Charles Hazlewood: Trusting the ensemble

38,777 views ・ 2011-10-07

TED


μ•„λž˜ μ˜λ¬Έμžλ§‰μ„ λ”λΈ”ν΄λ¦­ν•˜μ‹œλ©΄ μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€.

λ²ˆμ—­: Kyo young Chu κ²€ν† : Bianca Lee
00:15
I am a conductor,
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μ „ μ§€νœ˜μžμž…λ‹ˆλ‹€
00:17
and I'm here today
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그리고 μ „ 였늘 μ—¬λŸ¬λΆ„λ“€κ»˜
00:19
to talk to you about trust.
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λ―ΏμŒμ— λŒ€ν•΄ λ§μ”€λ“œλ¦¬κΈ° μœ„ν•΄ 이 μžλ¦¬μ— μ„°μŠ΅λ‹ˆλ‹€
00:21
My job depends upon it.
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제 직업은 λ―ΏμŒμ— λ‹¬λ €μžˆμŠ΅λ‹ˆλ‹€
00:24
There has to be, between me and the orchestra,
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저와 μ˜€μΌ€μŠ€νŠΈλΌ μ‚¬μ΄μ—λŠ”
00:26
an unshakable bond of trust,
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저희 λͺ¨λ‘κ°€ λ―Ώκ³  μžˆλŠ”
00:28
born out of mutual respect,
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μŒμ•…μ  이야기λ₯Ό λ§Œλ“€μ–΄ λ‚΄λŠ” 것을 ν†΅ν•œ
00:31
through which we can spin a musical narrative
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μƒν˜Έ μ‘΄μ€‘μ—μ„œ λΉ„λ‘―λœ
00:34
that we all believe in.
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흔듀리지 μ•ŠλŠ” 믿음의 고리가 μžˆμ–΄μ•Ό ν•©λ‹ˆλ‹€.
00:36
Now in the old days, conducting, music making,
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μ˜ˆμ „μ˜ μ§€νœ˜μ™€ μž‘κ³‘ν™œλ™μ€
00:39
was less about trust and more, frankly, about coercion.
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믿음 λ³΄λ‹€λŠ” 사싀 κ°•μ œμ μΈ 것이 λ§Žμ•˜μŠ΅λ‹ˆλ‹€
00:42
Up to and around about the Second World War,
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2μ°¨ μ„Έκ³„λŒ€μ „ μ¦ˆμŒκΉŒμ§€
00:44
conductors were invariably dictators --
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μ§€νœ˜μžλ“€μ€ 어김없이 독단적인 μ‚¬λžŒλ“€μ΄μ—ˆμŠ΅λ‹ˆλ‹€
00:46
these tyrannical figures
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이듀은 μžμ‹ λ“€μ˜ μ‚Ά λ§ˆμ§€λ§‰κΉŒμ§€λ„
00:48
who would rehearse, not just the orchestra as a whole, but individuals within it,
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μ˜€μΌ€μŠ€νŠΈλΌ 뿐만 μ•„λ‹ˆλΌ λͺ¨λ“  μ‚¬λžŒλ“€
00:51
within an inch of their lives.
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λ˜ν•œ λ¦¬ν—ˆμ„€ ν•˜λ„λ‘ λ§Œλ“€ μ •λ„μž…λ‹ˆλ‹€
00:54
But I'm happy to say now that the world has moved on,
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ν•˜μ§€λ§Œ μ „ μ˜€λŠ˜λ‚  세상이 λ°”λ€Œμ—ˆκ³ ,
00:56
music has moved on with it.
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μŒμ•… λ˜ν•œ 그와 같이 λ³€ν™”ν–ˆλ‹€κ³  ν•  수 μžˆμ–΄μ„œ κΈ°μ©λ‹ˆλ‹€
00:58
We now have a more democratic view and way of making music --
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μ§€κΈˆ μ €ν¬λŠ” μŒλ°©ν†΅ν–‰μ˜ λ„λ‘œμ™€ 같은
01:01
a two-way street.
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민주적인 관점과 μŒμ•…μ„ λ§Œλ“œλŠ” 방법을 κ°€μ§€κ²Œ λ˜μ—ˆμŠ΅λ‹ˆλ‹€
01:03
I, as the conductor, have to come to the rehearsal with a cast-iron sense
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μ§€νœ˜μžλ‘œμ„œ, μ €λŠ” κ·Έ μŒμ•…μ˜ μ™Έν–₯적 ꡬ쑰에 λŒ€ν•œ
01:06
of the outer architecture of that music,
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ν™•μ‹€ν•œ 감각을 가지고 λ¦¬ν—ˆμ„€μ— λ‚˜μ™€μ•Όλ§Œ ν–ˆμŠ΅λ‹ˆλ‹€
01:09
within which there is then immense personal freedom
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그리고 κ·Έ μ•ˆμ—λŠ” μ˜€μΌ€μŠ€νŠΈλΌ 단원 개개인이
01:12
for the members of the orchestra to shine.
