Meklit Hadero: The unexpected beauty of everyday sounds | TED

216,229 views ใƒป 2015-11-10

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์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: Jinna Choi ๊ฒ€ํ† : Jihyeon J. Kim
00:13
As a singer-songwriter,
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์‚ฌ๋žŒ๋“ค์€ ๊ฐ€์ˆ˜ ๊ฒธ ์ž‘๊ณก๊ฐ€์ธ ์ €์—๊ฒŒ
00:15
people often ask me about my influences or, as I like to call them,
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์–ด๋””์„œ ์˜ํ–ฅ์„ ๋ฐ›์•˜๋Š”์ง€ ์ž์ฃผ ๋ฌป์Šต๋‹ˆ๋‹ค.
์ €๋Š” ์†Œ๋ฆฌ ๊ณ„ํ†ต์ด๋ผ๊ณ  ๋ถ€๋ฅด๋Š”๋ฐ์š”.
00:19
my sonic lineages.
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00:21
And I could easily tell you
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๊ทธ๋Ÿฌ๋ฉด ์ €๋Š” ๊ณง๋ฐ”๋กœ
00:23
that I was shaped by the jazz and hip hop that I grew up with,
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์–ด๋ฆด ์‹œ์ ˆ๋ถ€ํ„ฐ ๋“ค์—ˆ๋˜ ์žฌ์ฆˆ์™€ ํž™ํ•ฉ์ด๋‚˜
00:26
by the Ethiopian heritage of my ancestors,
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์ œ ์„ ์กฐ ์—ํ‹ฐ์˜คํ”ผ์•„์˜ ๋ฌธํ™”์œ ์‚ฐ,
00:29
or by the 1980s pop on my childhood radio stations.
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๋˜ ํ•™์ฐฝ์‹œ์ ˆ์— ๋ผ๋””์˜ค์—์„œ ๋“ค์—ˆ๋˜ 1980๋…„๋Œ€ ํŒ์Œ์•…์ด๋ผ ๋งํ•˜๊ณค ํ•˜์ฃ .
00:33
But beyond genre, there is another question:
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ํ•˜์ง€๋งŒ ์Œ์•… ์žฅ๋ฅด๋ฅผ ๋– ๋‚˜ ๋˜ ๋‹ค๋ฅธ ์˜๋ฌธ์ด ๋“ญ๋‹ˆ๋‹ค.
00:37
how do the sounds we hear every day influence the music that we make?
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์šฐ๋ฆฌ๊ฐ€ ๋งค์ผ ๋“ฃ๋Š” ์†Œ๋ฆฌ๋Š” ์Œ์•…์„ ๋งŒ๋“ค ๋•Œ ์–ด๋–ค ์˜ํ–ฅ์„ ๋ฏธ์น ๊นŒ๋ผ๋Š” ์˜๋ฌธ์ด์ฃ .
00:42
I believe that everyday soundscape
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์ž‘๊ณก๊ฐ€๋Š” ๋งค์ผ ๋“ฃ๋Š” ์†Œ๋ฆฌ์—์„œ
00:44
can be the most unexpected inspiration for songwriting,
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๋ถˆํ˜„๋“ฏ ์˜๊ฐ์„ ๋งŽ์ด ๋ฐ›๋Š”๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
00:48
and to look at this idea a little bit more closely,
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์ด ๋ถ€๋ถ„์— ๋Œ€ํ•ด ์ข€ ๋” ์ž์„ธํžˆ ๋ง์”€ ๋“œ๋ฆฌ๊ธฐ ์œ„ํ•ด
00:50
I'm going to talk today about three things:
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์ €๋Š” ์˜ค๋Š˜ ์„ธ ๊ฐ€์ง€ ์ฃผ์ œ๋ฅผ ๋ง์”€๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค.
00:52
nature, language and silence --
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์ž์—ฐ๊ณผ ์–ธ์–ด, ์นจ๋ฌต์ธ๋ฐ์š”.
00:55
or rather, the impossibility of true silence.
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์•„๋‹ˆ๋ฉด ์ง„์ •ํ•œ ์นจ๋ฌต์˜ ๋ถˆ๊ฐ€๋Šฅ์„ฑ์ž…๋‹ˆ๋‹ค.
00:59
And through this I hope to give you a sense of a world
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์ด๋ฒˆ ๊ณ„๊ธฐ๋กœ ์—ฌ๋Ÿฌ๋ถ„๊ป˜
์ด๋ฏธ ์Œ์•…์  ํ‘œํ˜„์œผ๋กœ ์ƒ๊ธฐ ๋„˜์น˜๋Š” ๊ฐ๊ฐ์˜ ์„ธ๊ณ„๋ฅผ ๋ณด์—ฌ๋“œ๋ ธ์œผ๋ฉด ํ•ฉ๋‹ˆ๋‹ค.
01:02
already alive with musical expression,
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01:05
with each of us serving as active participants,
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์šฐ๋ฆฌ ๊ฐ์ž๊ฐ€ ์—ญ๋™์ ์œผ๋กœ ์ฐธ์—ฌํ•˜๊ธฐ๋„ ํ•˜์ง€์š”.
01:09
whether we know it or not.
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์—ฌ๋Ÿฌ๋ถ„์ด ์˜์‹ํ•˜๋“  ์•ˆ ํ•˜๋“ ์ง€์š”.
01:12
I'm going to start today with nature, but before we do that,
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๋จผ์ € ์ž์—ฐ์— ๋Œ€ํ•ด ๋ง์”€ ๋“œ๋ฆฌ๊ธฐ ์ „์—
01:14
let's quickly listen to this snippet of an opera singer warming up.
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์˜คํŽ˜๋ผ ๊ฐ€์ˆ˜๊ฐ€ ์›Œ๋ฐ์—…ํ•˜๋Š” ์†Œ๋ฆฌ๋ฅผ ์ž ๊น ๋“ค์–ด๋ณผ๊นŒ์š”.
01:18
Here it is.
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์ด ์†Œ๋ฆฌ์ž…๋‹ˆ๋‹ค.
01:20
(Singing)
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(๋…ธ๋ž˜)
01:35
(Singing ends)
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(๋…ธ๋ž˜ ์ข…๋ฃŒ)
01:37
It's beautiful, isn't it?
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์•„๋ฆ„๋‹ค์šด ๋…ธ๋ž˜์ฃ ?
01:40
Gotcha!
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์˜คํŽ˜๋ผ๋ผ๊ณ  ์ƒ๊ฐํ–ˆ์ฃ ?
01:41
That is actually not the sound of an opera singer warming up.
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์‚ฌ์‹ค์€ ์˜คํŽ˜๋ผ ๊ฐ€์ˆ˜์˜ ์›Œ๋ฐ์—… ์†Œ๋ฆฌ๊ฐ€ ์•„๋‹ˆ๊ณ ,
01:45
That is the sound of a bird
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์ƒˆ ์†Œ๋ฆฌ์ž…๋‹ˆ๋‹ค.
01:47
slowed down to a pace
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์ƒˆ์†Œ๋ฆฌ๋ฅผ ๋Š๋ฆฌ๊ฒŒ ๋งŒ๋“ค๋ฉด
01:49
that the human ear mistakenly recognizes as its own.
