TED Fellows Retreat 2015
Meklit Hadero: The unexpected beauty of everyday sounds
Meklit Hadero: Neočekivana lepota svakodnevnih zvukova
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Koristeći primere iz pesme ptica, prirodnu raspevanost izražajnog jezika, pa čak i poklopac šerpe, pevačica i kompozitorka Meklit Hadero pokazuje kako svakodnevna zvučna pozadina, čak i tišina, stvara muziku. „Svet vrvi od muzičkog izraza“, kaže ona. „Već smo zaronjeni u njemu.“
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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Kao pevačicu i kompozitorku,
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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ljudi me često pitaju ko je uticao
na mene, ili, kako ja to volim da kažem,
na mene, ili, kako ja to volim da kažem,
00:19
my sonic lineages.
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o mom zvučnom poreklu.
00:21
And I could easily tell you
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Mogla bih lako da vam kažem
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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da su me oblikovali džez i hip hop
uz koje sam odrasla,
uz koje sam odrasla,
00:26
by the Ethiopian heritage of my ancestors,
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etiopska tekovina mojih predaka,
00:29
or by the 1980s pop
on my childhood radio stations.
on my childhood radio stations.
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ili pop 80-ih godina
na radio stanicama u mom detinjstvu.
na radio stanicama u mom detinjstvu.
00:33
But beyond genre,
there is another question:
there is another question:
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No, nevezano za žanr,
tu je još jedno pitanje:
tu je još jedno pitanje:
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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kako zvuci koje čujemo svakoga dana
utiču na muziku koju stvaramo?
utiču na muziku koju stvaramo?
00:42
I believe that everyday soundscape
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Smatram da svakodnevna zvučna pozadina
00:44
can be the most unexpected
inspiration for songwriting,
inspiration for songwriting,
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može biti najneočekivanija inspiracija
za pisanje pesama,
za pisanje pesama,
00:48
and to look at this idea
a little bit more closely,
a little bit more closely,
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a da bismo sagledali ovu ideju malo bliže,
00:50
I'm going to talk today
about three things:
about three things:
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danas ću govoriti o tri stvari:
00:52
nature, language and silence --
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prirodi, jeziku i tišini,
00:55
or rather, the impossibility
of true silence.
of true silence.
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ili bolje, o nemogućnosti prave tišine.
00:59
And through this I hope to give you
a sense of a world
a sense of a world
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Time se nadam da ću vam dati osećaj sveta
01:02
already alive with musical expression,
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koji već vrvi od muzičkog izraza,
01:05
with each of us serving
as active participants,
as active participants,
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u kome svako od nas služi
kao aktivni učesnik,
kao aktivni učesnik,
01:09
whether we know it or not.
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znali mi to ili ne.
01:12
I'm going to start today with nature,
but before we do that,
but before we do that,
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Započeću danas sa prirodom, ali pre toga,
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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hajde da brzo poslušamo ovaj odlomak
operskog pevača koji se zagreva.
operskog pevača koji se zagreva.
01:18
Here it is.
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Evo ga.
01:20
(Singing)
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(A kapela pevanje)
01:35
(Singing ends)
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(Pevanje se završava)
01:37
It's beautiful, isn't it?
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Prelepo je, zar ne?
01:40
Gotcha!
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Prevarila sam vas!
01:41
That is actually not the sound
of an opera singer warming up.
of an opera singer warming up.
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Ovo zapravo nije zvuk
operskog pevača koji se zagreva.
operskog pevača koji se zagreva.
01:45
That is the sound of a bird
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To je zvuk ptice
01:47
slowed down to a pace
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usporen na ritam
01:49
that the human ear mistakenly
recognizes as its own.
recognizes as its own.
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koji ljudsko uho
pogrešno prepoznaje kao svoj.
pogrešno prepoznaje kao svoj.
