TED Fellows Retreat 2015
Meklit Hadero: The unexpected beauty of everyday sounds
Meklit Hadero: Neočekivana ljepota svakodnevnih zvukova
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Koristeći primjere ptičjeg pjeva, prirodne raspjevanosti izražajnog jezika pa čak i poklopca tave za kuhanje, pjevačica Meklit Hadero pokazuje kako svakodnevna zvučna pozadina, čak i tišina, tvore glazbu. "Svijet je živ uz glazbeni izražaj," kaže ona. "Već smo uronjeni."
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 pjevačicu-kompozitoricu,
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 o utjecajima,
ili kako ih ja volim zvati,
ili kako ih ja volim zvati,
00:19
my sonic lineages.
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moja sonična podrijetla.
00:21
And I could easily tell you
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Mogu vam lako reći
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 sam oblikovana jazzom
i hip hopom uz koji sam odrasla,
i hip hopom uz koji sam odrasla,
00:26
by the Ethiopian heritage of my ancestors,
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etiopskom baštinom 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 glazbom 1980-tih godina
na radio stanicama mog djetinjstva.
na radio stanicama mog djetinjstva.
00:33
But beyond genre,
there is another question:
there is another question:
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No, uz žanr, postoji 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 zvukovi koje čujemo svaki dan
utječu na glazbu koju pravimo?
utječu na glazbu koju pravimo?
00:42
I believe that everyday soundscape
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Vjerujem da svakodnevno zvukovlje
00:44
can be the most unexpected
inspiration for songwriting,
inspiration for songwriting,
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može biti najneočekivanije
nadahnuće za skladanje,
nadahnuće za skladanje,
00:48
and to look at this idea
a little bit more closely,
a little bit more closely,
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a da bi vidjeli ovu ideju pobliže,
00:50
I'm going to talk today
about three things:
about three things:
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danas ću pričati 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 zapravo, 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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Kroz to se nadam da ću vam približiti
svijest o svijetu
svijest o svijetu
01:02
already alive with musical expression,
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već oživljenim pomoću glazbenog izražaja,
01:05
with each of us serving
as active participants,
as active participants,
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gdje svatko od nas služi kao
aktivni sudionik,
aktivni sudionik,
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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Počet ću sa prirodom, no prije 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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poslušajmo kratko ovaj isječak gdje se
operni pjevač zagrijava.
operni pjevač zagrijava.
01:18
Here it is.
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Evo ga.
01:20
(Singing)
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(A cappella pjevanje)
01:35
(Singing ends)
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(Pjevanje završava)
01:37
It's beautiful, isn't it?
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Predivno, zar ne?
01:40
Gotcha!
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Jesam 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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To zapravo nije zvuk zagrijavanja
opernog pjevača.
opernog pjevača.
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 do brzine
01:49
that the human ear mistakenly
recognizes as its own.
recognizes as its own.
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koju ljudsko uho zabunom
prepoznaje kao svoju.
prepoznaje kao svoju.
01:54
It was released as part of Peter Szöke's
1987 Hungarian recording
1987 Hungarian recording
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Objavljena je kao dio Mađarske snimke
Petera Szöke iz 1987. godine
Petera Szöke iz 1987. godine
01:58
"The Unknown Music of Birds,"
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"Nepoznata glazba ptica,"
02:01
where he records many birds
and slows down their pitches
and slows down their pitches
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gdje snima mnoštvo ptica i usporava
njihov visok ton
njihov visok ton
02:05
to reveal what's underneath.
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da pokaže što je ispod.
02:07
Let's listen to the full-speed recording.
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Poslušajmo snimku u punoj brzini.
02:11
(Bird singing)
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(Ptica pjeva)
02:15
Now, let's hear the two of them together
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Sada, poslušajmo obje zajedno
02:17
so your brain can juxtapose them.
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da ih vaš mozak postavi jedno uz drugo.
02:20
(Bird singing at slow then full speed)
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(Ptica pjeva sporo pa pri punoj brzini)
02:38
(Singing ends)
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(Pjevanje završava)
02:42
It's incredible.