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์šฐ๋ฆฌ ๊ท€๋Š” ์ธ๊ฐ„์˜ ์†Œ๋ฆฌ๋กœ ์ฐฉ๊ฐ์„ ํ•ฉ๋‹ˆ๋‹ค.
01:54
It was released as part of Peter Szรถke's 1987 Hungarian recording
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1987๋…„ ํ—๊ฐ€๋ฆฌ ์ถœ์‹ ์ธ ํ”ผํ„ฐ ์Šค์กฐํฌ๊ฐ€ ๋ฐœํ‘œํ•œ
01:58
"The Unknown Music of Birds,"
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"๋ฏธ์ง€์˜ ์กฐ๋ฅ˜ ์Œ์•… ์„ธ๊ณ„"์˜ ํ•œ ๋ถ€๋ถ„์ž…๋‹ˆ๋‹ค.
02:01
where he records many birds and slows down their pitches
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ํ”ผํ„ฐ๋Š” ์—ฌ๋Ÿฌ ์ƒˆ์†Œ๋ฆฌ๋ฅผ ๋…น์Œํ•˜์—ฌ ์†๋„๋ฅผ ๋Š๋ฆฌ๊ฒŒ ํ•œ ๋‹ค์Œ
02:05
to reveal what's underneath.
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์ €๋ณ€์— ๋“œ๋ฆฌ์›Œ์ง„ ์ƒˆ ์†Œ๋ฆฌ๋ฅผ ๋“ค๋ ค์ฃผ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
02:07
Let's listen to the full-speed recording.
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์ •์ƒ ์†๋„๋กœ ๋‹ค์‹œ ๋“ค์–ด๋ณผ๊นŒ์š”.
02:11
(Bird singing)
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(์ƒˆ ์†Œ๋ฆฌ)
02:15
Now, let's hear the two of them together
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๊ทธ๋Ÿฌ๋ฉด ์ด ๋‘ ๊ฐœ์˜ ์†Œ๋ฆฌ๋ฅผ
02:17
so your brain can juxtapose them.
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์šฐ๋ฆฌ ๋‡Œ๊ฐ€ ์–ด๋–ป๊ฒŒ ๋‚˜๋ž€ํžˆ ์ธ์ง€ํ•˜๋Š”์ง€ ๋“ค์–ด๋ด…์‹œ๋‹ค.
02:20
(Bird singing at slow then full speed)
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(์ƒˆ์˜ ๋Š๋ฆฐ ์†Œ๋ฆฌ์™€ ์ •์ƒ ์†๋„์˜ ์†Œ๋ฆฌ)
02:38
(Singing ends)
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(๋…ธ๋ž˜ ์ข…๋ฃŒ)
02:42
It's incredible.
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๋†€๋ž์Šต๋‹ˆ๋‹ค.
02:43
Perhaps the techniques of opera singing were inspired by birdsong.
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์˜คํŽ˜๋ผ ์ฐฝ๋ฒ•์ด ์ƒˆ ์†Œ๋ฆฌ์—์„œ ์œ ๋ž˜๋˜์ง€ ์•Š์•˜์„๊นŒ์š”.
02:48
As humans, we intuitively understand birds to be our musical teachers.
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์ธ๊ฐ„์€ ๋ณธ๋Šฅ์ ์œผ๋กœ ์ƒˆ์˜ ์ง€์ €๊ท์„ ์ดํ•ดํ•˜๊ณ  ๊ทธ ์„ ์œจ์„ ๋ฐฐ์›๋‹ˆ๋‹ค.
02:54
In Ethiopia, birds are considered an integral part
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์—ํ‹ฐ์˜คํ”ผ์•„์—์„œ๋Š” ์Œ์•…์˜ ๊ธฐ์›์„
02:57
of the origin of music itself.
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๋‹จ์—ฐ์ฝ” ์ƒˆ ์†Œ๋ฆฌ์—์„œ ์ฐพ์Šต๋‹ˆ๋‹ค.
03:00
The story goes like this:
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์ด๋Ÿฐ ์ด์•ผ๊ธฐ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
03:03
1,500 years ago, a young man was born in the Empire of Aksum,
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1500๋…„ ์ „ ๊ณ ๋Œ€ ๋ฌด์—ญ์˜ ์ค‘์‹ฌ์ง€์ธ ์•…์ˆจ ์ œ๊ตญ์—
03:08
a major trading center of the ancient world.
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์ Š์€ ์ฒญ๋…„์ด ์‚ด๊ณ  ์žˆ์—ˆ์ฃ .
03:11
His name was Yared.
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๊ทธ ์ฒญ๋…„์˜ ์ด๋ฆ„์€ ์•ผ๋ ˆ๋“œ์˜€๊ณ 
03:14
When Yared was seven years old his father died,
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์ผ๊ณฑ ์‚ด ๋•Œ ์•„๋ฒ„์ง€๊ฐ€ ๋Œ์•„๊ฐ€์‹œ์ž
03:17
and his mother sent him to go live with an uncle, who was a priest
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์–ด๋จธ๋‹ˆ๋Š” ์•ผ๋ ˆ๋“œ๋ฅผ ์‚ผ์ดŒ๊ณผ ํ•จ๊ป˜ ์‚ด๊ฒŒ ํ–ˆ์Šต๋‹ˆ๋‹ค.
์•ผ๋ ˆ๋“œ์˜ ์‚ผ์ดŒ์€ ์„ธ๊ณ„์—์„œ ๊ฐ€์žฅ ์˜ค๋ž˜๋œ ์—ํ‹ฐ์˜คํ”ผ์•„ ์ •ํ†ต ๊ตํšŒ์˜ ์„ฑ์ง์ž์˜€์Šต๋‹ˆ๋‹ค.
03:21
of the Ethiopian Orthodox tradition,
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03:23
one of the oldest churches in the world.
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03:26
Now, this tradition has an enormous amount of scholarship and learning,
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์ด ๊ตํšŒ์—์„œ๋Š” ์ƒ๋‹นํ•œ ์•ก์ˆ˜์˜ ์žฅํ•™๊ธˆ๊ณผ ๋ฐฐ์›€์˜ ๊ธฐํšŒ๋ฅผ ์ œ๊ณตํ•˜๊ณ  ์žˆ์–ด์„œ
03:30
and Yared had to study and study and study and study,
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์•ผ๋ ˆ๋“œ๋Š” ๊ณต๋ถ€ํ•  ์ˆ˜ ๋ฐ–์— ์—†์—ˆ์ฃ . ๊ณต๋ถ€ํ•˜๊ณ  ๋˜ ๊ณต๋ถ€ํ•ด์•ผ ํ–ˆ์ฃ .
03:33
and one day he was studying under a tree,
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๊ทธ๋Ÿฌ๋˜ ์–ด๋Š ๋‚  ์•ผ๋ ˆ๋“œ๊ฐ€ ๋‚˜๋ฌด ๋ฐ‘์—์„œ ๊ณต๋ถ€ํ•˜๊ณ  ์žˆ๋Š”๋ฐ,
03:36
when three birds came to him.
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์„ธ ๋งˆ๋ฆฌ์˜ ์ƒˆ๊ฐ€ ๋‚ ์•„์™”์–ด์š”.
03:39
One by one, these birds became his teachers.
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๊ทธ ์ƒˆ๋“ค์€ ํ•œ ๋งˆ๋ฆฌ์”ฉ ๋Œ์•„๊ฐ€๋ฉฐ ์•ผ๋ ˆ๋“œ์˜ ์„ ์ƒ๋‹˜์ด ๋˜์—ˆ์ฃ .