01:54
It was released as part of Peter Szöke's
1987 Hungarian recording
1987 Hungarian recording
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Objavljena je kao deo mađarskih snimaka
Pitera Zokea iz 1987. godine
Pitera Zokea iz 1987. godine
01:58
"The Unknown Music of Birds,"
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„Nepoznata muzika ptica“,
02:01
where he records many birds
and slows down their pitches
and slows down their pitches
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gde on snima brojne ptice
i usporava njihov ton
i usporava njihov ton
02:05
to reveal what's underneath.
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da bi otkrio šta je ispod toga.
02:07
Let's listen to the full-speed recording.
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Hajde da čujemo snimak u punoj brzini.
02:11
(Bird singing)
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(Ptica peva)
02:15
Now, let's hear the two of them together
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Hajde da ih sada čujemo zajedno
02:17
so your brain can juxtapose them.
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tako da vaš mozak može
da ih sagleda jedno uz drugo.
da ih sagleda jedno uz drugo.
02:20
(Bird singing at slow then full speed)
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(Ptica peva sporo, a zatim punom brzinom)
02:38
(Singing ends)
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(Pevanje se završava)
02:42
It's incredible.
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Neverovatno.
02:43
Perhaps the techniques of opera singing
were inspired by birdsong.
were inspired by birdsong.
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Možda su tehnike operskog pevanja
inspirisane pesmom ptica.
inspirisane pesmom ptica.
02:48
As humans, we intuitively understand birds
to be our musical teachers.
to be our musical teachers.
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Kao ljudi, intuitivno razumemo
da su ptice naši muzički učitelji.
da su ptice naši muzički učitelji.
02:54
In Ethiopia, birds
are considered an integral part
are considered an integral part
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U Etiopiji, ptice smatraju sastavnim delom
02:57
of the origin of music itself.
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porekla same muzike.
03:00
The story goes like this:
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Priča ide ovako.
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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Pre 1500 godina, jedan mladić
je rođen u aksumskom carstvu,
je rođen u aksumskom carstvu,
03:08
a major trading center
of the ancient world.
of the ancient world.
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velikom trgovačkom centru antičkog sveta.
03:11
His name was Yared.
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Zvao se Jared.
03:14
When Yared was seven years old
his father died,
his father died,
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Kada je Jared imao sedam godina,
njegov otac je umro,
njegov otac je umro,
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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a majka ga je poslala da živi sa ujakom,
koji je bio sveštenik
koji je bio sveštenik
03:21
of the Ethiopian Orthodox tradition,
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pravoslavne etiopske tradicije,
03:23
one of the oldest churches in the world.
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jedne od najstarijih crkava na svetu.
03:26
Now, this tradition has an enormous amount
of scholarship and learning,
of scholarship and learning,
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Ta tradicija je podrazumevala
veoma mnogo obrazovanja i izučavanja,
veoma mnogo obrazovanja i izučavanja,
03:30
and Yared had to study and study
and study and study,
and study and study,
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i Jared je morao da uči i uči i uči i uči,
03:33
and one day he was studying under a tree,
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i jednog dana je učio pod drvetom,
03:36
when three birds came to him.
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kada su mu prišle tri ptice.
03:39
One by one, these birds
became his teachers.
became his teachers.
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Jedna po jedna,
ove ptice su postale njegovi učitelji.
ove ptice su postale njegovi učitelji.
03:42
They taught him music -- scales, in fact.
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Naučile su ga muzici -
lestvicama, u stvari.
lestvicama, u stvari.
03:47
And Yared, eventually
recognized as Saint Yared,
recognized as Saint Yared,
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I Jared, na kraju priznat kao Sveti Jared,
03:50
used these scales to compose
five volumes of chants and hymns
five volumes of chants and hymns
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koristio je te lestvice da komponuje
pet tomova napeva i himni
pet tomova napeva i himni
03:54
for worship and celebration.
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za bogosluženje i svetkovine.
03:56
And he used these scales
to compose and to create
to compose and to create
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Koristio je te lestvice
da bi komponovao i stvorio
da bi komponovao i stvorio
04:00
an indigenous musical notation system.
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autohtoni sistem muzičkog obeležavanja.