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Nevjerojatno.
02:43
Perhaps the techniques of opera singing
were inspired by birdsong.
were inspired by birdsong.
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Možda su tehnike opernih pjevača
inspirirane ptičjim pjevom.
inspirirane ptičjim pjevom.
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 razumijemo ptice
kao naše glazbene učitelje.
kao naše glazbene učitelje.
02:54
In Ethiopia, birds
are considered an integral part
are considered an integral part
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U Etiopiji, ptice se smatraju
sastavnim dijelom
sastavnim dijelom
02:57
of the origin of music itself.
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porijekla same glazbe.
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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Prije 1500 godina je rođen mladi čovjek,
u Carstvu Aksum
u Carstvu Aksum
03:08
a major trading center
of the ancient world.
of the ancient world.
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velikom trgovačkom središtu
antičkog svijeta.
antičkog svijeta.
03:11
His name was Yared.
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Njegovo ime je bilo Yared.
03:14
When Yared was seven years old
his father died,
his father died,
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Kad je Yared bio sedam godina,
otac mu je umro,
otac mu 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 svećenik
ujakom, koji je bio svećenik
03:21
of the Ethiopian Orthodox tradition,
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Etiopljanske ortodoksne tradicije,
03:23
one of the oldest churches in the world.
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jedne od najstarijih crkvi na svijetu.
03:26
Now, this tradition has an enormous amount
of scholarship and learning,
of scholarship and learning,
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Ova tradicija ima ogromnu količinu
učenosti i učenja,
učenosti i učenja,
03:30
and Yared had to study and study
and study and study,
and study and study,
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Yared je morao učiti i učiti
i učiti i učiti,
i učiti i učiti,
03:33
and one day he was studying under a tree,
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jednog dana je učio ispod drveta,
03:36
when three birds came to him.
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kad su mu tri ptice prišle.
03:39
One by one, these birds
became his teachers.
became his teachers.
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Jedna po jedna, ove ptice su mu postale
učitelji.
učitelji.
03:42
They taught him music -- scales, in fact.
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Naučile su ga glazbi
-- ljestvici, zapravo.
-- ljestvici, zapravo.
03:47
And Yared, eventually
recognized as Saint Yared,
recognized as Saint Yared,
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A Yared, naposljetku
priznat kao Sv. Yared;
priznat kao Sv. Yared;
03:50
used these scales to compose
five volumes of chants and hymns
five volumes of chants and hymns
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je iskoristio ove ljestvice za skladanje
pet volumena napjeva i himni
pet volumena napjeva i himni
03:54
for worship and celebration.
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za bogoslužje i slavlje.
03:56
And he used these scales
to compose and to create
to compose and to create
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Iskoristio je ove ljestvice za skladanje
i stvaranje
i stvaranje
04:00
an indigenous musical notation system.
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autohtonog sustava glazbenog bilježenja.
04:03
And these scales evolved
into what is known as kiñit,
into what is known as kiñit,
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Ove ljestive su se razvile u ono što je
poznato kao kiñit,
poznato kao 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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jedinstven, pentatonični, petonotni,
modalni sustav koji je živ
modalni sustav koji je živ
04:13
and thriving and still evolving
in Ethiopia today.
in Ethiopia today.
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i napreduje i razvija
se u Etiopiji i danas.
se u Etiopiji i 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 više razina.
istinita na više razina.
04:21
Saint Yared was a real, historical figure,
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Sv. Yared je bio stvarna,
povjesna ličnost,
povjesna ličnost,
04:24
and the natural world
can be our musical teacher.
can be our musical teacher.
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a prirodni svijet može biti naš
glazbeni učitelj.
glazbeni učitelj.
04:29
And we have so many examples of this:
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Imamo toliko mnogo primjera za ovo:
04:31
the Pygmies of the Congo
tune their instruments
tune their instruments
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Pigmeji u Kongu ugađaju 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 visini tona ptica u šumi u okolini.