03:42
They taught him music -- scales, in fact.
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์•ผ๋ ˆ๋“œ์—๊ฒŒ ์Œ์•…์„ ๊ฐ€๋ฅด์ณค๋Š”๋ฐ ์‹ค์ œ๋กœ ์Œ๊ณ„์˜€๋˜ ๊ฒ๋‹ˆ๋‹ค.
03:47
And Yared, eventually recognized as Saint Yared,
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์•ผ๋ ˆ๋“œ๋Š” ๊ฒฐ๊ตญ ์ด ์Œ๊ณ„๋กœ ์ธํ•ด ์„ฑ์ž ์•ผ๋ ˆ๋“œ๋กœ ์นญ์†ก๋ฐ›์Šต๋‹ˆ๋‹ค.
03:50
used these scales to compose five volumes of chants and hymns
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์ด ์Œ๊ณ„๋กœ 5๊ณก์˜ ์„ฑ๊ฐ€๊ณก๊ณผ ์ฐฌ์†ก๊ฐ€๋ฅผ ์ž‘๊ณกํ•˜์—ฌ
03:54
for worship and celebration.
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์˜ˆ๋ฐฐ์™€ ์ถ•๊ฐ€๋กœ ์‚ฌ์šฉํ•˜๊ฒŒ ๋œ ๊ฑฐ์ฃ .
03:56
And he used these scales to compose and to create
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์•ผ๋ ˆ๋“œ๋Š” ์ด ์Œ๊ณ„๋ฅผ ์‚ฌ์šฉํ•˜์—ฌ ์ž‘๊ณกํ•˜๊ณ 
04:00
an indigenous musical notation system.
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๊ณ ์œ ํ•œ ์Œ๊ณ„ ํ‘œ๊ธฐ ์ฒด๊ณ„๋ฅผ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค.
04:03
And these scales evolved into what is known as kiรฑit,
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์ด๋ ‡๊ฒŒ ๋งŒ๋“ค์–ด์ง„ ์Œ๊ณ„๋Š” ํ‚ค๋‹›(kiรฑit)์œผ๋กœ ์ž˜ ์•Œ๋ ค์ง„
04:07
the unique, pentatonic, five-note, modal system that is very much alive
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๊ณ ์œ ํ•œ 5์Œ๊ณ„ ๋ชจ๋‹ฌ ์‹œ์Šคํ…œ์œผ๋กœ ๋น„์•ฝ์ ์œผ๋กœ ๋ฐœ์ „ํ–ˆ๊ณ ,
04:13
and thriving and still evolving in Ethiopia today.
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์—ํ‹ฐ์˜คํ”ผ์•„์—์„œ๋Š” ์ง€๊ธˆ๋„ ๊ณ„์Šน ๋ฐœ์ „์‹œํ‚ค๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
04:18
Now, I love this story because it's true at multiple levels.
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์ €๋Š” ์—ฌ๋Ÿฌ ์—ญ์‚ฌ์ ์ธ ์‚ฌ์‹ค์„ ๋‹ด๊ณ ์žˆ๋Š” ์ด ์ด์•ผ๊ธฐ๋ฅผ ์ข‹์•„ํ•ฉ๋‹ˆ๋‹ค.
04:21
Saint Yared was a real, historical figure,
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์„ธ์ธํŠธ ์•ผ๋ ˆ๋“œ๋Š” ์‹ค์ œ ์—ญ์‚ฌ์  ์ธ๋ฌผ์ด๊ณ 
04:24
and the natural world can be our musical teacher.
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์ž์—ฐ ์„ธ๊ณ„๋Š” ์šฐ๋ฆฌ์—๊ฒŒ ์Œ์•…์„ ๊ฐ€๋ฅด์ณ์ค€ ์„ ์ƒ๋‹˜์ธ ์…ˆ์ด์ฃ .
04:29
And we have so many examples of this:
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์ด๋ฅผ ๋’ท๋ฐ›์นจํ•˜๋Š” ๋ฏพ์€ ์ฆ๊ฑฐ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
04:31
the Pygmies of the Congo tune their instruments
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์ฝฉ๊ณ ์˜ ํ”ผ๊ทธ๋ฏธ์กฑ์€ ์•…๊ธฐ๋ฅผ ์กฐ์œจํ•  ๋•Œ
04:33
to the pitches of the birds in the forest around them.
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์ˆฒ ์ฃผ๋ณ€์— ์žˆ๋Š” ์ƒˆ ์†Œ๋ฆฌ์™€ ๊ฐ™์€ ํ”ผ์น˜๋กœ ๋งž์ถฅ๋‹ˆ๋‹ค.
04:36
Musician and natural soundscape expert Bernie Krause describes
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์Œ์•…๊ฐ€์ด์ž ์ž์—ฐ ์Œํ–ฅ ์ „๋ฌธ๊ฐ€์ธ ๋ฒ„๋‹ˆ ํฌ๋ผ์šฐ์Šค๋Š”
04:39
how a healthy environment has animals and insects
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๊ฑด๊ฐ•ํ•œ ์ž์—ฐ ํ™˜๊ฒฝ์— ์žˆ๋Š” ๋™๋ฌผ๋“ค๊ณผ ๊ณค์ถฉ๋“ค์ด
04:42
taking up low, medium and high-frequency bands,
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๋‚ฎ์€, ์ค‘๊ฐ„, ๋†’์€ ์ฃผํŒŒ์ˆ˜ ์˜์—ญ์„ ์–ด๋–ป๊ฒŒ ํ‘œ์‹œํ•˜๋Š”์ง€ ์„ค๋ช…ํ•ฉ๋‹ˆ๋‹ค.
04:46
in exactly the same way as a symphony does.
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๊ตํ–ฅ์•…๋‹จ์ด ์—ฐ์ฃผํ•˜๋Š” ๊ฒƒ๊ณผ ์ •๋ง ๋˜‘๊ฐ™์€ ๋ฐฉ๋ฒ•์ž…๋‹ˆ๋‹ค.
04:50
And countless works of music were inspired by bird and forest song.
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์ƒˆ์™€ ์ˆฒ์˜ ์†Œ๋ฆฌ์—์„œ ์˜๊ฐ์„ ์–ป์€ ์Œ์•…์ด ์…€ ์ˆ˜ ์—†์ด ๋งŽ์Šต๋‹ˆ๋‹ค.
04:54
Yes, the natural world can be our cultural teacher.
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๊ทธ๋ ‡์Šต๋‹ˆ๋‹ค, ์ž์—ฐ์˜ ์„ธ๊ณ„๊ฐ€ ์šฐ๋ฆฌ ๋ฌธํ™”์˜ ์Šค์Šน์ธ ๊ฒ๋‹ˆ๋‹ค.
05:00
So let's go now to the uniquely human world of language.
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๊ทธ๋Ÿฌ๋ฉด ์ด์ œ ์ธ๊ฐ„๋งŒ์ด ์‚ฌ์šฉํ•˜๋Š” ์–ธ์–ด๋ฅผ ์‚ดํŽด๋ณผ๊นŒ์š”.
05:05
Every language communicates with pitch to varying degrees,
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๋ชจ๋“  ์–ธ์–ด๋Š” ๋‹ค์–‘ํ•œ ๋†’์ด์˜ ์Œ์กฐ๋กœ ์†Œํ†ตํ•ฉ๋‹ˆ๋‹ค.