04:03
And these scales evolved
into what is known as kiñit,
into what is known as kiñit,
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Te lestvice su se razvile
u nešto što je poznato kao „kanjit“,
u nešto što je poznato kao „kanjit“,
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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jedinstveni, pentatonski, petonotni,
modalni sistem koji je veoma živ,
modalni sistem koji je veoma živ,
04:13
and thriving and still evolving
in Ethiopia today.
in Ethiopia today.
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uspešan i još uvek se razvija
u Etiopiji danas.
u Etiopiji danas.
04:18
Now, I love this story because
it's true at multiple levels.
it's true at multiple levels.
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Volim ovu priču jer je istinita
na različitim nivoima.
na različitim nivoima.
04:21
Saint Yared was a real, historical figure,
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Sveti Jared je bio stvarna,
istorijska ličnost,
istorijska ličnost,
04:24
and the natural world
can be our musical teacher.
can be our musical teacher.
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i svet prirode može biti
naš učitelj muzike.
naš učitelj muzike.
04:29
And we have so many examples of this:
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Imamo mnogo primera ovoga:
04:31
the Pygmies of the Congo
tune their instruments
tune their instruments
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Pigmeji u Kongu štimuju svoje instrumente
04:33
to the pitches of the birds
in the forest around them.
in the forest around them.
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prema tonovima ptica u šumi oko njih.
04:36
Musician and natural soundscape
expert Bernie Krause describes
expert Bernie Krause describes
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Muzičar i ekspert za zvučnu pozadinu
u prirodi, Berni Kraus opisuje
u prirodi, Berni Kraus opisuje
04:39
how a healthy environment
has animals and insects
has animals and insects
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kako zdrava sredina
ima životinje i insekte
ima životinje i insekte
04:42
taking up low, medium
and high-frequency bands,
and high-frequency bands,
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koji proizvode muziku sa rasponom
niskih, srednjih i visokih frekvencija
niskih, srednjih i visokih frekvencija
04:46
in exactly the same way
as a symphony does.
as a symphony does.
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na potpuno isti način
kao što to simfonija čini.
kao što to simfonija čini.
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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Bezbroj muzičkih dela je inspirisano
pticama i šumskom pesmom.
pticama i šumskom pesmom.
04:54
Yes, the natural world
can be our cultural teacher.
can be our cultural teacher.
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Da, svet prirode može biti
naš učitelj kulture.
naš učitelj kulture.
05:00
So let's go now to the uniquely
human world of language.
human world of language.
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Hajde da sada pređemo
na jedinstveno ljudski svet jezika.
na jedinstveno ljudski svet jezika.
05:05
Every language communicates
with pitch to varying degrees,
with pitch to varying degrees,
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Svaki jezik komunicira
različitim visinama tona,
različitim visinama tona,
05:08
whether it's Mandarin Chinese,
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bilo da je to mandarinski,
05:09
where a shift in melodic inflection
gives the same phonetic syllable
gives the same phonetic syllable
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gde promena melodijske modulacije
daje istom fonetskom slogu
daje istom fonetskom slogu
05:13
an entirely different meaning,
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potpuno drugačije značenje,
do jezika kao što je engleski,
05:15
to a language like English,
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05:16
where a raised pitch
at the end of a sentence ...
at the end of a sentence ...
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gde povišen ton na kraju rečenice...
05:19
(Going up in pitch) implies a question?
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(Povisuje ton) podrazumeva pitanje?
05:21
(Laughter)
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(Smeh)
05:23
As an Ethiopian-American woman,
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Kao etiopsko-američka žena,
05:24
I grew up around the language
of Amharic, Amhariña.
of Amharic, Amhariña.
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odrasla sam uz amharski jezik, „Amarinja“.
05:27
It was my first language,
the language of my parents,
the language of my parents,
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To je bio moj prvi jezik,
jezik mojih roditelja,
jezik mojih roditelja,
05:29
one of the main languages of Ethiopia.