04:36
Musician and natural soundscape
expert Bernie Krause describes
expert Bernie Krause describes
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Glazbenik i stručnjak za zvučnu pozadinu
Bernie Krause opisuje
Bernie Krause opisuje
04:39
how a healthy environment
has animals and insects
has animals and insects
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kako zdravo okružje ima životinje i kukce
04:42
taking up low, medium
and high-frequency bands,
and high-frequency bands,
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koji imaju nisko, srednje i
visoko frekventni raspon,
visoko frekventni raspon,
04:46
in exactly the same way
as a symphony does.
as a symphony does.
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na isti način kao što to čini simfonija.
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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Nebrojena glazbena djela
su nadahnuta pticama i pjesmom šume.
su nadahnuta pticama i pjesmom šume.
04:54
Yes, the natural world
can be our cultural teacher.
can be our cultural teacher.
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Da, prirodni svijet može
biti naš kulturni učitelj.
biti naš kulturni učitelj.
05:00
So let's go now to the uniquely
human world of language.
human world of language.
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Pogledajmo sad jedinstveni
ljudski svijet jezika.
ljudski svijet jezika.
05:05
Every language communicates
with pitch to varying degrees,
with pitch to varying degrees,
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Svaki jezik komunicira pomoću
visine tona različitih stupnjeva,
visine tona različitih stupnjeva,
05:08
whether it's Mandarin Chinese,
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bio to mandarinski kineski,
05:09
where a shift in melodic inflection
gives the same phonetic syllable
gives the same phonetic syllable
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gdje pomak u melodijskoj infleksiji
daje istom fonetskom slogu
daje istom fonetskom slogu
05:13
an entirely different meaning,
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potpuno drugačije značenje,
05:15
to a language like English,
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do jezika kao što je engleski,
05:16
where a raised pitch
at the end of a sentence ...
at the end of a sentence ...
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gdje povišen ton na kraju rečenice...
05:19
(Going up in pitch) implies a question?
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(Povisuje ton) predstavlja pitanje?
05:21
(Laughter)
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(Smijeh)
05:23
As an Ethiopian-American woman,
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Kao Etiopljanka-Amerikanka,
05:24
I grew up around the language
of Amharic, Amhariña.
of Amharic, Amhariña.
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odrasla sam okružena amharskim jezikom,
Amhariña.
Amhariña.
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 milijun razloga za
zaljubiti se u ovaj jezik:
zaljubiti se u ovaj jezik:
05:35
its depth of poetics,
its double entendres,
its double entendres,
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njegova poetska dubina,
dvostruko značenje,
dvostruko značenje,
05:38
its wax and gold, its humor,
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njegovo skriveno značenje, 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 izreke koje osvjetljavaju
mudrost i glupost života.
mudrost i glupost života.
05:46
But there's also this melodicism,
a musicality built right in.
a musicality built right in.
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Ali i njegova melodičnost i
ugrađena muzikalnost.
ugrađena muzikalnost.
05:50
And I find this distilled most clearly
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I nalazim to pročišćeno najviše
05:52
in what I like to call
emphatic language --
emphatic language --
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u onom što ja volim
zvati izražajni jezik --
zvati izražajni jezik --
05:55
language that's meant
to highlight or underline
to highlight or underline
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jezik čija je svrha istaknuti
ili naglasiti
ili naglasiti
05:57
or that springs from surprise.
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ili koja izvire iz iznenađenja.
06:00
Take, for example, the word: "indey."
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Uzmite, na primjer, riječ: "indey."
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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vjerojatno se smijulje za sebe,
06:07
because the word means
something like "No!"
something like "No!"
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jer riječ znači neško kao: "Ne!"
06:09
or "How could he?" or "No, he didn't."
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ili "Kako je mogao?"
ili "Ne, nije valjda."
ili "Ne, nije valjda."
06:11
It kind of depends on the situation.
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Zavisi o situaciji.
06:13
But when I was a kid,
this was my very favorite word,
this was my very favorite word,
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No, kad sam bila dijete,
to mi je bila najdraža riječ,
to mi je bila najdraža riječ,
06:17
and I think it's because it has a pitch.