05:08
whether it's Mandarin Chinese,
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ํ‘œ์ค€ ์ค‘๊ตญ์–ด์ฒ˜๋Ÿผ
05:09
where a shift in melodic inflection gives the same phonetic syllable
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์„ฑ์กฐ์˜ ๋ณ€ํ™”๊ฐ€ ๊ฐ™์€ ์Œ์ด๋ผ๋„
05:13
an entirely different meaning,
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์™„์ „ํžˆ ๋‹ค๋ฅธ ์˜๋ฏธ๋ฅผ ๊ฐ–๋Š” ๋‹ค๊ฑฐ๋‚˜
05:15
to a language like English,
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์˜์–ด์˜ ๊ฒฝ์šฐ์—๋Š”
05:16
where a raised pitch at the end of a sentence ...
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๋ฌธ์žฅ ๋ ๋ถ€๋ถ„์˜ ์Œ์กฐ๋ฅผ ์˜ฌ๋ฆฌ๋ฉด
05:19
(Going up in pitch) implies a question?
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(๋†’์€ ์–ต์–‘)์งˆ๋ฌธํ•˜๋Š” ์˜๋„๋ฅผ ๋‚˜ํƒ€๋‚ด์ง€์š”?
05:21
(Laughter)
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(์›ƒ์Œ)
05:23
As an Ethiopian-American woman,
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์—ํ‹ฐ์˜คํ”ผ์•„๊ณ„ ๋ฏธ๊ตญ ์—ฌ์„ฑ์ธ ์ €๋Š”
05:24
I grew up around the language of Amharic, Amhariรฑa.
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์•”ํ•˜๋ผ์–ด๋ฅผ ์‚ฌ์šฉํ•˜๋Š” ํ™˜๊ฒฝ์—์„œ ์ž๋ž์Šต๋‹ˆ๋‹ค.
05:27
It was my first language, the language of my parents,
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์•”ํ•˜๋ผ์–ด๋Š” ๋ถ€๋ชจ๋‹˜์˜ ์–ธ์–ด์ด์ž ์ œ ๋ชจ๊ตญ์–ด์ž…๋‹ˆ๋‹ค.
05:29
one of the main languages of Ethiopia.
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์—ํ‹ฐ์˜คํ”ผ์•„์—์„œ ์‚ฌ์šฉํ•˜๋Š” ์ฃผ ์–ธ์–ด์ด๊ธฐ๋„ ํ•˜๊ณ ์š”.
05:32
And there are a million reasons to fall in love with this language:
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์ œ๊ฐ€ ์ด ์–ธ์–ด๋ฅผ ์ข‹์•„ํ•˜๋Š” ์ˆ˜ ๋งŽ์€ ์ด์œ ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
05:35
its depth of poetics, its double entendres,
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์ด ์–ธ์–ด์—๋Š” ์šด์œจ์ด ์žˆ๊ณ , ์ด์ค‘์˜ ์˜๋ฏธ๊ฐ€ ์žˆ๊ณ ,
05:38
its wax and gold, its humor,
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๊ณ ๊ท€ํ•œ ๋Š๋‚Œ์ด ์žˆ๊ณ , ์œ ๋จธ์Šค๋Ÿฝ๊ณ ,
05:41
its proverbs that illuminate the wisdom and follies of life.
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์‚ถ์˜ ์ง€ํ˜œ์™€ ์šฐํ™”๊ฐ€ ์„œ๋ ค ์žˆ๋Š” ์ž ์–ธ์ด ์žˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
05:46
But there's also this melodicism, a musicality built right in.
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๊ฒŒ๋‹ค๊ฐ€ ์Œ์•…์ ์ธ ์„ ์œจ๋กœ ๋งŒ๋“ค์–ด์กŒ๊ณ ์š”.
05:50
And I find this distilled most clearly
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์ด๋ ‡๊ฒŒ ์–ธ์–ด์˜ ๋ช…ํ™•ํ•˜๊ฒŒ ์ •์ œ๋œ ์†Œ๋ฆฌ๋Š”
05:52
in what I like to call emphatic language --
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๊ฐ•์„ธ ์–ธ์–ด๊ฐ€ ์ง€๋‹ˆ๋Š” ํŠน์ง•์ด๋ผ ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
05:55
language that's meant to highlight or underline
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๊ฐ•์„ธ ์–ธ์–ด๋Š” ์˜๋ฏธ๋ฅผ ๊ฐ•์กฐํ•˜๊ฑฐ๋‚˜ ๋ฐ‘์ค„๊ธ‹๊ฑฐ๋‚˜,
05:57
or that springs from surprise.
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๋†€๋ผ์›€์„ ํ‘œ์‹œํ•  ๋•Œ ๊ฐ•์„ธ๋ฅผ ์ค๋‹ˆ๋‹ค.
06:00
Take, for example, the word: "indey."
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์˜ˆ๋ฅผ ๋“ค์–ด "indey"๋ผ๋Š” ๋‹จ์–ด๊ฐ€ ๊ทธ๋ ‡์Šต๋‹ˆ๋‹ค.
06:03
Now, if there are Ethiopians in the audience,
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์ด๊ณณ์— ์—ํ‹ฐ์˜คํ”ผ์•„์ธ์ด ๊ณ„์‹ ๋‹ค๋ฉด
06:05
they're probably chuckling to themselves,
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์•„๋งˆ ์›ƒ์„์ง€๋„ ๋ชจ๋ฅด๊ฒ ์Šต๋‹ˆ๋‹ค.
06:07
because the word means something like "No!"
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์™œ๋ƒํ•˜๋ฉด ์ด ๋‹จ์–ด์˜ ๋œป์ด "์•„๋‹ˆ์š”!" ๋˜๋Š”
06:09
or "How could he?" or "No, he didn't."
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"๊ทธ๋Ÿด ์ˆ˜๊ฐ€?", "์•ˆ ํ–ˆ์–ด์š”" ๋ผ๋Š” ๋œป์ด๊ฑฐ๋“ ์š”.
06:11
It kind of depends on the situation.
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์ƒํ™ฉ์— ๋”ฐ๋ผ ๋‹ค๋ฅด๊ฒŒ ์‚ฌ์šฉํ•˜์ง€๋งŒ์š”.
06:13
But when I was a kid, this was my very favorite word,
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์ œ๊ฐ€ ์–ด๋ฆด ๋•Œ ๊ฐ€์žฅ ์ข‹์•„ํ•œ ๋‹จ์–ด์˜€์–ด์š”.
06:17
and I think it's because it has a pitch.
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์ด ๋‹จ์–ด์˜ ์Œ์กฐ๊ฐ€ ์ข‹์•˜๊ฑฐ๋“ ์š”.
06:20
It has a melody.
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๋ฉœ๋กœ๋””๋„ ์žˆ๊ณ ์š”.
06:21
You can almost see the shape as it springs from someone's mouth.
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์ด ๋‹จ์–ด๋ฅผ ๋“ค์œผ๋ฉด ์ž…์—์„œ ํŠ•๊ฒจ ๋‚˜์˜ค๋“ฏ ๋ชจ์–‘์ด ๋ณด์ž…๋‹ˆ๋‹ค.
06:24
"Indey" -- it dips, and then raises again.