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λΉ›λ‚  수 μžˆλŠ” 개인적 μžμœ κ°€ μ‘΄μž¬ν•˜κ³  μžˆμŠ΅λ‹ˆλ‹€
01:14
For myself, of course,
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λ¬Όλ‘  μ € κ°œμΈμ μœΌλ‘œλŠ”
01:16
I have to completely trust my body language.
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제 λͺΈλ™μž‘을 μ™„μ „νžˆ λ―Ώμ–΄μ•Ό ν–ˆμŠ΅λ‹ˆλ‹€
01:20
That's all I have at the point of sale.
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그게 κ·Έ μˆœκ°„ μ œκ°€ 가진 λͺ¨λ“  κ²ƒμž…λ‹ˆλ‹€
01:22
It's silent gesture.
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그건 말이 μ—†λŠ” μ œμŠ€μ³μž…λ‹ˆλ‹€
01:24
I can hardly bark out instructions while we're playing.
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저희가 μ—°μ£Ό 쀑일 λ•Œ μ €λŠ” μ†Œλ¦¬λ‚΄μ„œ μ§€μ‹œλ₯Ό ν•˜μ§€ λͺ»ν•©λ‹ˆλ‹€
01:29
(Music)
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(μŒμ•…)
02:51
Ladies and gentlemen, the Scottish Ensemble.
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신사, μˆ™λ…€ μ—¬λŸ¬λΆ„, μŠ€μ½”ν‹€λžœλ“œ 앙상블을 μ†Œκ°œ λ“œλ¦½λ‹ˆλ‹€
02:53
(Applause)
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(λ°•μˆ˜)
03:00
So in order for all this to work,
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이 λͺ¨λ“  것이 μ œλŒ€λ‘œ 이뀄지기 μœ„ν•΄μ„œλŠ”,
03:02
obviously I have got to be in a position of trust.
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λΆ„λͺ…νžˆ μ € μžμ‹ μ΄ μ‹ λ’°μ˜ μƒνƒœμ— μžˆμ–΄μ•Ό ν•©λ‹ˆλ‹€
03:04
I have to trust the orchestra,
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μ œκ°€ μ˜€μΌ€μŠ€νŠΈλΌλ₯Ό λ―Ώμ–΄μ•Όλ§Œ ν•˜κ³ ,
03:06
and, even more crucially, I have to trust myself.
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훨씬 더 μ€‘μš”ν•˜κ²ŒλŠ”, 제 μžμ‹ μ„ λ―Ώμ–΄μ•Ό ν•©λ‹ˆλ‹€
03:08
Think about it: when you're in a position of not trusting,
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λ§Œμ•½ μ—¬λŸ¬λΆ„κ»˜μ„œ λΆˆμ‹ μ˜ μƒνƒœμ— μžˆλ‹€λ©΄
03:10
what do you do?
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μ–΄λ–€ 행동을 ν•˜μ‹€μ§€ 생각해 λ³΄μ‹œκΈΈ λ°”λžλ‹ˆλ‹€
03:12
You overcompensate.
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κ³Όμž‰ 행동을 ν•˜μ‹€κ²λ‹ˆλ‹€
03:14
And in my game, that means you overgesticulate.
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제 λΆ„μ•Όμ—μ„œλΌλ©΄, κ³Όμž₯된 행동을 ν•˜λŠ” κ²ƒμž…λ‹ˆλ‹€
03:16
You end up like some kind of rabid windmill.
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κ²°κ΅­μ—λŠ” κ³Όκ²©ν•œ ν’μ°¨μ²˜λŸΌ λ˜μ–΄λ²„λ¦¬μ£ 
03:18
And the bigger your gesture gets,
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손짓이 컀질수둝
03:20
the more ill-defined, blurry
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κ·Έ μ˜λ―ΈλŠ” 더 뢈λͺ…확해지고, 흐릿해지며,
03:22
and, frankly, useless it is to the orchestra.
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μ†”μ§νžˆ λ§ν•˜μžλ©΄, μ˜€μΌ€μŠ€νŠΈλΌμ—κ² ν•˜λ“±μ˜ 도움이 μ•ˆλ˜μ–΄μ§‘λ‹ˆλ‹€
03:24
You become a figure of fun. There's no trust anymore, only ridicule.
