Meklit Hadero: The unexpected beauty of everyday sounds | TED

Prevoditelj: Sonja Žarić Recezent: Ivan Stamenković

As a singer-songwriter,

Kao pjevačicu-kompozitoricu,

people often ask me about my influences or, as I like to call them,

ljudi me često pitaju o utjecajima, ili kako ih ja volim zvati,

my sonic lineages.

moja sonična podrijetla.

And I could easily tell you

Mogu vam lako reći

that I was shaped by the jazz and hip hop that I grew up with,

da sam oblikovana jazzom i hip hopom uz koji sam odrasla,

by the Ethiopian heritage of my ancestors,

etiopskom baštinom mojih predaka,

or by the 1980s pop on my childhood radio stations.

ili pop glazbom 1980-tih godina na radio stanicama mog djetinjstva.

But beyond genre, there is another question:

No, uz žanr, postoji još jedno pitanje:

how do the sounds we hear every day influence the music that we make?

kako zvukovi koje čujemo svaki dan utječu na glazbu koju pravimo?

I believe that everyday soundscape

Vjerujem da svakodnevno zvukovlje

can be the most unexpected inspiration for songwriting,

može biti najneočekivanije nadahnuće za skladanje,

and to look at this idea a little bit more closely,

a da bi vidjeli ovu ideju pobliže,

I'm going to talk today about three things:

danas ću pričati o tri stvari:

nature, language and silence --

prirodi, jeziku i tišini --

or rather, the impossibility of true silence.

ili zapravo, nemogućnosti prave tišine.

And through this I hope to give you a sense of a world

Kroz to se nadam da ću vam približiti svijest o svijetu

already alive with musical expression,

već oživljenim pomoću glazbenog izražaja,

with each of us serving as active participants,

gdje svatko od nas služi kao aktivni sudionik,

whether we know it or not.

znali mi to ili ne.

I'm going to start today with nature, but before we do that,

Počet ću sa prirodom, no prije toga,

let's quickly listen to this snippet of an opera singer warming up.

poslušajmo kratko ovaj isječak gdje se operni pjevač zagrijava.

Here it is.

Evo ga.

(Singing)

(A cappella pjevanje)

(Singing ends)

(Pjevanje završava)

It's beautiful, isn't it?

Predivno, zar ne?

Gotcha!

Jesam vas!

That is actually not the sound of an opera singer warming up.

To zapravo nije zvuk zagrijavanja opernog pjevača.

That is the sound of a bird

To je zvuk ptice,

slowed down to a pace

usporen do brzine

that the human ear mistakenly recognizes as its own.

koju ljudsko uho zabunom prepoznaje kao svoju.

It was released as part of Peter Szöke's 1987 Hungarian recording

Objavljena je kao dio Mađarske snimke Petera Szöke iz 1987. godine

"The Unknown Music of Birds,"

"Nepoznata glazba ptica,"

where he records many birds and slows down their pitches

gdje snima mnoštvo ptica i usporava njihov visok ton

to reveal what's underneath.

da pokaže što je ispod.

Let's listen to the full-speed recording.

Poslušajmo snimku u punoj brzini.

(Bird singing)

(Ptica pjeva)

Now, let's hear the two of them together

Sada, poslušajmo obje zajedno

so your brain can juxtapose them.

da ih vaš mozak postavi jedno uz drugo.

(Bird singing at slow then full speed)

(Ptica pjeva sporo pa pri punoj brzini)

(Singing ends)

(Pjevanje završava)

It's incredible.

Nevjerojatno.

Perhaps the techniques of opera singing were inspired by birdsong.

Možda su tehnike opernih pjevača inspirirane ptičjim pjevom.

As humans, we intuitively understand birds to be our musical teachers.

Kao ljudi, intuitivno razumijemo ptice kao naše glazbene učitelje.

In Ethiopia, birds are considered an integral part

U Etiopiji, ptice se smatraju sastavnim dijelom

of the origin of music itself.

porijekla same glazbe.