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"Indey"๋Š” ์†Œ๋ฆฌ๊ฐ€ ํ‘น ๋–จ์–ด์กŒ๋‹ค๊ฐ€ ๋‹ค์‹œ ์˜ฌ๋ผ๊ฐ€๋Š” ๊ฒƒ ๊ฐ™์•„์š”.
06:28
And as a musician and composer, when I hear that word,
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์Œ์•…์„ ๋‹ค๋ฃจ๋Š” ์ž‘๊ณก๊ฐ€๋กœ์„œ ์ €๋Š” ์ด ๋‹จ์–ด๋ฅผ ๋“ค์œผ๋ฉด
06:31
something like this is floating through my mind.
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๋ญ”๊ฐ€ ์ œ ๋งˆ์Œ์—์„œ ๋‘ฅ๋‘ฅ ๋–  ๋‹ค๋‹ˆ๋Š” ๊ฒƒ ๊ฐ™์•„์š”.
06:35
(Music and singing "Indey")
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("indey"์„ ๋…ธ๋ž˜ํ•˜๋Š” ์Œ์•…)
06:45
(Music ends)
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(์Œ์•… ์ข…๋ฃŒ)
06:48
Or take, for example, the phrase for "It is right" or "It is correct" --
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๋˜ ๋‹ค๋ฅธ ์˜ˆ๋กœ "๋งž๋‹ค", "์˜ฌ๋ฐ”๋ฅด๋‹ค"์— ํ•ด๋‹นํ•˜๋Š” ๊ตฌ์ ˆ์ธ
06:52
"Lickih nehu ... Lickih nehu."
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"๋ฆฌํ‚ค ๋„คํ›„... ๋ฆฌํ‚ค ๋„คํ›„"๋Š”
06:54
It's an affirmation, an agreement.
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ํ™•์ธ๊ณผ ๋™์˜๋ฅผ ํ‘œ์‹œํ•ฉ๋‹ˆ๋‹ค.
06:56
"Lickih nehu."
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"๋ฆฌํ‚ค ๋„คํ›„"๋ผ๋Š”
06:58
When I hear that phrase,
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๊ตฌ์ ˆ์„ ๋“ค์œผ๋ฉด ์ œ ๋งˆ์Œ์—์„œ ๋ญ”๊ฐ€ ๋Œ๊ธฐ ์‹œ์ž‘ํ•ฉ๋‹ˆ๋‹ค.
06:59
something like this starts rolling through my mind.
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07:04
(Music and singing "Lickih nehu")
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("๋ฆฌํ‚ค ๋„คํ›„"๋ฅผ ๋…ธ๋ž˜ํ•˜๋Š” ์Œ์•…)
07:11
(Music ends)
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(์Œ์•… ์ข…๋ฃŒ)
07:14
And in both of those cases, what I did was I took the melody
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์ด ๋‘ ๊ฐœ์˜ ์Œ์•…์—์„œ ์ œ๊ฐ€ ์ž‘์—…ํ•œ ๊ฒƒ์€
07:17
and the phrasing of those words and phrases
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๋‹จ์–ด์™€ ๊ตฌ์ ˆ์„ ๊ตฌ์„ฑํ•˜์—ฌ ๋ฉœ๋กœ๋””๋กœ ๋งŒ๋“ค๊ณ 
07:19
and I turned them into musical parts to use in these short compositions.
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์Œ์•…์  ์š”์†Œ๋ฅผ ์‚ฝ์ž…ํ•˜์—ฌ ์งง์€ ๊ณก์œผ๋กœ ๋งŒ๋“ค์—ˆ์ง€์š”.
07:24
And I like to write bass lines,
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์ œ๊ฐ€ ์ €์Œ๋ถ€ ์“ฐ๋Š” ๊ฒƒ์„ ์ข‹์•„ํ•ด์„œ
07:26
so they both ended up kind of as bass lines.
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์ด ๋‘ ๊ณก ๋ชจ๋‘ ์ €์Œ๋ถ€์—๋‹ค ๋„ฃ์—ˆ์ฃ .
07:29
Now, this is based on the work of Jason Moran and others
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์ œ์ด์Šจ ๋ชจ๋ž€์ด๋‚˜ ์Œ์•…๊ณผ ์–ธ์–ด๋ฅผ ์ž˜ ์กฐํ•ฉํ•˜๋Š” ์ž‘๊ณก๊ฐ€๋“ค์ด
07:32
who work intimately with music and language,
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์ด๋Ÿฐ ๋ฐฉ์‹์œผ๋กœ ์ž‘๊ณกํ•˜์ง€์š”.
07:35
but it's also something I've had in my head since I was a kid,
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๋˜ ์ œ ๋จธ๋ฆฌ ์†์—๋Š” ์–ด๋ฆด ๋•Œ๋ถ€ํ„ฐ ๋งŽ์ด ์ ‘ํ–ˆ๋˜ ๊ธฐ์–ต์ด ์žˆ์Šต๋‹ˆ๋‹ค.
07:38
how musical my parents sounded
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์ €ํฌ ๋ถ€๋ชจ๋‹˜์ด ์„œ๋กœ ๋Œ€ํ™”ํ•˜๊ฑฐ๋‚˜
07:40
when they were speaking to each other and to us.
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์ž์‹๋“ค์—๊ฒŒ ๋ง์”€ํ•˜์‹ค ๋•Œ ๋ณด๋ฉด ์ •๋ง ์Œ์•…์ ์œผ๋กœ ๋“ค๋ ธ๊ฑฐ๋“ ์š”.
07:44
It was from them and from Amhariรฑa that I learned
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์ œ๊ฐ€ ๋ฐฐ์šฐ๊ณ  ์‚ฌ์šฉํ–ˆ๋˜ ์•”ํ•˜๋ผ์–ด์™€ ๋ถ€๋ชจ๋‹˜ ๋ง์”€ ์†์—๋Š”
07:46
that we are awash in musical expression
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์Œ์•…์  ํ‘œํ˜„์ด ๋„˜์ณ๋‚ฉ๋‹ˆ๋‹ค.
07:49
with every word, every sentence that we speak,
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๊ฐ ๋‹จ์–ด์™€ ๋ฌธ์žฅ์„ ์„œ๋กœ ๋งํ•˜๊ณ  ๋“ค์œผ๋ฉฐ ์ž์—ฐ์Šค๋ ˆ ์Šต๋“ํ•œ ๊ฒƒ์ด์ฃ 
07:52
every word, every sentence that we receive.
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07:54
Perhaps you can hear it in the words I'm speaking even now.
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์•„๋งˆ ์ง€๊ธˆ ์ œ๊ฐ€ ๋งํ•˜๊ณ  ์žˆ๋Š” ์ด ๋‹จ์–ด์—์„œ๋„ ๋“ค๋ฆด์ง€๋„ ๋ชจ๋ฆ…๋‹ˆ๋‹ค.
08:00
Finally, we go to the 1950s United States
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๋งˆ์ง€๋ง‰์œผ๋กœ 1950๋…„๋Œ€ ๋ฏธ๊ตญ์œผ๋กœ ๊ฐ€ ๋ณผ๊นŒ์š”.