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μ§€νœ˜μžλŠ” 웃긴 μ‚¬λžŒμ΄ 되고, μ‹ λ’° λ”°μœ„λŠ” 없어지며 였직 쑰둱만이 가득해지죠
03:27
And I remember at the beginning of my career,
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μ „ μ•„μ§κΉŒμ§€λ„ μ œκ°€ 처음으둜 이 일을 μ‹œμž‘ν–ˆμ„ λ•Œλ₯Ό κΈ°μ–΅ν•©λ‹ˆλ‹€
03:29
again and again, on these dismal outings with orchestras,
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μ˜€μΌ€μŠ€νŠΈλΌ 단원듀과 κ·Έ ν˜•νŽΈμ—†λŠ” κ³΅μ—°λ“€μ—μ„œ
03:31
I would be going completely insane on the podium,
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μ „ λ‹¨μƒμ—μ„œ μž‘μ€ 크기의 ν¬λ ˆμ„Όλ„,
03:34
trying to engender a small scale crescendo really,
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즉 '점점 μ„Έκ²Œ'λ₯Ό ν‘œν˜„ν•˜λ €κ³  λ…Έλ ₯ν•˜λ©΄μ„œ
03:36
just a little upsurge in volume.
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μ™„μ „νžˆ 정신을 놓아가고 μžˆμ—ˆμŠ΅λ‹ˆλ‹€
03:38
Bugger me, they wouldn't give it to me.
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μ•ˆνƒ€κΉκ²Œλ„, 그듀은 ν‘œν˜„μ„ ν•˜μ§€ λͺ»ν–ˆμŠ΅λ‹ˆλ‹€
03:40
I spent a lot of time in those early years
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μ „ 처음 λͺ‡ 년간을
03:42
weeping silently in dressing rooms.
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νƒˆμ˜μ‹€μ—μ„œ 쑰용히 흐느끼며 λ³΄λƒˆμ—ˆμŠ΅λ‹ˆλ‹€
03:44
And how futile seemed the words of advice to me
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영ꡭ의 μœ„λŒ€ν•œ λ² ν…Œλž‘ μ§€νœ˜μžμΈ
03:47
from great British veteran conductor Sir Colin Davis
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콜린 λ°μ΄λΉ„μŠ€ 경의 μ‘°μ–Έ λ˜ν•œ 제겐 μ˜λ―Έμ—†μ΄ λ“€λ ΈμŠ΅λ‹ˆλ‹€
03:49
who said, "Conducting, Charles,
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κ·ΈλŠ” "찰슀,
03:51
is like holding a small bird in your hand.
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μ§€νœ˜λž€ 손에 μž‘μ€ μƒˆλ₯Ό μ₯λŠ” 것과 κ°™λ‹€λ„€
03:53
If you hold it too tightly, you crush it.
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λ„ˆλ¬΄ μ„Έκ²Œ μ₯λ©΄ λΆ€μ„œμ§€κ³ ,
03:56
If you hold it too loosely, it flies away."
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λ„ˆλ¬΄ μ•½ν•˜κ²Œ μ₯λ©΄ λ‚ μ•„κ°€λ²„λ¦¬λŠ” 법이지"라고 μ‘°μ–Έν•΄μ€¬μŠ΅λ‹ˆλ‹€
03:59
I have to say, in those days, I couldn't really even find the bird.
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κ·Έ λ‹Ήμ‹œμ— μ „ μ‹¬μ§€μ–΄λŠ” μƒˆλ„ 찾을 수 μ—†μ—ˆμŠ΅λ‹ˆλ‹€
04:02
Now a fundamental
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제 μŒμ•…μ— μžˆμ–΄μ„œ
04:04
and really viscerally important experience for me, in terms of music,
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κ·Όλ³Έμ μ΄μ—ˆκ³  정말 λ³ΈλŠ₯적으둜 μ€‘μš”ν–ˆλ˜ κ²½ν—˜μ€
04:07
has been my adventures in South Africa,
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제 κ΄€μ μ—μ„œ μ§€κ΅¬μƒμ—μ„œ κ°€μž₯ ν˜„κΈ°μ¦μ΄ λ‚  μ •λ„λ‘œ
04:09
the most dizzyingly musical country on the planet in my view,
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μŒμ•…μ μ΄μ—ˆλ˜ λ‚˜λΌμΈ 남아프리가 κ³΅ν™”κ΅­μœΌλ‘œμ˜ μ—¬ν–‰μ΄μ—ˆμŠ΅λ‹ˆλ‹€
04:12
but a country which, through its musical culture,
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κ·ΈλŸ¬λ‚˜ κ·Έ λ‚˜λΌλŠ” μžμ‹ μ˜ μŒμ•…μ μΈ λ¬Έν™”λ₯Ό 톡해
04:14
has taught me one fundamental lesson:
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제게 ν•˜λ‚˜μ˜ 근본적인 κ΅ν›ˆμ„ κ°€λ₯΄μ³μ£Όμ—ˆμŠ΅λ‹ˆλ‹€
04:17
that through music making
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κ·Έ κ΅ν›ˆμ€ μž‘κ³‘ ν™œλ™μ„ 톡해
04:19
can come deep levels
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λͺ©μˆ¨μ„ 내놓을 수 μžˆλŠ” κΉŠμ€ μˆ˜μ€€μ˜ 믿음이
04:21
of fundamental life-giving trust.