The story goes like this:

Priča ide ovako:

1,500 years ago, a young man was born in the Empire of Aksum,

Prije 1500 godina je rođen mladi čovjek, u Carstvu Aksum

a major trading center of the ancient world.

velikom trgovačkom središtu antičkog svijeta.

His name was Yared.

Njegovo ime je bilo Yared.

When Yared was seven years old his father died,

Kad je Yared bio sedam godina, otac mu je umro,

and his mother sent him to go live with an uncle, who was a priest

a majka ga je poslala da živi sa ujakom, koji je bio svećenik

of the Ethiopian Orthodox tradition,

Etiopljanske ortodoksne tradicije,

one of the oldest churches in the world.

jedne od najstarijih crkvi na svijetu.

Now, this tradition has an enormous amount of scholarship and learning,

Ova tradicija ima ogromnu količinu učenosti i učenja,

and Yared had to study and study and study and study,

Yared je morao učiti i učiti i učiti i učiti,

and one day he was studying under a tree,

jednog dana je učio ispod drveta,

when three birds came to him.

kad su mu tri ptice prišle.

One by one, these birds became his teachers.

Jedna po jedna, ove ptice su mu postale učitelji.

They taught him music -- scales, in fact.

Naučile su ga glazbi -- ljestvici, zapravo.

And Yared, eventually recognized as Saint Yared,

A Yared, naposljetku priznat kao Sv. Yared;

used these scales to compose five volumes of chants and hymns

je iskoristio ove ljestvice za skladanje pet volumena napjeva i himni

for worship and celebration.

za bogoslužje i slavlje.

And he used these scales to compose and to create

Iskoristio je ove ljestvice za skladanje i stvaranje

an indigenous musical notation system.

autohtonog sustava glazbenog bilježenja.

And these scales evolved into what is known as kiñit,

Ove ljestive su se razvile u ono što je poznato kao kiñit,

the unique, pentatonic, five-note, modal system that is very much alive

jedinstven, pentatonični, petonotni, modalni sustav koji je živ

and thriving and still evolving in Ethiopia today.

i napreduje i razvija se u Etiopiji i danas.

Now, I love this story because it's true at multiple levels.

Volim ovu priču jer je istinita na više razina.

Saint Yared was a real, historical figure,

Sv. Yared je bio stvarna, povjesna ličnost,

and the natural world can be our musical teacher.

a prirodni svijet može biti naš glazbeni učitelj.

And we have so many examples of this:

Imamo toliko mnogo primjera za ovo:

the Pygmies of the Congo tune their instruments

Pigmeji u Kongu ugađaju svoje instrumente

to the pitches of the birds in the forest around them.

prema visini tona ptica u šumi u okolini.

Musician and natural soundscape expert Bernie Krause describes

Glazbenik i stručnjak za zvučnu pozadinu Bernie Krause opisuje

how a healthy environment has animals and insects

kako zdravo okružje ima životinje i kukce

taking up low, medium and high-frequency bands,

koji imaju nisko, srednje i visoko frekventni raspon,

in exactly the same way as a symphony does.

na isti način kao što to čini simfonija.

And countless works of music were inspired by bird and forest song.

Nebrojena glazbena djela su nadahnuta pticama i pjesmom šume.

Yes, the natural world can be our cultural teacher.

Da, prirodni svijet može biti naš kulturni učitelj.

So let's go now to the uniquely human world of language.

Pogledajmo sad jedinstveni ljudski svijet jezika.

Every language communicates with pitch to varying degrees,

Svaki jezik komunicira pomoću visine tona različitih stupnjeva,

whether it's Mandarin Chinese,

bio to mandarinski kineski,

where a shift in melodic inflection gives the same phonetic syllable

gdje pomak u melodijskoj infleksiji daje istom fonetskom slogu

an entirely different meaning,

potpuno drugačije značenje,

to a language like English,

do jezika kao što je engleski,

where a raised pitch at the end of a sentence ...

gdje povišen ton na kraju rečenice...

(Going up in pitch) implies a question?