08:02
and the most seminal work of 20th century avant-garde composition:
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20์„ธ๊ธฐ๊ฐ€ ๋‚ณ์€ ๊ฐ€์žฅ ์ „์œ„์ ์ธ ๊ณก์€
08:06
John Cage's "4:33,"
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์กด ์ผ€์ด์ง€์˜ "4๋ถ„33์ดˆ"์ž…๋‹ˆ๋‹ค.
08:08
written for any instrument or combination of instruments.
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์–ด๋–ค ์•…๊ธฐ๋‚˜ ์–ด๋– ํ•œ ์กฐํ•ฉ์œผ๋กœ๋„ ์—ฐ์ฃผ๊ฐ€ ๊ฐ€๋Šฅํ•œ ๊ณก์ž…๋‹ˆ๋‹ค.
08:12
The musician or musicians are invited to walk onto the stage
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์—ฐ์ฃผ๊ฐ€๋“ค์€ ์Šคํ†ฑ์›Œ์น˜๋ฅผ ๋“ค๊ณ  ๋ฌด๋Œ€ ์œ„๋กœ ๊ฑธ์–ด ๋‚˜์™€
08:16
with a stopwatch and open the score,
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์•…๋ณด๋ฅผ ํŽผ์นฉ๋‹ˆ๋‹ค.
08:19
which was actually purchased by the Museum of Modern Art --
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์‹ค์ œ๋กœ ๋ชจ๋˜ ์•„ํŠธ ๋ฎค์ง€์—„์—์„œ
08:22
the score, that is.
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์ด ์•…๋ณด๋ฅผ ๊ตฌ๋งคํ–ˆ๋‹ค๊ณ  ํ•ฉ๋‹ˆ๋‹ค.
08:24
And this score has not a single note written
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์ด ์•…๋ณด์—๋Š” ๋‹จ ํ•˜๋‚˜์˜ ์Œํ‘œ๋„ ํ‘œ์‹œ๋˜์–ด ์žˆ์ง€ ์•Š์„ ๋ฟ๋”๋Ÿฌ
08:28
and there is not a single note played
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4๋ถ„ 33์ดˆ ๋™์•ˆ ์—ฐ์ฃผ๋˜๋Š” ์Œํ‘œ๊ฐ€ ๋‹จ ํ•œ ๊ฐœ๋„ ์—†์Šต๋‹ˆ๋‹ค.
08:30
for four minutes and 33 seconds.
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08:34
And, at once enraging and enrapturing,
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๊ฒฉ๋ถ„๊ณผ ๊ธฐ์จ์— ํœฉ์‹ธ์ธ
08:39
Cage shows us that even when there are no strings
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์ผ€์ด์ง€๋Š” ๋ฌด๋Œ€์—์„œ ๋‹จ ํ•˜๋‚˜์˜ ์ค„ ๋‹น๊น€์—†์ด๋„
08:42
being plucked by fingers or hands hammering piano keys,
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ํ”ผ์•„๋…ธ ๊ฑด๋ฐ˜์„ ๋‘๋“œ๋ฆฌ๋Š” ์† ์—†์ด๋„ ์Œ์•…์„ ์„ ๋ณด์ž…๋‹ˆ๋‹ค.
08:47
still there is music, still there is music,
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์Œ์•…์ด ํ๋ฅด๊ณ , ๊ณ„์† ํ๋ฆ…๋‹ˆ๋‹ค.
08:49
still there is music.
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์Œ์•…์ด ๊ณ„์†๋ฉ๋‹ˆ๋‹ค.
08:51
And what is this music?
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๋ฌด๋Œ€ ์ €ํŽธ์—์„œ๋Š” ์ด๊ฒŒ ๋ฌด์Šจ ์Œ์•…์ธ์ง€ ๋ฌป๋Š” ๋ƒฅ
08:54
It was that sneeze in the back.
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์žฌ์ฑ„๊ธฐ ์†Œ๋ฆฌ๊ฐ€ ๋‚ฉ๋‹ˆ๋‹ค.
08:57
(Laughter)
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(์›ƒ์Œ)
08:58
It is the everyday soundscape that arises from the audience themselves:
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๊ด€์ค‘๋“ค ์‚ฌ์ด์—๋Š” ์ผ์ƒ์ ์ธ ์†Œ๋ฆฌ๊ฐ€ ๋‚ฉ๋‹ˆ๋‹ค.
09:03
their coughs, their sighs, their rustles, their whispers, their sneezes,
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๊ธฐ์นจ, ํ•œ์ˆจ, ์˜ท๊นƒ ์Šค์น˜๋Š” ์†Œ๋ฆฌ์™€ ์†์‚ญ์ž„, ์žฌ์ฑ„๊ธฐ ์†Œ๋ฆฌ๊ฐ€ ๋‚˜๊ณ 
09:08
the room, the wood of the floors and the walls
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๋ฐฉ์•ˆ์— ์žˆ๋Š” ๋งˆ๋ฃป ๋ฐ”๋‹ฅ๊ณผ ๋ฒฝ์ด ๋Š˜์–ด๋‚˜๊ณ  ์ค„์–ด๋“ค๊ณ 
09:10
expanding and contracting, creaking and groaning
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์‚๊ทธ๋• ๊ฑฐ๋ฆฌ๊ณ  ๋™๋™๋Œ€๋Š” ์†Œ๋ฆฌ๊ฐ€
09:13
with the heat and the cold,
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๋†’๊ณ  ๋‚ฎ์€ ์˜จ๋„์— ๋ฐ˜์‘ํ•˜๋Š” ์†Œ๋ฆฌ๊ฐ€ ๋‚˜๊ณ 
09:14
the pipes clanking and contributing.
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๋ฒฝ์•ˆ ํŒŒ์ดํ”„์—์„œ๋Š” ๋œ๊ทธ๋Ÿญ๊ฑฐ๋ฆฌ๋Š” ์†Œ๋ฆฌ๊ฐ€ ๋‚˜์ฃ .
09:19
And controversial though it was, and even controversial though it remains,
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๋…ผ๋ž€์ด ๋˜์—ˆ๋˜ ์—ฐ์ฃผ์˜€๊ณ  ์ง€๊ธˆ๋„ ๋…ผ์Ÿ๋˜๊ณ  ์žˆ์ง€๋งŒ
09:22
Cage's point is that there is no such thing as true silence.
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์ผ€์ด์ง€๋Š” ์™„๋ฒฝํ•œ ์นจ๋ฌต ๊ฐ™์€ ๊ฒƒ์€ ์—†๋‹ค๊ณ  ๋งํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
09:28
Even in the most silent environments, we still hear and feel the sound
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์•„๋ฌด๋ฆฌ ์กฐ์šฉํ•œ ํ™˜๊ฒฝ์ด๋ผ๋„ ์ž์‹ ์˜ ์‹ฌ์žฅ ์†Œ๋ฆฌ๋Š”
09:32
of our own heartbeats.
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๋“ฃ๊ณ  ๋Š๋‚„ ์ˆ˜ ์žˆ์ž–์•„์š”.
09:34
The world is alive with musical expression.
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์ด ์„ธ๊ณ„๋Š” ์Œ์•…์ ์ธ ์„ ์œจ๋กœ ๊ฐ€๋“ ์ฐจ ์žˆ์Šต๋‹ˆ๋‹ค.
09:38
We are already immersed.
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์šฐ๋ฆฌ๋Š” ๊ทธ ์•ˆ์— ์ด๋ฏธ ํŒŒ๋ฌปํ˜€ ์žˆ์Šต๋‹ˆ๋‹ค.