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λ§Œλ“€μ–΄μ§ˆ 수 μžˆλ‹€λŠ” κ²ƒμ΄μ—ˆμ£ 
04:24
Back in 2000, I had the opportunity to go to South Africa
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μ§€λ‚œ 2000λ…„, μ „ 남아프리카 곡화ꡭ에 κ°€μ„œ
04:27
to form a new opera company.
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μƒˆλ‘œμš΄ μ˜€νŽ˜λΌλ‹¨μ„ λ§Œλ“€ 기회λ₯Ό μ–»μ—ˆμ—ˆμŠ΅λ‹ˆλ‹€
04:29
So I went out there, and I auditioned,
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κ·Έλž˜μ„œ μ „ κ±°κΈ° κ°€μ„œ,
04:31
mainly in rural township locations, right around the country.
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주둜 남아곡 주변에 μžˆλŠ” μ‹œκ³¨ 흑인 κ±°μ£Ό λ§ˆμ„μ—μ„œ μ˜€λ””μ…˜μ„ μ—΄μ—ˆμ—ˆμŠ΅λ‹ˆλ‹€
04:33
I heard about 2,000 singers
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μ „ 2000μ—¬ λͺ…μ˜ λ…Έλž˜λ₯Ό λ“€μ—ˆκ³ ,
04:35
and pulled together a company
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이 μ€‘μ—μ„œ 졜고둜 μž…μ„ 쩍 λ²Œμ–΄μ§€κ²Œ ν•  만큼 λ†€λΌμ› λ˜ 40λͺ…을 뽑아
04:37
of 40 of the most jaw-droppingly amazing young performers,
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μ˜€νŽ˜λΌλ‹¨μ„ λ§Œλ“€μ—ˆμŠ΅λ‹ˆλ‹€
04:40
the majority of whom were black,
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λŒ€λΆ€λΆ„μ€ ν‘μΈμ΄μ—ˆμ§€λ§Œ
04:42
but there were a handful of white performers.
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μ†Œμˆ˜μ˜ 백인 μ—°μ£Όμžλ„ μžˆμ—ˆμŠ΅λ‹ˆλ‹€
04:44
Now it emerged early on in the first rehearsal period
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처음으둜 λ¦¬ν—ˆμ„€μ„ ν•˜λ˜ κΈ°κ°„ μ΄ˆλ°˜μ—
04:46
that one of those white performers
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백인 μ—°μ£Όμž 쀑 ν•œ λͺ…이
04:48
had, in his previous incarnation,
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ν•œλ•Œ 남아프리카 κ³΅ν™”κ΅­μ˜
04:50
been a member of the South African police force.
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κ²½μ°°μ΄μ—ˆλ‹€λŠ” 사싀이 μ•Œλ €μ‘ŒμŠ΅λ‹ˆλ‹€
04:52
And in the last years of the old regime,
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그리고 μ§€λ‚œ μ •κΆŒ 말기에
04:54
he would routinely be detailed to go into the township
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κ·ΈλŠ” λ§ˆμ„ μ£Όλ―Όλ“€μ—κ²Œ μ‹œλΉ„λ₯Ό κ±ΈκΈ° μœ„ν•΄
04:57
to aggress the community.
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반볡적으둜 흑인 거주ꡬ둜 κ°”μ—ˆμŠ΅λ‹ˆλ‹€
04:59
Now you can imagine what this knowledge did to the temperature in the room,
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이제 μ—¬λŸ¬λΆ„λ“€κ»˜μ„œλ„ 이 사싀이 λ°© μ•ˆμ˜ μ˜¨λ„,
05:02
the general atmosphere.
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즉 일반적인 λΆ„μœ„κΈ°μ— μ–΄λ–€ 영ν–₯을 끼쳀을 지 상상이 κ°€μ‹€ κ²λ‹ˆλ‹€
05:04
Let's be under no illusions.
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자 그럼 μ†”μ§ν•΄μ Έλ΄…μ‹œλ‹€
05:06
In South Africa, the relationship most devoid of trust
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남아프리카 κ³΅ν™”κ΅­μ—μ„œ κ°€μž₯ μ‹ λ’°κ°€ μ—†λŠ” κ΄€κ³„λŠ”
05:09
is that between a white policeman
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λ°”λ‘œ 백인 κ²½μ°°κ³Ό
05:11
and the black community.
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흑인 μ£Όλ―Όλ“€ μ‚¬μ΄μ˜ κ΄€κ³„μž…λ‹ˆλ‹€
05:13
So how do we recover from that, ladies and gentlemen?