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mislim da je razlog tome,
to što ima visok ton.
to što ima visok 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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Skoro možete vidjeti oblik
dok se stvara na nečijim ustima.
dok se stvara na nečijim ustima.
06:24
"Indey" -- it dips, and then raises again.
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"Indey" -- pada, pa se diže opet.
06:28
And as a musician and composer,
when I hear that word,
when I hear that word,
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Kao glazbenica i skladatelj,
kad čujem tu riječ,
kad čujem tu riječ,
06:31
something like this
is floating through my mind.
is floating through my mind.
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nešto kao ovo prolazi mojim umom.
06:35
(Music and singing "Indey")
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(Glazba i pjevanje "Indey")
06:45
(Music ends)
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(Glazba 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 primjer, izraz za
"Ispravno je" ili "Točno je" --
"Ispravno je" ili "Točno je" --
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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To je potvrda, slaganje.
06:56
"Lickih nehu."
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"Lickih nehu."
06:58
When I hear that phrase,
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Kad čujem taj izraz,
06:59
something like this starts rolling
through my mind.
through my mind.
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nešto slično ovome se pojavi u mom umu.
07:04
(Music and singing "Lickih nehu")
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(Glazba i pjevanje "Lickih nehu")
07:11
(Music ends)
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(Glazba 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 izričaj tih riječi i izraza
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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i pretvorila ih u glazbene djelove
u ovim kratkim skladbama.
u ovim kratkim skladbama.
07:24
And I like to write bass lines,
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Ja volim pisati linije za bas,
07:26
so they both ended up
kind of as bass lines.
kind of as bass lines.
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tako da su obje završile kao
linije za bas.
linije za bas.
07:29
Now, this is based on the work
of Jason Moran and others
of Jason Moran and others
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Ovo je temeljeno na radu
Jasona Morana i ostalih
Jasona Morana i ostalih
07:32
who work intimately
with music and language,
with music and language,
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koji intimno rade sa glazbom i jezikom,
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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no ovo je nešto što sam imala
u glavi otkad sam bila dijete,
u glavi otkad sam bila dijete,
07:38
how musical my parents sounded
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kako su mi roditelji zvučali glazbeno
07:40
when they were speaking
to each other and to us.
to each other and to us.
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dok su razgovarali jedno s
drugim i s nama.
drugim i s 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 tada i od Amhariñe sam naučila
07:46
that we are awash in musical expression
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da smo u razini glazbenog izražaja
07:49
with every word,
every sentence that we speak,
every sentence that we speak,
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sa svakom rječju,
svakom rečenicom koju kažemo,
svakom rečenicom koju kažemo,
07:52
every word, every sentence
that we receive.
that we receive.
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svakom rječju, svakom rečenicom koju
čujemo.
čujemo.
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 ovo možete čuti u riječima koje
vam govorim upravo sada.
vam govorim upravo sada.
08:00
Finally, we go to the 1950s United States
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Konačno, idemo u 1950-te godine u SAD-u
08:02
and the most seminal work
of 20th century avant-garde composition:
of 20th century avant-garde composition:
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i iskonskom djelu 20. stoljeća
avangardnog skladanja:
avangardnog skladanja:
08:06
John Cage's "4:33,"
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John Cageov "4:33"
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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Glazbenik i glazbenici su pozvani
na pozornicu
na pozornicu
08:16
with a stopwatch and open the score,
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sa štopericom i da otvore note,
08:19
which was actually purchased
by the Museum of Modern Art --
by the Museum of Modern Art --
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koji je Muzej moderne umjetnosti zapravo
kupio --
kupio --
08:22
the score, that is.
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note, to jest.
08:24
And this score has not
a single note written
a single note written
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A ova skladba nema niti jednu
notu zapisanu
notu zapisanu
08:28
and there is not a single note played
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i nije niti jedna nota odsvirana
08:30
for four minutes and 33 seconds.
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cijele četiri minute i 33 sekunde.