09:42
Now, I had my own moment of, let's say, remixing John Cage
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์กด ์ผ€์ด์ง€๋ฅผ ๋ฆฌ๋ฏน์‹ฑํ–ˆ๋˜ ์ œ ๊ฒฝํ—˜์„ ์ด์•ผ๊ธฐํ•ด ๋“œ๋ฆด๊นŒ์š”.
09:46
a couple of months ago
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๋ช‡ ๋‹ฌ ์ „
09:47
when I was standing in front of the stove cooking lentils.
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๋ Œํ‹ธ์ฝฉ์„ ์š”๋ฆฌํ•˜๊ณ  ์žˆ์—ˆ์ฃ .
09:50
And it was late one night and it was time to stir,
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๋Šฆ์€ ๋ฐค์ด์—ˆ๊ณ , ์ฝฉ์„ ์ €์œผ๋ ค๊ณ 
09:53
so I lifted the lid off the cooking pot,
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๋ƒ„๋น„ ๋šœ๊ฒ…์„ ๋“ค์–ด ์˜ฌ๋ ค
09:55
and I placed it onto the kitchen counter next to me,
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๋ฐ”๋กœ ์˜† ์ฃผ๋ฐฉ ์‹ฑํฌ๋Œ€ ์œ„์— ์˜ฌ๋ ค ๋†“์•˜์Šต๋‹ˆ๋‹ค.
09:58
and it started to roll back and forth
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๊ทธ๋Ÿฌ์ž ๊ทธ ๋šœ๊ป‘์ด ์†Œ๋ฆฌ๋ฅผ ๋‚ด๋ฉฐ
10:00
making this sound.
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์•ž ๋’ค๋กœ ๊ตฌ๋ฅด๋Š” ๊ฑฐ์˜ˆ์š”.
10:04
(Sound of metal lid clanking against a counter)
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(์‹ฑํฌ๋Œ€์—์„œ ์‡  ๋šœ๊ป‘ ํ”๋“ค๋ฆฌ๋Š” ์†Œ๋ฆฌ)
10:10
(Clanking ends)
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(ํ”๋“ค๋ฆฌ๋Š” ์†Œ๋ฆฌ ์ข…๋ฃŒ)
10:13
And it stopped me cold.
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์ €๋Š” ๊ทธ ์†Œ๋ฆฌ์— ์–ผ์–ด ๋ถ™์—ˆ์ฃ .
10:15
I thought, "What a weird, cool swing that cooking pan lid has."
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"๋ƒ„๋น„ ๋šœ๊ป‘์—์„œ ์‹ ๊ธฐํ•˜๊ณ  ๋ฉ‹์ง„ ์†Œ๋ฆฌ๊ฐ€ ๋‚˜๋„ค" ๋ผ๊ณ  ์ƒ๊ฐํ–ˆ์ฃ .
10:22
So when the lentils were ready and eaten,
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์š”๋ฆฌํ•œ ๋ Œํ‹ธ์ฝฉ์„ ๋จน๊ณ ๋Š”
10:26
I hightailed it to my backyard studio,
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๋’ท๋งˆ๋‹น์— ์žˆ๋Š” ๋…น์Œ์‹ค๋กœ ๋‹ฌ๋ ค๊ฐ”์Šต๋‹ˆ๋‹ค.
10:30
and I made this.
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๊ทธ๋ฆฌ๊ณ  ์ด ์Œ์•…์„ ๋งŒ๋“ค์—ˆ์ฃ .
10:33
(Music, including the sound of the lid, and singing)
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(๋šœ๊ป‘ ์†Œ๋ฆฌ๊ฐ€ ๋“ค๋ฆฌ๋Š” ์Œ์•…๊ณผ ๋…ธ๋ž˜)
10:50
(Music ends)
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(์Œ์•… ์ข…๋ฃŒ)
10:52
Now, John Cage wasn't instructing musicians
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์กด ์ผ€์ด์ง€๋Š” ์ž‘๊ณก๊ฐ€๋“ค์—๊ฒŒ ์†Œ๋ฆฌ์˜ ์งˆ๊ฐ์œผ๋กœ ์Œํ–ฅ์„ ์ฑ„์ทจํ•˜์—ฌ
10:54
to mine the soundscape for sonic textures to turn into music.
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์Œ์•…์  ์„ ์œจ๋กœ ์™„์„ฑ์‹œํ‚ค๋ผ๊ณ  ์ œ์‹œํ•˜์ง€๋Š” ์•Š์Šต๋‹ˆ๋‹ค.
10:59
He was saying that on its own,
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์ผ€์ด์ง€๊ฐ€ ์ฃผ์žฅํ•˜๋Š” ๋ฐ”๋Š” ํ™˜๊ฒฝ ๊ทธ ์ž์ฒด์˜ ์†Œ๋ฆฌ๋ฅผ
11:01
the environment is musically generative,
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์Œ์œจ๋กœ ๋งŒ๋“ค ์ˆ˜ ์žˆ์œผ๋ฉฐ,
11:05
that it is generous, that it is fertile,
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๊ทธ ์†Œ๋ฆฌ๋Š” ๋‹ค์–‘ํ•˜๊ณ  ํ’๋ถ€ํ•˜๋ฉฐ
11:09
that we are already immersed.
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์ด๋ฏธ ์šฐ๋ฆฌ ์ฃผ๋ณ€์— ์กด์žฌํ•œ๋‹ค๋Š” ๊ฒƒ์ด์ฃ .
11:12
Musician, music researcher, surgeon and human hearing expert Charles Limb
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์Œ์•…๊ฐ€์ด๋ฉด์„œ ์Œ์•…์„ ์—ฐ๊ตฌํ•˜๊ณ , ์™ธ๊ณผ ์˜์‚ฌ์ด์ž ์ธ๊ฐ„์˜ ์ฒญ์Œ ์ „๋ฌธ๊ฐ€์ธ
์ฐฐ์Šค ๋ฆผ์€ ์กด์Šค ํ™‰ํ‚จ์Šค ๋Œ€ํ•™ ๊ต์ˆ˜์ž…๋‹ˆ๋‹ค.
11:18
is a professor at Johns Hopkins University
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11:20
and he studies music and the brain.
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์Œ์•…๊ณผ ๋‘๋‡Œ์˜ ๊ด€๊ณ„๋ฅผ ์—ฐ๊ตฌํ•˜๊ณ  ๊ณ„์‹œ์ฃ .
11:24
And he has a theory
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์ด ๊ต์ˆ˜์˜ ์ด๋ก ์— ์˜ํ•˜๋ฉด
11:27
that it is possible -- it is possible --
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--์ด๊ฑด ๊ฐ€๋Šฅํ•œ ์ด๋ก ์ด๋ผ ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
11:30
that the human auditory system actually evolved to hear music,
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์ธ๊ฐ„์˜ ์ฒญ๊ฐ๊ณ„๋Š” ์‹ค์ œ๋กœ ์Œ์•…์„ ๋“ฃ๊ธฐ ์œ„ํ•ด ์ง„ํ™”ํ–ˆ๋‹ค๊ณ  ํ•˜๋Š”๋ฐ,
11:36
because it is so much more complex than it needs to be for language alone.