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자 κ·Έλ ‡λ‹€λ©΄ μ—¬λŸ¬λΆ„, μš°λ¦¬κ°€ κ·Έ 관계λ₯Ό μ–΄λ–»κ²Œ νšŒλ³΅μ‹œν‚¬ 수 μžˆμ„κΉŒμš”?
05:15
Simply through singing.
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κ°„λ‹¨ν•˜κ²Œ λ…Έλž˜λ₯Ό ν†΅ν•΄μ„œ κ°€λŠ₯ν•©λ‹ˆλ‹€
05:17
We sang, we sang,
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μ €ν¬λŠ” λ…Έλž˜λ₯Ό ν•˜κ³ , 또 ν•˜κ³ ,
05:20
we sang,
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또 ν–ˆμŠ΅λ‹ˆλ‹€
05:22
and amazingly new trust grew,
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그러자 λ†€λžκ²Œλ„ μƒˆλ‘œμš΄ 믿음이 μžλΌλ‚¬κ³ 
05:24
and indeed friendship blossomed.
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κ²°κ΅­μ—λŠ” μš°μ •μ΄ κ½ƒν”Όμ—ˆμŠ΅λ‹ˆλ‹€
05:26
And that showed me such a fundamental truth,
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그리고 μ΄λŠ” 제게
05:28
that music making and other forms of creativity
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말 만으둠 갈 수 μ—†λŠ” 근본적인 λ―ΏμŒμ—
05:31
can so often go to places
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μŒμ•…κ³Ό λ‹€λ₯Έ ν˜•νƒœμ˜ 창의적인 ν™œλ™μ΄
05:33
where mere words cannot.
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λ‹€λ‹€λ₯Ό 수 μžˆλ‹€λŠ” 것을 λ³΄μ—¬μ£Όμ—ˆμŠ΅λ‹ˆλ‹€
05:36
So we got some shows off the ground. We started touring them internationally.
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κ·Έλž˜μ„œ μ €ν¬λŠ” λͺ‡ λͺ‡ μ‡Όλ₯Ό λ§Œλ“€μ–΄μ„œ μ„Έκ³„λ‘œ νˆ¬μ–΄λ₯Ό λ‹€λ‹ˆκΈ° μ‹œμž‘ν–ˆμŠ΅λ‹ˆλ‹€
05:38
One of them was "Carmen."
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κ·Έ μ€‘μ˜ ν•˜λ‚˜κ°€ "μΉ΄λ₯΄λ©˜"μ΄μ—ˆμŠ΅λ‹ˆλ‹€
05:40
We then thought we'd make a movie of "Carmen,"
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그리고 λ‚˜μ„œ μ €ν¬λŠ” "μΉ΄λ₯΄λ©˜"을 μ˜ν™”λ‘œ λ§Œλ“€μ–΄ λ³Ό 것을 μƒκ°ν–ˆμŠ΅λ‹ˆλ‹€
05:42
which we recorded and shot outside on location
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κ·Έλž˜μ„œ μ €ν¬λŠ” 케이프 νƒ€μš΄ λ°–
05:44
in the township outside Cape Town called Khayelitsha.
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칼리쳐(Khayelitsha)라고 λΆˆλ¦¬λŠ” 흑인 κ±°μ£Όμ§€μ—μ„œ μ˜ν™”λ₯Ό μ°μ—ˆμŠ΅λ‹ˆλ‹€
05:46
The piece was sung entirely in Xhosa,
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κ·Έ μž‘ν’ˆμ€ ν˜Έμ‚¬μ–΄(Xhosa)둜 λΆˆλ €λŠ”λ°,
05:48
which is a beautifully musical language, if you don't know it.
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λͺ¨λ₯΄μ‹œλŠ” λΆ„λ“€κ»˜μ„œλŠ” μ•„μ£Ό μ•„λ¦„λ‹€μš΄ μŒμ•…μ μΈ 언어라고 μ΄ν•΄ν•˜μ‹œλ©΄ λ˜κ² μŠ΅λ‹ˆλ‹€
05:51
It's called "U-Carmen e-Khayelitsha" --
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이 μ˜ν™”μ˜ 제λͺ©μ€ "U-Carmen e-Khayelitsha"인데
05:53
literally "Carmen of Khayelitsha."
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μ΄λŠ” 문자 κ·ΈλŒ€λ‘œ "칼리쳐의 μΉ΄λ₯΄λ©˜"μž…λ‹ˆλ‹€
05:55
I want to play you a tiny clip of it now
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μ „ 남아프리카 κ³΅ν™”κ΅­μ˜ μŒμ•… ν™œλ™μ— μžˆμ–΄μ„œ
05:57
for no other reason than to give you proof positive
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별 볼일 μ—†λŠ” 것은 μ—†λ‹€λŠ” 것에 λŒ€ν•΄ λ°˜μ¦ν•˜κ³ μž
05:59
that there is nothing tiny about South African music making.
