira coisa que acontece é,
05:44
people scream out, "What's she doing?!"
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as pessoas gritam, o que ela está fazendo?
05:47
I'll play at these rock shows, be on stage
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Você sabe, eu vou tocar nesses shows de rock, você sabe, estar no palco,
05:50
standing completely still, and they're like,
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totalmente imóvel, sabe, só fazendo isso.
05:52
"What's she doing?! What's she doing?!"
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Sabe, tipo, o que ela está fazendo? O que ela está fazendo? Vocês sabem.
05:55
And then I'll kind of be like -- (Vvvwow!) -- and then they're like, "Whoa!"
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E então eu vou, tipo que, estar, tipo -- (Vvvwow!) -- vocês sabem, e então, tipo ...
05:59
(Laughter)
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(Risos)
06:01
I'm sure you're trying to figure out,
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E isso é, eu tenho certeza que vocês estão tentando descobrir,
06:05
"Well, how does this thing work?"
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bem, como essa coisa funciona?
06:07
Well, what I'm doing is
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Bem, o que estou fazendo é -- oh! --
06:11
controlling the pitch with my left hand.
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controlando o timbre com a minha mão esquerda.
06:18
See, the closer I get to this antenna, the higher the note gets --
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Vejam, quanto mais perto da antena, mais agudo é o som.
06:23
(Portamento) --
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(Portamento)
06:26
and you can get it really low.
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E você pode deixá-lo bem grave.
06:28
And with this hand I'm controlling the volume,
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E com essa mão, estou controlando o volume,
06:31
so the further away my right hand gets, the louder it gets.
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então quanto mais longe minha mão fica, mais alto o som.
06:35
(Tones)
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(Tons)
06:38
So basically, with both of your hands
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Então, basicamente, com ambas as suas mãos
06:40
you're controlling pitch and volume and kind of
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você está controlando o timbre e o volume e, meio que,
06:44
trying to create the illusion that you're doing separate notes,
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tentando criar a ilusão de que você está fazendo notas separadas
06:48
when really it's continuously going ...
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quando, na verdade, ele está continuamente indo ...
06:50
(Flourish ... Beep)
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(Floreio ... Beep)
06:54
(Laughter)
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(Risos)
07:03
Sometimes I startle myself: I'll forget that I have it on,
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De vez em quando eu me distraio: Eu esqueço que ele está ligado,
07:05
and I'll lean over to pick up something,
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e eu me inclino para pegar algo,
07:08
and then it goes like -- (Blip) -- "Oh!"
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e então ele vai, tipo, oh! Você sabe.
07:11
And it's like a funny sound effect that follows you around
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E isso é, tipo, um efeito sonoro engraçado que te segue
07:14
if you don't turn the thing off.
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se você não desligar essa coisa.
07:16
(Laughter)
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(Risos)
07:21
Maybe we'll go into the next tune,
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Talvez iremos para a próxima melodia,
07:25
because I totally lost where this is going.
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porque eu perdi totalmente para onde isso vai.
07:29
We're going to do a song by David Mash called "Listen: the Words Are Gone,"
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Faremos a música de David Mash que se chama "Escute, as palavras se foram,"
07:34
and maybe I'll have words come back into me afterwards if I can relax.
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e talvez as palavras voltem para mim depois.
07:38
(Music)
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(Música) - "Listen: the Words Are Gone" - "Escute: As palavras se foram"
10:32
(Applause)
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(Aplausos)
10:44
So, I'm trying to think of some of the questions
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Então, estou tentando pensar em algumas das perguntas
10:47
that are commonly asked; there are so many.
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que normalmente me fazem. São tantas.
10:49
And ... Well, I guess I could tell you
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E, bem, eu acho que posso contar a vocês
10:52
a little of the history of the theremin.
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um pouco da história do theremin.
10:54
It was invented around the 1920s, and the inventor, Léon Theremin
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Ele foi inventado por volta de 1920, e o inventor, Léon Theremin
11:00
-- he also was a musician besides an inventor --
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-- ele também é músico além de inventor --
11:05
he came up with the idea for making the theremin,
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ele teve a idéia de fazer o theremin
11:10
I think, when he was working on some shortwave radios.
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eu acho que quando ele estava trabalhando com rádios de ondas curtas
11:14
And there'd be that sound in the signal -- it's like (Screeching) --
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e teria esse som no sinal -- é tipo -- (Chiado)
11:17
and he thought, "Oh, what if I could control that sound
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e ele pensou, oh, e se eu pudesse controlar esse som
11:21
and turn it into an instrument, because there are pitches in it."
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e transformá-lo em um instrumento, porque existem timbres nele.
11:25
And so somehow through developing that,
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E então de alguma forma, através do desenvolvimento disso,
11:28
he eventually came to make the theremin the way it is now.
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ele por fim fez o theremin do jeito que ele é hoje.
11:35
And a lot of times, even kids nowadays,
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E muitas vezes até as crianças de hoje,
11:39
they'll make reference to a theremin by going, "Whoo-hoo-hoo-hoo,"
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farão referências ao theremin por fazer o wooo-hoo-hoo-hoo,
11:43
because in the '50s it was used in the sci-fi horror movies,
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porque na década de 50 ele foi usado nos filmes de ficção científica de terror:
11:45
that sound that's like ... (Woo-hoo-hoo-hoo)
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esse som é tipo ... (Woo-ooo)
11:49
(Laughter)
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(Risos)
11:52
It's kind of a funny, goofy sound to do.
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Isso é, meio que, o engraçado e medonho som que eles fazem.
11:58
And sometimes if I have too much coffee,
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E algumas vezes se eu tomar muito café,
12:00
then my vibrato gets out of hand.
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então meu vibrato se perde.
12:02
You're really sensitive to your body and its functions
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Você é muito sensível ao seu corpo e suas funções
12:05
when you're behind this thing.
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quando se está atrás dessa coisa.
12:07
You have to stay so still if you want to have the most control.
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Você tem de ficar tão imóvel se quiser ter o máximo de controle.
12:10
It reminds me of the balancing act earlier on -- what Michael was doing --
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Isso me lembra do ato de equilíbrio mais cedo, o que Michael estava fazendo,
12:15
because you're fighting so hard to keep the balance
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porque você está lutando tão bravamente pra ficar equilibrado
12:18
with what you're playing with and stay in tune, and at the same time
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com o que você está tocando, e ficar em sintonia, e ao mesmo tempo
12:24
you don't want to focus so much on being in tune all the time;
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você não quer concentrar demais em estar em sintonia o tempo todo;
12:27
you want to be feeling the music.
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você quer sentir a música.
12:30
And then also, you're trying to stay very, very, very still
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E então, também, você está tentando ficar muito, muito, muito parado,
12:34
because little movements with other parts of your body
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porque pequenos movimentos com outras partes do seu corpo
12:38
will affect the pitch, or sometimes if you're holding a low note -- (Tone rising out of key) --
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vão afetar o timbre, ou às vezes se você está segurando uma nota grave,
12:45
and breathing will make it ...
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e respirando, você sabe, fará isso ... (Tom saindo de controle)
12:48
(Laughter)
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(Risos)
12:49
If I pass out on the next song ...
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Se eu desmaiar na próxima música --
12:52
(Laughter)
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(Risos)
12:54
I think of it almost like
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Mas isso é definitivamente, eu acho que quase, tipo,
12:58
like a yoga instrument because it makes you so aware
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um instrumento de yoga, porque isso te faz tão ciente
13:01
of every little crazy thing your body is doing,
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de cada pequena e louca coisa que seu corpo está fazendo,
13:05
or just aware of what you don't want it to be doing
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ou apenas ciente do que você não quer que ele faça
13:10
while you're playing; you don't want to have any sudden movements.
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enquanto você está tocando: você sabe, movimentos súbitos.
13:14
And if I go to a club and play a gig, people are like,
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E, você sabe, se eu for a uma casa noturna e fizer um show, pessoas, tipo,
13:17
"Here, have some drinks on us!"
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"Aqui, alguns drinques por nossa conta!"
13:19
And it's like, "Well, I'm about to go on soon;
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E isso é, tipo, bem, eu vou subir ao palco logo;
13:22
I don't want to be like -- (Teetering tones) -- you know?"
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Eu não quero estar, tipo, você sabe ... (Tons oscilando)
13:26
It really does reflect the mood that you're in also,
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Isso realmente reflete o seu estado de humor, também,
13:29
if you're ...
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se você está, vocês sabe, se você está --
13:31
it's similar to being a vocalist, except
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é como ser um vocalista, exceto,
13:34
instead of it coming out of your throat,
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que em vez de sair da sua garganta,
13:36
you're controlling it just in the air
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você o está controlando apenas no ar
13:38
and you don't really have a point of reference;
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e você não tem realmente de ter um ponto de referência;
13:41
you're always relying on your ears and adjusting constantly.
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você está sempre confiando nos seus ouvidos e ajustando constantemente.
13:46
You just have to always adjust to what's happening
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Você apenas tem de ajustar ao que está acontecendo
13:48
and realize you'll have bummer notes come here and there
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e perceber que você terá notas desconhecidas saindo aqui e ali
13:52
and listen to it, adjust it, and just move on,
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e ouvir isso, ajustar isso, e seguir em frente,
13:55
or else you'll get too tied up and go crazy. Like me.
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ou então você vai ficar muito preso e enlouquecerá. Como eu.
14:04
I think we will play another tune now.
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Acho que vou tocar outra melodia agora.
14:09
I'm going to do "Lush Life." It's one of my favorite tunes to play.
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Eu farei "Lush Life": é uma das minhas preferidas melodias para tocar.
14:12
(Music)
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(Música) - "Lush Life" - Vida de Embriagado"
19:02
(Applause)
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(Aplausos)
Translated by Tulio Leao
Reviewed by Belucio Haibara