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์–ธ์–ด๋งŒ ๋“ฃ๋Š” ๊ฒƒ๋ณด๋‹ค ์Œ์•…์„ ๋“ค์„ ๋•Œ ๋” ์ •๊ตํ•ด์ ธ์•ผ ํ•˜๊ธฐ ๋•Œ๋ฌธ์ด๋ž๋‹ˆ๋‹ค.
11:41
And if that's true,
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์ด ์ด๋ก ์ด ๋งž๋‹ค๋ฉด
11:43
it means that we're hard-wired for music,
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์šฐ๋ฆฌ๋Š” ์Œ์•…๊ณผ ๋ฐ€์ ‘ํ•˜๊ฒŒ ์—ฐ๊ฒฐ๋˜์–ด ์žˆ๋‹ค๋Š” ๋œป์ด ๋˜๊ฒ ์ฃ .
11:46
that we can find it anywhere,
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์–ด๋””์—์„œ๋‚˜ ์Œ์•…์  ์š”์†Œ๋ฅผ ๋Š๋‚„ ์ˆ˜ ์žˆ๊ณ 
11:48
that there is no such thing as a musical desert,
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์Œ์•…์  ์š”์†Œ๊ฐ€ ๋ฉ”๋งˆ๋ฅธ ์‚ฌ๋ง‰ ๊ฐ™์€ ๊ณณ์€ ์กด์žฌํ•˜์ง€ ์•Š๋Š”๋‹ค๋Š” ์˜๋ฏธ์ž…๋‹ˆ๋‹ค.
11:51
that we are permanently hanging out at the oasis,
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์šฐ๋ฆฌ๊ฐ€ ์ƒํ™œํ•˜๊ณ  ์žˆ๋Š” ๊ณณ์€ ํ•ญ์ƒ ์†Œ๋ฆฌ๊ฐ€ ์žˆ๋Š” ์˜ค์•„์‹œ์Šค๋ผ๋Š” ๊ฑฐ์ฃ .
11:55
and that is marvelous.
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์ •๋ง ๊ฒฝ์ด๋กญ์Šต๋‹ˆ๋‹ค.
11:58
We can add to the soundtrack, but it's already playing.
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์‚ฌ์šด๋“œํŠธ๋ž™์— ์ถ”๊ฐ€ํ•  ์ˆ˜๋„ ์žˆ์ง€๋งŒ ์ด๋ฏธ ์žฌ์ƒ๋˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
12:02
And it doesn't mean don't study music.
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์ด๋Š” ์Œ์•…์„ ์—ฐ๊ตฌํ•˜์ง€ ๋ง๋ผ๋Š” ๋œป์ด ์•„๋‹™๋‹ˆ๋‹ค.
12:04
Study music, trace your sonic lineages and enjoy that exploration.
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์Œ์•…๊ณผ ํ•จ๊ป˜ ์†Œ๋ฆฌ์˜ ๊ณ„ํ†ต์„ ์ถ”์ ํ•˜๊ณ  ๊ทธ ์†Œ๋ฆฌ๋ฅผ ์ฆ๊ฒจ๋ณด์„ธ์š”.
12:09
But there is a kind of sonic lineage to which we all belong.
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์šฐ๋ฆฌ ๊ฐ์ž๊ฐ€ ์†ํ•ด ์žˆ๋Š” ์†Œ๋ฆฌ ๊ณ„ํ†ต์ด๋ผ๋Š” ๊ฒƒ์ด ์กด์žฌํ•ฉ๋‹ˆ๋‹ค.
12:14
So the next time you are seeking percussion inspiration,
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๊ทธ๋Ÿฌ๋ฏ€๋กœ ํƒ€์•…๊ธฐ์—์„œ ์˜๊ฐ์„ ์–ป๊ณ  ์‹ถ๋‹ค๋ฉด
12:16
look no further than your tires, as they roll over the unusual grooves
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๊ณ ์†๋„๋กœ์—์„œ ๋…ํŠนํ•œ ๊ทธ๋ฃจ๋ธŒ๋ฅผ ๋งŒ๋“ค๋ฉฐ ๊ตด๋Ÿฌ๊ฐ€๋Š” ํƒ€์ด์–ด ๋ณด๋‹ค
12:20
of the freeway,
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๋” ์ข‹์€ ์†Œ๋ฆฌ๋Š” ์—†๋‹ต๋‹ˆ๋‹ค.
12:22
or the top-right burner of your stove
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๋˜๋Š” ์Šคํ† ๋ธŒ์˜ ์˜ค๋ฅธ์ชฝ ์ƒ๋‹จ ๋ฒ„๋„ˆ์—
12:24
and that strange way that it clicks
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์ ํ™”ํ•  ๋•Œ์— ์‹ ๊ธฐํ•œ ์†Œ๋ฆฌ๋กœ
12:25
as it is preparing to light.
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ํด๋ฆญ๋˜๋Š” ๋•Œ๋„ ์ข‹๊ฒ ์ฃ .
12:28
When seeking melodic inspiration,
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๋ฉœ๋กœ๋””์— ๋Œ€ํ•œ ์˜๊ฐ์„ ์–ป๊ณ ์ž ํ•  ๋•Œ๋Š”
12:30
look no further than dawn and dusk avian orchestras
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์ƒˆ๋ฒฝ์ด๋‚˜ ์ €๋… ๋ฌด๋ ต ์ƒˆ๋“ค์˜ ์ง€์ €๊ท์˜ ํ–ฅ์—ฐ์„ ๋“ค์–ด๋ณด๋ฉด
12:33
or to the natural lilt of emphatic language.
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๊ฐ•์„ธ ์–ธ์–ด์˜ ์ž์—ฐ์Šค๋Ÿฌ์šด ํ™œ๋ฐœํ•œ ๊ฐ€๋ฝ์„ ๋“ค์„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
12:37
We are the audience and we are the composers
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์šฐ๋ฆฌ๊ฐ€ ๊ด€๊ฐ์ด์ž ์ž‘๊ณก๊ฐ€์ž…๋‹ˆ๋‹ค.
12:40
and we take from these pieces
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์šฐ๋ฆฌ๋Š” ์ฃผ๋ณ€์— ์žˆ๋Š” ์†Œ๋ฆฌ๋ฅผ ์–ป์Šต๋‹ˆ๋‹ค.
12:41
we are given.
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์†Œ๋ฆฌ๊ฐ€ ํ˜๋Ÿฌ ๋‹ค๋‹ˆ์ง€์š”.
12:43
We make, we make, we make, we make,
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์šฐ๋ฆฌ๋Š” ์—ฌ๊ธฐ์— ๋งŒ๋“ค๊ณ  ๋˜ ๋งŒ๋“ญ๋‹ˆ๋‹ค.
12:45
knowing that when it comes to nature or language or soundscape,
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์ž์—ฐ๊ณผ ์–ธ์–ด, ์ฃผ๋ณ€ ์†Œ๋ฆฌ์— ๊ท€ ๊ธฐ์šธ์ผ ๋•Œ
12:49
there is no end to the inspiration --
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์šฐ๋ฆฌ๋Š” ๋ฌดํ•œํ•œ ์˜๊ฐ์„ ๋ฐ›์Šต๋‹ˆ๋‹ค.
12:52
if we are listening.
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๊ท€ ๊ธฐ์šธ์—ฌ ๋ณด์„ธ์š”.
12:55
Thank you.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
12:56
(Applause)
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(๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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