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jedan od glavnih jezika Etiopije.
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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Postoji milion razloga
da se zaljubite u ovaj jezik:
da se zaljubite u ovaj jezik:
05:35
its depth of poetics,
its double entendres,
its double entendres,
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njegova poetska dubina,
njegova dvostruka značenja,
njegova dvostruka značenja,
05:38
its wax and gold, its humor,
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njegova očigledna i skrivena značenja,
njegov humor,
njegov humor,
05:41
its proverbs that illuminate
the wisdom and follies of life.
the wisdom and follies of life.
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njegove poslovice koje rasvetljavaju
mudrosti i ludosti života.
mudrosti i ludosti života.
05:46
But there's also this melodicism,
a musicality built right in.
a musicality built right in.
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Takođe, tu je i melodičnost,
muzikalnost koja je ugrađena u njega.
muzikalnost koja je ugrađena u njega.
05:50
And I find this distilled most clearly
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Smatram da je to najčistije prisutno
05:52
in what I like to call
emphatic language --
emphatic language --
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u onome što ja zovem izražajnim jezikom -
05:55
language that's meant
to highlight or underline
to highlight or underline
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jezik koji treba da istakne ili naglasi,
05:57
or that springs from surprise.
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ili koji proističe iz iznenađenja.
06:00
Take, for example, the word: "indey."
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Uzmite, na primer, reč „indej“.
06:03
Now, if there are Ethiopians
in the audience,
in the audience,
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Ako ima Etiopljana u publici,
06:05
they're probably chuckling to themselves,
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verovatno se smeškaju sami za sebe,
06:07
because the word means
something like "No!"
something like "No!"
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jer reč znači nešto poput: „Ne!“
ili: „Kako je mogao?“ ili „Nije valjda.“
06:09
or "How could he?" or "No, he didn't."
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06:11
It kind of depends on the situation.
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Zavisi od situacije.
06:13
But when I was a kid,
this was my very favorite word,
this was my very favorite word,
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Kada sam bila dete,
to je bila moja omiljena reč,
to je bila moja omiljena reč,
06:17
and I think it's because it has a pitch.
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a mislim da je to bilo
jer ima naročit ton.
jer ima naročit ton.
06:20
It has a melody.
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Ima melodiju.
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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Gotovo da možete videti oblik
dok izlazi iz nečijih usta.
dok izlazi iz nečijih usta.
06:24
"Indey" -- it dips, and then raises again.
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„Indej“ - pada, a zatim se ponovo podiže.
06:28
And as a musician and composer,
when I hear that word,
when I hear that word,
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Kao muzičar i kompozitor,
kada čujem tu reč,
kada čujem tu reč,
06:31
something like this
is floating through my mind.
is floating through my mind.
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ovako nešto mi prolazi kroz um.
06:35
(Music and singing "Indey")
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(Muzika i pevanje „Indej“)
06:45
(Music ends)
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(Muzika se završava)
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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Ili uzmite, na primer, frazu
„To je tačno“ ili „To je ispravno“ -
„To je tačno“ ili „To je ispravno“ -
06:52
"Lickih nehu ... Lickih nehu."
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„Liki nou... liki nou.“
06:54
It's an affirmation, an agreement.
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To je potvrda, slaganje.
06:56
"Lickih nehu."
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„Liki nou.“
06:58
When I hear that phrase,
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Kada čujem tu frazu,
06:59
something like this starts rolling
through my mind.
through my mind.
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ovako nešto počne da mi se vrti po glavi.
07:04
(Music and singing "Lickih nehu")
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(Muzika i pevanje „Liki nou“)
07:11
(Music ends)
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(Muzika se završava)
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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U oba slučaja sam uzela melodiju
07:17
and the phrasing
of those words and phrases
of those words and phrases
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i formulaciju tih reči i fraza
i pretvorila ih
i pretvorila ih
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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u muzičke delove da bih ih koristila
u ovim kratkim kompozicijama.
u ovim kratkim kompozicijama.