08:34
And, at once enraging and enrapturing,
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I, nekad razjaren i razdražen
08:39
Cage shows us that even
when there are no strings
when there are no strings
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Cage nam pokazuje da iako nema žica
08:42
being plucked by fingers
or hands hammering piano keys,
or hands hammering piano keys,
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po kojima prebiru prsti ili
ruku koje kuckaju po tipkama glasovira,
ruku koje kuckaju po tipkama glasovira,
08:47
still there is music,
still there is music,
still there is music,
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još uvijek postoji glazba,
još uvijek postoji glazba,
još uvijek postoji glazba,
08:49
still there is music.
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još uvijek postoji glazba.
08:51
And what is this music?
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A što je ta glazba?
08:54
It was that sneeze in the back.
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Bilo je to kihanje u pozadini.
08:57
(Laughter)
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(Smijeh)
08:58
It is the everyday soundscape
that arises from the audience themselves:
that arises from the audience themselves:
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Svakodnevna zvučna pozadina
koja dolazi od samih slušatelja:
koja dolazi od samih slušatelja:
09:03
their coughs, their sighs, their rustles,
their whispers, their sneezes,
their whispers, their sneezes,
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njihovo kašljanje, uzdasi, šuškanje,
šaptanje, kihanje,
šaptanje, kihanje,
09:08
the room, the wood
of the floors and the walls
of the floors and the walls
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prostorija, drvo na podu i
zidovima koje se
zidovima koje se
09:10
expanding and contracting,
creaking and groaning
creaking and groaning
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širi i skuplja, škripi i stenje
09:13
with the heat and the cold,
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sa vrućinom i hladnoćom,
09:14
the pipes clanking and contributing.
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zveket cijeci i njihov doprinos.
09:19
And controversial though it was,
and even controversial though it remains,
and even controversial though it remains,
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Kontroverzna misao je bila,
i kontroverzna misao ostaje,
i kontroverzna misao ostaje,
09:22
Cage's point is that there is no
such thing as true silence.
such thing as true silence.
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Cageva poanta je da ne postoji
istinska tišina.
istinska 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 najmirnijoj okolini,
još uvijek čujemo i osjećamo zvukove
još uvijek čujemo i osjećamo zvukove
09:32
of our own heartbeats.
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vlastitih otkucaja srca.
09:34
The world is alive
with musical expression.
with musical expression.
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Svijet je živ uz glazbeni izražaj.
09:38
We are already immersed.
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Već smo uronjeni.
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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Sad, imala sam vlastiti trenutak,
recimo, remiksa John Cagea
recimo, remiksa John Cagea
09:46
a couple of months ago
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prije nekoliko mjeseci
09:47
when I was standing
in front of the stove cooking lentils.
in front of the stove cooking lentils.
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dok sam stajala ispred peći i kuhala leću.
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
i bilo je vrijeme za promiješati,
i bilo je vrijeme za promiješati,
09:53
so I lifted the lid off the cooking pot,
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pa sam podigla poklopac lonca za kuhanje,
09:55
and I placed it onto
the kitchen counter next to me,
the kitchen counter next to me,
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i spustila ga na kuhinjski stol pored,
09:58
and it started to roll back and forth
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a on se počeo vrtjeti naprijed i natrag
10:00
making this sound.
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proizvodeći ovaj zvuk.
10:04
(Sound of metal lid
clanking against a counter)
clanking against a counter)
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(Zvuk metalnog poklopca
na kuhinjskom stolu)
na kuhinjskom stolu)
10:10
(Clanking ends)
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(Zveket završava)
10:13
And it stopped me cold.
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To me zaustavilo.
10:15
I thought, "What a weird, cool swing
that cooking pan lid has."
that cooking pan lid has."
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Mislila sam, "Kako čudan, cool ritam
ima taj poklopac."
ima taj poklopac."
10:22
So when the lentils were ready and eaten,
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Tako da kad je leća skuhana i pojedena,
10:26
I hightailed it to my backyard studio,
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odjurila sam u studio u dvorištu,
10:30
and I made this.