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μ—¬κΈ°μ„œ μ—¬λŸ¬λΆ„λ“€κ»˜ 짧은 뢀뢄을 λ³΄μ—¬λ“œλ¦¬κ³ μž ν•©λ‹ˆλ‹€
06:03
(Music)
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(μŒμ•…)
07:15
(Applause)
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(λ°•μˆ˜)
07:22
Something which I find utterly enchanting
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μ œκ°€ λ‚¨μ•„κ³΅μ˜ μž‘κ³‘μ— λŒ€ν•΄
07:25
about South African music making
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μ•„μ£Ό 맀혹적으둜 λŠλ‚€ 점은
07:27
is that it's so free.
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λ°”λ‘œ 이것이 μ•„μ£Ό μžμœ λ‘­λ‹€λŠ” κ²ƒμž…λ‹ˆλ‹€
07:29
South Africans just make music really freely.
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남아프리카인듀은 μŒμ•…μ„ μ•„μ£Ό 자유둭게 λ§Œλ“­λ‹ˆλ‹€
07:31
And I think, in no small way,
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그리고 μ•„μ£Ό μ€‘μš”ν•˜κ²Œλ„, μ œκ°€ μƒκ°ν•˜κΈ°μ—”
07:33
that's due to one fundamental fact:
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μ΄λŠ” μ•„μ£Ό 기본적인 사싀에 κ·Όκ±°ν•œ 것 κ°™μŠ΅λ‹ˆλ‹€
07:35
they're not bound to a system of notation.
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그듀은 악보에 κ΅­ν•œλ˜μ–΄μžˆμ§€ μ•ŠμŠ΅λ‹ˆλ‹€
07:37
They don't read music.
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그듀은 μŒμ•…μ„ 읽지 μ•ŠμŠ΅λ‹ˆλ‹€
07:39
They trust their ears.
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λŒ€μ‹  μžμ‹ λ“€μ˜ κ·€λ₯Ό λ―Ώμ£ 
07:41
You can teach a bunch of South Africans a tune in about five seconds flat.
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μ—¬λŸ¬ λͺ…μ˜ λ‚¨μ•„ν”„λ¦¬μΉ΄μΈμ—κ²Œ ν•œ 곑을 κ°€λ₯΄μΉ˜λŠ”λ°λŠ” 겨우 5μ΄ˆλ„ 채 걸리지 μ•ŠμŠ΅λ‹ˆλ‹€
07:44
And then, as if by magic,
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그리고 λ‚˜λ©΄ 마치 λ§ˆλ²•μ— κ±Έλ¦° κ²ƒμ²˜λŸΌ,
07:46
they will spontaneously improvise a load of harmony around that tune
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그듀은 μžμ—°μŠ€λŸ½κ²Œ κ·Έ 곑쑰λ₯Ό 따라 κΈ΄ ν™”μŒμ„ 즉ν₯적으둜 λ§Œλ“€μ–΄ λ‚Ό κ²ƒμž…λ‹ˆλ‹€
07:49
because they can.
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그듀은 κ·Έλƒ₯ κ°€λŠ₯ν•©λ‹ˆλ‹€
07:51
Now those of us that live in the West, if I can use that term,
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자, λ§Œμ•½μ— μ œκ°€ κ·Έ μš©μ–΄λ₯Ό μ“΄λ‹€λ©΄,
07:54
I think have a much more hidebound attitude or sense of music --
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μŒμ•…μ˜ μ „λΆ€κ°€ κΈ°μˆ μ΄λ‚˜ μž₯비라고 μ—¬κΈ°λŠ”
07:57
that somehow it's all about skill and systems.
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μ„œμ–‘μ— μ‚΄κ³  μžˆλŠ” μ €ν¬λŠ” 훨씬 더 νŽΈν˜‘ν•œ νƒœλ„λ‚˜ μŒμ•…μ  감각을 가지고 μžˆμŠ΅λ‹ˆλ‹€
08:00
Therefore it's the exclusive preserve
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κ·ΈλŸ¬λ―€λ‘œ μŒμ•…μ€
08:03
of an elite, talented body.
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재λŠ₯이 μžˆλŠ” μ—˜λ¦¬νŠΈμ˜ 독점적인 뢄야라고 μ—¬κΉλ‹ˆλ‹€
08:05
And yet, ladies and gentlemen, every single one of us on this planet
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μ—¬λŸ¬λΆ„, ν•˜μ§€λ§Œ 이 행성에 μžˆλŠ” λͺ¨λ“  μ‚¬λžŒμ€
08:08
probably engages with music on a daily basis.