A ja volim da pišem deonice za bas,
07:24
And I like to write bass lines,
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07:26
so they both ended up
kind of as bass lines.
kind of as bass lines.
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tako da su obe završile kao bas deonice.
07:29
Now, this is based on the work
of Jason Moran and others
of Jason Moran and others
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E sad, ovo je zasnovano
na delu Džejsona Morana i drugih
na delu Džejsona Morana i drugih
07:32
who work intimately
with music and language,
with music and language,
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koji prisno rade na muzici i jeziku,
ali to je takođe nešto
što sam imala u glavi otkad sam bila dete,
što sam imala u glavi otkad sam bila dete,
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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07:38
how musical my parents sounded
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kako su moji roditelji muzikalno zvučali
07:40
when they were speaking
to each other and to us.
to each other and to us.
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kada su pričali međusobno i sa nama.
07:44
It was from them
and from Amhariña that I learned
and from Amhariña that I learned
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Od njih i od amharskog jezika sam naučila
07:46
that we are awash in musical expression
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da odišemo muzičkim izrazom
07:49
with every word,
every sentence that we speak,
every sentence that we speak,
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svakom rečju, svakom rečenicom
koju izgovorimo,
koju izgovorimo,
07:52
every word, every sentence
that we receive.
that we receive.
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svakom rečju, svakom rečenicom
koju primimo.
koju primimo.
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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Možda to možete čuti čak i sada,
u rečima koje izgovaram.
u rečima koje izgovaram.
08:00
Finally, we go to the 1950s United States
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Konačno, idemo u SAD 50-ih godina
08:02
and the most seminal work
of 20th century avant-garde composition:
of 20th century avant-garde composition:
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i najuticajnije delo
avangardne kompozicije 20. veka:
avangardne kompozicije 20. veka:
08:06
John Cage's "4:33,"
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„4:33“ Džona Kejdža,
08:08
written for any instrument
or combination of instruments.
or combination of instruments.
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napisan za bilo koji instrument
ili kombinaciju instrumenata.
ili kombinaciju instrumenata.
08:12
The musician or musicians are invited
to walk onto the stage
to walk onto the stage
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Muzičar ili muzičari se pozivaju
da dođu na pozornicu
da dođu na pozornicu
08:16
with a stopwatch and open the score,
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sa štopericom i otvore partituru,
08:19
which was actually purchased
by the Museum of Modern Art --
by the Museum of Modern Art --
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koju je zapravo kupio
Muzej moderne umetnosti -
Muzej moderne umetnosti -
08:22
the score, that is.
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partituru, to jest.
08:24
And this score has not
a single note written
a single note written
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A u toj partituri
nije zapisana nijedna nota
nije zapisana nijedna nota
08:28
and there is not a single note played
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i nijedna nota se ne svira
08:30
for four minutes and 33 seconds.
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četiri minuta i 33 sekunde.
08:34
And, at once enraging and enrapturing,
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Istovremeno razjarujući i oduševljavajući,
08:39
Cage shows us that even
when there are no strings
when there are no strings
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Kejdž nam pokazuje da čak i kada nema žica
08:42
being plucked by fingers
or hands hammering piano keys,
or hands hammering piano keys,
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koje okidaju prsti, niti ruku
koje udaraju po dirkama klavira,
koje udaraju po dirkama klavira,
08:47
still there is music,
still there is music,
still there is music,
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i dalje postoji muzika,
i dalje postoji muzika,
i dalje postoji muzika,
08:49
still there is music.
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i dalje postoji muzika.
08:51
And what is this music?
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A koja je to muzika?
08:54
It was that sneeze in the back.
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To je bilo kijanje pozadi.