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i snimila ovo.
10:33
(Music, including the sound
of the lid, and singing)
of the lid, and singing)
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(Glazba)
10:50
(Music ends)
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(Glazba završava)
10:52
Now, John Cage
wasn't instructing musicians
wasn't instructing musicians
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John Cage nije učio glazbenike
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 izvuku iz zvučne pozadine sonične
teksture koje bi pretvorili u glazbu.
teksture koje bi pretvorili u glazbu.
10:59
He was saying that on its own,
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Govorio je da je sam po sebi,
11:01
the environment is musically generative,
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okoliš glazbeno generativan,
11:05
that it is generous, that it is fertile,
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velikodušan, plodan,
11:09
that we are already immersed.
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da smo već uronjeni.
11:12
Musician, music researcher, surgeon
and human hearing expert Charles Limb
and human hearing expert Charles Limb
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Glazbenik, glazbeni istraživač, kirurg
i stručnjak za ljudski sluh Charles Limb
i stručnjak za ljudski sluh Charles Limb
11:18
is a professor at Johns Hopkins University
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je profesor na Sveučilištu Johns Hopkins
11:20
and he studies music and the brain.
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i proučava glazbu i mozak.
11:24
And he has a theory
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I 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 auditorni sustav
zapravo evoluirao da čuje glazbu,
zapravo evoluirao da čuje glazbu,
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 kompleksnija od potrebe za
sam jezik.
sam jezik.
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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znači da smo predodređeni za glazbu,
11:46
that we can find it anywhere,
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da ju možemo naći svugdje,
11:48
that there is no such thing
as a musical desert,
as a musical desert,
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i da ne postoji nešto kao
glazbena pustinja,
glazbena pustinja,
11:51
that we are permanently
hanging out at the oasis,
hanging out at the oasis,
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da smo stalno u oazi
11:55
and that is marvelous.
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i da je veličanstveno.
11:58
We can add to the soundtrack,
but it's already playing.
but it's already playing.
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Možemo doprinijeti zvučnoj traci,
ali ona već svira.
ali ona već svira.
12:02
And it doesn't mean don't study music.
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A to ne znači da ne proučavate glazbu.
12:04
Study music, trace your sonic lineages
and enjoy that exploration.
and enjoy that exploration.
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Proučavajte glazbu, pratite svoja sonična
podrijetla i uživajte u tom istraživanju.
podrijetla 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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No, postoji sonično podrijetlo kojem
svi pripadamo.
svi pripadamo.
12:14
So the next time you are seeking
percussion inspiration,
percussion inspiration,
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Tako da sljedeći put kad budete tražili
inspiraciju za udaraljke,
inspiraciju za udaraljke,
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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ne gledajte dalje od svojih guma
dok se kotrljaju preko neobičnih utora
dok se kotrljaju preko neobičnih utora
12:20
of the freeway,
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na autocesti,
12:22
or the top-right burner of your stove
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ili gornjem desnom plameniku vašeg
štednjaka
štednjaka
12:24
and that strange way that it clicks
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i taj čudan način na koji klikče
12:25
as it is preparing to light.
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dok se priprema za vatru.
12:28
When seeking melodic inspiration,
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Ako tražite inspiraciju za melodiju,
12:30
look no further than dawn
and dusk avian orchestras
and dusk avian orchestras
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ne gledajte dalje od zore i sumraka
ptičjeg orkestra
ptičjeg orkestra
12:33
or to the natural lilt
of emphatic language.
of emphatic language.
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ili prirodne raspjevanosti
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 slušatelji i skladatelji
12:40
and we take from these pieces
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i uzimamo od tih komada
12:41
we are given.
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koji su nam dani.
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 kad se radi o prirodi ili
jeziku ili zvukovlju,
jeziku ili zvukovlju,
12:49
there is no end to the inspiration --
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nema kraja nadahnuću --
12:52
if we are listening.
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ako samo slušamo.
12:55
Thank you.
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Hvala vam.
12:56
(Applause)
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(Pljesak)
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