(Povisuje ton) predstavlja pitanje?

(Laughter)

(Smijeh)

As an Ethiopian-American woman,

Kao Etiopljanka-Amerikanka,

I grew up around the language of Amharic, Amhariña.

odrasla sam okružena amharskim jezikom, Amhariña.

It was my first language, the language of my parents,

To je bio moj prvi jezik, jezik mojih roditelja,

one of the main languages of Ethiopia.

jedan od glavnih jezika Etiopije.

And there are a million reasons to fall in love with this language:

Postoji milijun razloga za zaljubiti se u ovaj jezik:

its depth of poetics, its double entendres,

njegova poetska dubina, dvostruko značenje,

its wax and gold, its humor,

njegovo skriveno značenje, njegov humor,

its proverbs that illuminate the wisdom and follies of life.

njegove izreke koje osvjetljavaju mudrost i glupost života.

But there's also this melodicism, a musicality built right in.

Ali i njegova melodičnost i ugrađena muzikalnost.

And I find this distilled most clearly

I nalazim to pročišćeno najviše

in what I like to call emphatic language --

u onom što ja volim zvati izražajni jezik --

language that's meant to highlight or underline

jezik čija je svrha istaknuti ili naglasiti

or that springs from surprise.

ili koja izvire iz iznenađenja.

Take, for example, the word: "indey."

Uzmite, na primjer, riječ: "indey."

Now, if there are Ethiopians in the audience,

Ako ima Etiopljana u publici,

they're probably chuckling to themselves,

vjerojatno se smijulje za sebe,

because the word means something like "No!"

jer riječ znači neško kao: "Ne!"

or "How could he?" or "No, he didn't."

ili "Kako je mogao?" ili "Ne, nije valjda."

It kind of depends on the situation.

Zavisi o situaciji.

But when I was a kid, this was my very favorite word,

No, kad sam bila dijete, to mi je bila najdraža riječ,

and I think it's because it has a pitch.

mislim da je razlog tome, to što ima visok ton.

It has a melody.

Ima melodiju.

You can almost see the shape as it springs from someone's mouth.

Skoro možete vidjeti oblik dok se stvara na nečijim ustima.

"Indey" -- it dips, and then raises again.

"Indey" -- pada, pa se diže opet.

And as a musician and composer, when I hear that word,

Kao glazbenica i skladatelj, kad čujem tu riječ,

something like this is floating through my mind.

nešto kao ovo prolazi mojim umom.

(Music and singing "Indey")

(Glazba i pjevanje "Indey")

(Music ends)

(Glazba završava)

Or take, for example, the phrase for "It is right" or "It is correct" --

Ili uzmite, na primjer, izraz za "Ispravno je" ili "Točno je" --

"Lickih nehu ... Lickih nehu."

"Lickih nehu ... Lickih nehu."

It's an affirmation, an agreement.

To je potvrda, slaganje.

"Lickih nehu."

"Lickih nehu."

When I hear that phrase,

Kad čujem taj izraz,

something like this starts rolling through my mind.

nešto slično ovome se pojavi u mom umu.

(Music and singing "Lickih nehu")

(Glazba i pjevanje "Lickih nehu")

(Music ends)

(Glazba završava)

And in both of those cases, what I did was I took the melody

U oba slučaja sam uzela melodiju

and the phrasing of those words and phrases

i izričaj tih riječi i izraza

and I turned them into musical parts to use in these short compositions.

i pretvorila ih u glazbene djelove u ovim kratkim skladbama.

And I like to write bass lines,

Ja volim pisati linije za bas,

so they both ended up kind of as bass lines.

tako da su obje završile kao linije za bas.

Now, this is based on the work of Jason Moran and others

Ovo je temeljeno na radu Jasona Morana i ostalih

who work intimately with music and language,

koji intimno rade sa glazbom i jezikom,

but it's also something I've had in my head since I was a kid,

no ovo je nešto što sam imala u glavi otkad sam bila dijete,

how musical my parents sounded

kako su mi roditelji zvučali glazbeno

when they were speaking to each other and to us.

dok su razgovarali jedno s drugim i s nama.