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μ•„λ§ˆλ„ 맀일 μŒμ•…κ³Ό λ§ˆμ£Όν•˜κ³  μžˆμ„ κ²λ‹ˆλ‹€
08:11
And if I can broaden this out for a second,
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그리고 이 사싀을 쑰금 더 ν™•μž₯ν•΄ λ³Έλ‹€λ©΄,
08:13
I'm willing to bet that every single one of you sitting in this room
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μ „ 이 곡간에 μžˆλŠ” λͺ¨λ“  μ‚¬λžŒλ“€μ΄
08:16
would be happy to speak with acuity, with total confidence,
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μ˜ν™”λ‚˜ μ•„λ‹ˆλ©΄ λ¬Έν•™ μž‘ν’ˆμ— λŒ€ν•΄μ„œ μ •ν™•μ„±κ³Ό μ™„μ „ν•œ μžμ‹ κ°μ„ 가지고
08:18
about movies, probably about literature.
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λ§ν•˜λŠ” 것을 μ’‹μ•„ν•  κ²ƒμ΄λΌλŠ” 사싀에 기꺼이 λ‚΄κΈ°λ₯Ό κ±Έ 수 μžˆμŠ΅λ‹ˆλ‹€
08:21
But how many of you would be able to make a confident assertion
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ν•˜μ§€λ§Œ μ—¬λŸ¬λΆ„λ“€ 쀑에 ν΄λž˜μ‹ μŒμ•… μž‘ν’ˆμ— λŒ€ν•΄
08:24
about a piece of classical music?
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μžμ‹ μžˆλŠ” μ£Όμž₯을 펼칠 수 μžˆλŠ” 뢄은 λͺ‡ λΆ„μ΄λ‚˜ λ©λ‹ˆκΉŒ?
08:27
Why is this?
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μ™œ μ΄λŸ΄κΉŒμš”?
08:29
And what I'm going to say to you now
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μ œκ°€ μ§€κΈˆ μ—¬λŸ¬λΆ„λ“€κ»˜ λ“œλ¦¬κ³  싢은 말은
08:31
is I'm just urging you to get over
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μ „ 단지 μ—¬λŸ¬λΆ„λ“€μ΄
08:33
this supreme lack of self-confidence,
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ꢁ극적인 μžμ‹ κ°μ˜ 뢀쑱을 이겨내고,
08:35
to take the plunge, to believe that you can trust your ears,
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과감히 λͺ¨ν—˜μ„ ν•΄μ„œ, μ—¬λŸ¬λΆ„μ΄ μžμ‹ μ˜ κ·€λ₯Ό μ‹ λ’°ν•  수 있고,
08:38
you can hear some of the fundamental muscle tissue,
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μœ„λŒ€ν•œ μŒμ•… μž‘ν’ˆμ„ μœ„λŒ€ν•˜κ²Œ λ§Œλ“œλŠ” 근본적인 근윑 쑰직,
08:40
fiber, DNA,
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μ„¬μœ , DNA의 일뢀λ₯Ό
08:42
what makes a great piece of music great.
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듀을 수 μžˆλ„λ‘ 믿게 ν•˜λŠ” κ²ƒμž…λ‹ˆλ‹€
08:45
I've got a little experiment I want to try with you.
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μ—¬λŸ¬λΆ„κ³Ό ν•¨κ»˜ ν•˜κ³  싢은 μžκ·Έλ§ˆν•œ μ‹€ν—˜μ΄ ν•˜λ‚˜ μžˆμŠ΅λ‹ˆλ‹€
08:47
Did you know
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TEDκ°€
08:49
that TED is a tune?
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μŒμ•…μ΄λΌλŠ” 사싀을 μ•Œκ³  κ³„μ‹ κ°€μš”?
08:51
A very simple tune based on three notes -- T, E, D.
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T, E, D에 κΈ°λ°˜ν•œ μ•„μ£Ό 기본적인 μ„Έ μŒν‘œμž…λ‹ˆλ‹€
08:54
Now hang on a minute.
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μž μ‹œλ§Œ κΈ°λ‹€λ € μ£Όμ„Έμš”
08:56
I know you're going to say to me, "T doesn't exist in music."
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λ¬Όλ‘  μ—¬λŸ¬λΆ„κ»˜μ„œ "μŒμ•…μ— TλŠ” μ—†μ–΄μš”"라고 λ§ν•˜μ‹œκ² μ£ 
08:59
Well ladies and gentlemen, there's a time-honored system,
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ν•˜μ§€λ§Œ μ—¬λŸ¬λΆ„, 이 사싀이 λ§žλ‹€κ³  증λͺ…ν•  수 μžˆλŠ”
09:01
which composers have been using for hundreds of years,
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μž‘κ³‘κ°€λ“€μ΄ 수 λ°±λ…„κ°„ 써였고 μžˆλŠ”
09:03
which proves actually that it does.