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ABOUT THE SPEAKER
Pamelia Kurstin - Theremin player
Pamelia Kurstin excavates a dusty artifact from the prehistoric strata of electronic music -- and demonstrates how to squeeze soul from an instrument you can't even touch.

Why you should listen

The theremin, the first electronic instrument ever invented, was on the brink of historic oblivion when it was rescued from obscurity by director Steven Martin's classic 1994 documentary Theremin: An Electronic Odyssey . And while a few brave souls have sought to master this temperamental instrument since then, none have done so with more sly effervescence than Pamelia Kurstin.

From the rock-steady composure she assumes behind the instrument (necessary lest her breathing drive the sensors out of tune), one might presume a shrinking conservatory personality, but a quick glance at the MySpace page of the self-described "bird-punching rollerskating thereminist" will quickly dash any of these quaint notions. Far from being a quirky curiosity, however, Kurstin is a sensitive, emotional stylist capable of coaxing sublime melodic content out of an instrument usually doomed to B-movie sci-fi soundtracks. (And her walking bass imitation is pretty cool too.)

Born in Los Angeles, Kurstin currently resides in Vienna, and performs with her latest project Blueblut, among many others. Her latest solo CD, Thinking Out Loud, was released in 2007 on John Zorn's legendary Tzadik label. She'll bathe your dog and give you a haircut ("if you're daring," she warns) in exchange for a six-pack.

More profile about the speaker
Pamelia Kurstin | Speaker | TED.com

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