It was from them and from Amhariña that I learned

Od njih tada i od Amhariñe sam naučila

that we are awash in musical expression

da smo u razini glazbenog izražaja

with every word, every sentence that we speak,

sa svakom rječju, svakom rečenicom koju kažemo,

every word, every sentence that we receive.

svakom rječju, svakom rečenicom koju čujemo.

Perhaps you can hear it in the words I'm speaking even now.

Možda ovo možete čuti u riječima koje vam govorim upravo sada.

Finally, we go to the 1950s United States

Konačno, idemo u 1950-te godine u SAD-u

and the most seminal work of 20th century avant-garde composition:

i iskonskom djelu 20. stoljeća avangardnog skladanja:

John Cage's "4:33,"

John Cageov "4:33"

written for any instrument or combination of instruments.

napisan za bilo koji instrument ili kombinaciju instrumenata.

The musician or musicians are invited to walk onto the stage

Glazbenik i glazbenici su pozvani na pozornicu

with a stopwatch and open the score,

sa štopericom i da otvore note,

which was actually purchased by the Museum of Modern Art --

koji je Muzej moderne umjetnosti zapravo kupio --

the score, that is.

note, to jest.

And this score has not a single note written

A ova skladba nema niti jednu notu zapisanu

and there is not a single note played

i nije niti jedna nota odsvirana

for four minutes and 33 seconds.

cijele četiri minute i 33 sekunde.

And, at once enraging and enrapturing,

I, nekad razjaren i razdražen

Cage shows us that even when there are no strings

Cage nam pokazuje da iako nema žica

being plucked by fingers or hands hammering piano keys,

po kojima prebiru prsti ili ruku koje kuckaju po tipkama glasovira,

still there is music, still there is music,

još uvijek postoji glazba, još uvijek postoji glazba,

still there is music.

još uvijek postoji glazba.

And what is this music?

A što je ta glazba?

It was that sneeze in the back.

Bilo je to kihanje u pozadini.

(Laughter)

(Smijeh)

It is the everyday soundscape that arises from the audience themselves:

Svakodnevna zvučna pozadina koja dolazi od samih slušatelja:

their coughs, their sighs, their rustles, their whispers, their sneezes,

njihovo kašljanje, uzdasi, šuškanje, šaptanje, kihanje,

the room, the wood of the floors and the walls

prostorija, drvo na podu i zidovima koje se

expanding and contracting, creaking and groaning

širi i skuplja, škripi i stenje

with the heat and the cold,

sa vrućinom i hladnoćom,

the pipes clanking and contributing.

zveket cijeci i njihov doprinos.

And controversial though it was, and even controversial though it remains,

Kontroverzna misao je bila, i kontroverzna misao ostaje,

Cage's point is that there is no such thing as true silence.

Cageva poanta je da ne postoji istinska tišina.

Even in the most silent environments, we still hear and feel the sound

Čak i u najmirnijoj okolini, još uvijek čujemo i osjećamo zvukove

of our own heartbeats.

vlastitih otkucaja srca.

The world is alive with musical expression.

Svijet je živ uz glazbeni izražaj.

We are already immersed.

Već smo uronjeni.

Now, I had my own moment of, let's say, remixing John Cage

Sad, imala sam vlastiti trenutak, recimo, remiksa John Cagea

a couple of months ago

prije nekoliko mjeseci

when I was standing in front of the stove cooking lentils.

dok sam stajala ispred peći i kuhala leću.

And it was late one night and it was time to stir,

Bilo je kasno i bilo je vrijeme za promiješati,

so I lifted the lid off the cooking pot,

pa sam podigla poklopac lonca za kuhanje,

and I placed it onto the kitchen counter next to me,

i spustila ga na kuhinjski stol pored,

and it started to roll back and forth

a on se počeo vrtjeti naprijed i natrag

making this sound.

proizvodeći ovaj zvuk.