08:57
(Laughter)
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(Smeh)
08:58
It is the everyday soundscape
that arises from the audience themselves:
that arises from the audience themselves:
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To je svakodnevna zvučna pozadina
koja proističe iz same publike:
koja proističe iz same publike:
09:03
their coughs, their sighs, their rustles,
their whispers, their sneezes,
their whispers, their sneezes,
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njihov kašalj, njihovi uzdasi,
šuškanje, šapati, kijanje,
šuškanje, šapati, kijanje,
09:08
the room, the wood
of the floors and the walls
of the floors and the walls
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prostorija, drvo sa podova i zidova
09:10
expanding and contracting,
creaking and groaning
creaking and groaning
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koje se širi i skuplja, škripi i stenje
09:13
with the heat and the cold,
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na vrućini i hladnoći,
09:14
the pipes clanking and contributing.
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cevi koje klepeću i doprinose tome.
09:19
And controversial though it was,
and even controversial though it remains,
and even controversial though it remains,
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Kontroverzna pomisao je bila,
i mada ostaje kontroverzna,
i mada ostaje kontroverzna,
09:22
Cage's point is that there is no
such thing as true silence.
such thing as true silence.
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Kejdžova poenta je
da ne postoji prava tišina.
da ne postoji prava tišina.
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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Čak i u najtišim okruženjima
i dalje čujemo i osećamo zvuk
i dalje čujemo i osećamo zvuk
09:32
of our own heartbeats.
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naših otkucaja srca.
09:34
The world is alive
with musical expression.
with musical expression.
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Svet vrvi od muzičkog izraza.
09:38
We are already immersed.
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Već smo zaronjeni u njemu.
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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E sad, imala sam svoj momenat,
da kažem, remiksovanja Džona Kejdža
da kažem, remiksovanja Džona Kejdža
09:46
a couple of months ago
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pre par meseci
09:47
when I was standing
in front of the stove cooking lentils.
in front of the stove cooking lentils.
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kada sam stajala ispred šporeta
kuvajući sočivo.
kuvajući sočivo.
09:50
And it was late one night
and it was time to stir,
and it was time to stir,
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Bilo je kasno jedne noći
i bilo je vreme da promešam,
i bilo je vreme da promešam,
09:53
so I lifted the lid off the cooking pot,
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pa sam podigla poklopac sa šerpe,
09:55
and I placed it onto
the kitchen counter next to me,
the kitchen counter next to me,
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stavila ga na radnu površinu pored sebe
09:58
and it started to roll back and forth
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i počeo je da se vrti napred-nazad
10:00
making this sound.
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praveći ovaj zvuk.
10:04
(Sound of metal lid
clanking against a counter)
clanking against a counter)
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(Zvuk metalnog poklopca
koji zvecka o radnu površinu)
koji zvecka o radnu površinu)
10:10
(Clanking ends)
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(Zveckanje se završava)
10:13
And it stopped me cold.
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Zapanjilo me je.
10:15
I thought, "What a weird, cool swing
that cooking pan lid has."
that cooking pan lid has."
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Pomislila sam: „Kako čudan, kul ritam
ima poklopac šerpe.“
ima poklopac šerpe.“
10:22
So when the lentils were ready and eaten,
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I kada je sočivo skuvano i pojedeno,
10:26
I hightailed it to my backyard studio,
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pohitala sam u moj obližnji studio
10:30
and I made this.
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i napravila ovo.
10:33
(Music, including the sound
of the lid, and singing)
of the lid, and singing)
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(Muzika sa zvukom poklopca i pevanje)
10:50
(Music ends)
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(Muzika se završava)
10:52
Now, John Cage
wasn't instructing musicians
wasn't instructing musicians
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E sad, Džon Kejdž
nije nalagao muzičarima
nije nalagao muzičarima
10:54
to mine the soundscape
for sonic textures to turn into music.
for sonic textures to turn into music.
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da iz zvučne pozadine izvlače
zvučne sklopove i da ih pretvore u muziku.
zvučne sklopove i da ih pretvore u muziku.
10:59
He was saying that on its own,
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On je poručio da, sama po sebi,
11:01
the environment is musically generative,
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životna sredina proizvodi muziku,
11:05
that it is generous, that it is fertile,
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da je darežljiva, da je plodna,
11:09
that we are already immersed.
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da smo već zaronjeni.
11:12
Musician, music researcher, surgeon
and human hearing expert Charles Limb
and human hearing expert Charles Limb
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Muzičar, istraživač muzike, hirurg
i stručnjak za ljudski sluh, Čarls Lim,
i stručnjak za ljudski sluh, Čarls Lim,
11:18
is a professor at Johns Hopkins University
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profesor je na Univerzitetu Džons Hopkins
11:20
and he studies music and the brain.
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i izučava muziku i mozak.
11:24
And he has a theory
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On ima teoriju
11:27
that it is possible -- it is possible --
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da je moguće - moguće je -
11:30
that the human auditory system
actually evolved to hear music,
actually evolved to hear music,
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da je ljudski auditivni sistem
zapravo evoluirao da čuje muziku,
zapravo evoluirao da čuje muziku,
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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jer je toliko kompleksniji
nego što treba da bude radi samog jezika.
nego što treba da bude radi samog jezika.
11:41
And if that's true,
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Ako je to istina,
11:43
it means that we're hard-wired for music,
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to znači da smo predodređeni za muziku,
11:46
that we can find it anywhere,
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da možemo da je pronađemo svuda,
11:48
that there is no such thing
as a musical desert,
as a musical desert,
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da ne postoji muzička pustinja,
11:51
that we are permanently
hanging out at the oasis,
hanging out at the oasis,
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da se stalno nalazimo u oazi
11:55
and that is marvelous.
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i to je čudesno.
11:58
We can add to the soundtrack,
but it's already playing.
but it's already playing.
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Možemo da dodajemo zvučnu pratnju,
ali već se svira.
ali već se svira.
12:02
And it doesn't mean don't study music.
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A to ne znači da ne izučavate muziku.
12:04
Study music, trace your sonic lineages
and enjoy that exploration.
and enjoy that exploration.
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Proučavajte muziku, pratite zvučno poreklo
i uživajte u tom istraživanju.
i uživajte u tom istraživanju.
12:09
But there is a kind of sonic lineage
to which we all belong.
to which we all belong.
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Ipak, postoji zvučno poreklo
kome svi pripadamo.
kome svi pripadamo.
Dakle, sledeći put kada tražite
inspiraciju za perkusije,
inspiraciju za perkusije,
12:14
So the next time you are seeking
percussion inspiration,
percussion inspiration,
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ne gledajte dalje od vaših guma,
dok se kotrljaju preko neobičnih brazda
dok se kotrljaju preko neobičnih brazda
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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12:20
of the freeway,
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na auto-putu,
12:22
or the top-right burner of your stove
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ili od gornje desne ringle na šporetu
12:24
and that strange way that it clicks
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i tog čudnog načina na koji klikće
12:25
as it is preparing to light.
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dok se priprema da zasvetli.
Kada tragate za melodičnom inspiracijom,
12:28
When seeking melodic inspiration,
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12:30
look no further than dawn
and dusk avian orchestras
and dusk avian orchestras
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ne tražite dalje od ptičjih orkestara
u zoru i sumrak
u zoru i sumrak
12:33
or to the natural lilt
of emphatic language.
of emphatic language.
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ili prirodne raspevanosti
izražajnog jezika.
izražajnog jezika.
12:37
We are the audience
and we are the composers
and we are the composers
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Mi smo publika i kompozitori
12:40
and we take from these pieces
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i uzimamo iz tih komada
12:41
we are given.
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koji su nam dati.
12:43
We make, we make, we make, we make,
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Stvaramo, stvaramo, stvaramo, stvaramo,
12:45
knowing that when it comes to nature
or language or soundscape,
or language or soundscape,
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znajući da, kada se radi o prirodi
ili jeziku ili zvučnoj pozadini,
ili jeziku ili zvučnoj pozadini,
12:49
there is no end to the inspiration --
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nema kraja inspiraciji -
12:52
if we are listening.
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ako slušamo.
12:55
Thank you.
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Hvala.
12:56
(Applause)
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(Aplauz)
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