(Sound of metal lid clanking against a counter)

(Zvuk metalnog poklopca na kuhinjskom stolu)

(Clanking ends)

(Zveket završava)

And it stopped me cold.

To me zaustavilo.

I thought, "What a weird, cool swing that cooking pan lid has."

Mislila sam, "Kako čudan, cool ritam ima taj poklopac."

So when the lentils were ready and eaten,

Tako da kad je leća skuhana i pojedena,

I hightailed it to my backyard studio,

odjurila sam u studio u dvorištu,

and I made this.

i snimila ovo.

(Music, including the sound of the lid, and singing)

(Glazba)

(Music ends)

(Glazba završava)

Now, John Cage wasn't instructing musicians

John Cage nije učio glazbenike

to mine the soundscape for sonic textures to turn into music.

da izvuku iz zvučne pozadine sonične teksture koje bi pretvorili u glazbu.

He was saying that on its own,

Govorio je da je sam po sebi,

the environment is musically generative,

okoliš glazbeno generativan,

that it is generous, that it is fertile,

velikodušan, plodan,

that we are already immersed.

da smo već uronjeni.

Musician, music researcher, surgeon and human hearing expert Charles Limb

Glazbenik, glazbeni istraživač, kirurg i stručnjak za ljudski sluh Charles Limb

is a professor at Johns Hopkins University

je profesor na Sveučilištu Johns Hopkins

and he studies music and the brain.

i proučava glazbu i mozak.

And he has a theory

I ima teoriju

that it is possible -- it is possible --

da je moguće -- moguće je --

that the human auditory system actually evolved to hear music,

da je ljudski auditorni sustav zapravo evoluirao da čuje glazbu,

because it is so much more complex than it needs to be for language alone.

jer je toliko kompleksnija od potrebe za sam jezik.

And if that's true,

Ako je to istina,

it means that we're hard-wired for music,

znači da smo predodređeni za glazbu,

that we can find it anywhere,

da ju možemo naći svugdje,

that there is no such thing as a musical desert,

i da ne postoji nešto kao glazbena pustinja,

that we are permanently hanging out at the oasis,

da smo stalno u oazi

and that is marvelous.

i da je veličanstveno.

We can add to the soundtrack, but it's already playing.

Možemo doprinijeti zvučnoj traci, ali ona već svira.

And it doesn't mean don't study music.

A to ne znači da ne proučavate glazbu.

Study music, trace your sonic lineages and enjoy that exploration.

Proučavajte glazbu, pratite svoja sonična podrijetla i uživajte u tom istraživanju.

But there is a kind of sonic lineage to which we all belong.

No, postoji sonično podrijetlo kojem svi pripadamo.

So the next time you are seeking percussion inspiration,

Tako da sljedeći put kad budete tražili inspiraciju za udaraljke,

look no further than your tires, as they roll over the unusual grooves

ne gledajte dalje od svojih guma dok se kotrljaju preko neobičnih utora

of the freeway,

na autocesti,

or the top-right burner of your stove

ili gornjem desnom plameniku vašeg štednjaka

and that strange way that it clicks

i taj čudan način na koji klikče

as it is preparing to light.

dok se priprema za vatru.

When seeking melodic inspiration,

Ako tražite inspiraciju za melodiju,

look no further than dawn and dusk avian orchestras

ne gledajte dalje od zore i sumraka ptičjeg orkestra

or to the natural lilt of emphatic language.

ili prirodne raspjevanosti izražajnog jezika.

We are the audience and we are the composers

Mi smo slušatelji i skladatelji

and we take from these pieces

i uzimamo od tih komada

we are given.

koji su nam dani.

We make, we make, we make, we make,

Stvaramo, stvaramo, stvaramo, stvaramo,

knowing that when it comes to nature or language or soundscape,

znajući da kad se radi o prirodi ili jeziku ili zvukovlju,

there is no end to the inspiration --

nema kraja nadahnuću --

if we are listening.

ako samo slušamo.

Thank you.

Hvala vam.

(Applause)

(Pljesak)