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μœ μ„œκΉŠμ€ μŒκ³„κ°€ μžˆμŠ΅λ‹ˆλ‹€
09:06
If I sing you a musical scale: A, B, C, D, E, F, G --
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λ§Œμ•½ μ œκ°€ μŒκ³„λ₯Ό λ…Έλž˜λ₯Ό ν•œλ‹€λ©΄, 도(A) 레(B) λ―Έ(C) 파(D) 솔(E) 라(F) μ‹œ(G)-둜 되고
09:10
and I just carry on with the next set of letters in the alphabet, same scale:
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이 λ‹€μŒμ— μ•ŒνŒŒλ²³λ“€μ„ 같은 μŒκ³„λ‘œ λ…Έλž˜λ₯Ό ν•˜λ©΄
09:13
H, I, J, K, L, M, N,
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도(H) 레(I) λ―Έ(J) 파(K) 솔(L) 라(M) μ‹œ(N)
09:16
O, P, Q, R, S, T -- there you go.
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도(O) 레(P) λ―Έ(Q) 파(R) 솔(S) 라(T) μ‹œ(U) - μ•„, μ—¬κΈ° μžˆκ΅°μš”
09:18
T, see it's the same as F in music.
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T, κ°€ μŒμ•…μ—μ„œλŠ” F와 같은거 λ³΄μ΄μ‹œλ‚˜μš”?
09:20
So T is F.
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κ·ΈλŸ¬λ‹ˆκΉŒ TλŠ” F(라)와 κ°™μŠ΅λ‹ˆλ‹€
09:22
So T, E, D is the same as F, E, D.
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즉, T, E, DλŠ” F(라), E(솔), D(파)와 같은 κ²ƒμž…λ‹ˆλ‹€
09:24
Now that piece of music that we played at the start of this session
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자, μ œκ°€ 이 강연을 μ‹œμž‘ν•˜λ©΄μ„œ μ—°μ£Όν•œ κ·Έ μŒμ•…μ—λŠ”
09:27
had enshrined in its heart
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TEDλΌλŠ” ν…Œλ§ˆκ°€
09:29
the theme, which is TED.
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μ†Œμ€‘νžˆ κ°„μ§λ˜μ–΄ μžˆμŠ΅λ‹ˆλ‹€
09:31
Have a listen.
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λ“€μ–΄ λ³΄μ‹œμ£ 
09:34
(Music)
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(μŒμ•…)
09:41
Do you hear it?
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λ“€μœΌμ…¨μŠ΅λ‹ˆκΉŒ?
09:43
Or do I smell some doubt in the room?
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μ•„λ‹ˆλ©΄ μ•„μ§κΉŒμ§€ μ˜μ‹¬ν•˜λŠ” 뢄이 κ³„μ‹ κ°€μš”?
09:45
Okay, we'll play it for you again now,
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μ•Œκ² μŠ΅λ‹ˆλ‹€, λ‹€μ‹œ μ—°μ£Ό ν•΄λ“œλ¦¬κ² μŠ΅λ‹ˆλ‹€
09:47
and we're going to highlight, we're going to poke out the T, E, D.
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그리고 T, E, Dλ₯Ό κ°•μ‘°ν•΄μ„œ, 콕 μ§‘μ–΄λ“œλ¦¬κ² μŠ΅λ‹ˆλ‹€
09:50
If you'll pardon the expression.
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λ‹€μ‹œ ν•œ 번 λ“€μ–΄λ³΄μ‹œμ£ 
09:53
(Music)
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(μŒμ•…)
10:00
Oh my goodness me, there it was loud and clear, surely.
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였 이런 λ§™μ†Œμ‚¬, μ™„μ „νžˆ 크고 잘 λ“€λ Έλ„€μš”
10:03
I think we should make this even more explicit.
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저희가 이걸 훨씬 더 λͺ…λ°±ν•˜κ²Œ μ—°μ£Όν–ˆμ–΄μ•Ό ν–ˆλ˜ 것 κ°™λ„€μš”
10:04
Ladies and gentlemen, it's nearly time for tea.
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μ—¬λŸ¬λΆ„, μ°¨ λ“œμ‹€ μ‹œκ°„μž…λ‹ˆλ‹€
10:06
Would you reckon you need to sing for your tea, I think?
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μ°¨λ₯Ό λ§ˆμ‹œκΈ° 전에 λ…Έλž˜λ₯Ό μ’€ ν•΄μ£Όμ…”μ•Ό ν•  것 κ°™μ€λ°μš”?
10:08
I think we need to sing for our tea.
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μ°¨λ₯Ό μœ„ν•΄ λ…Έλž˜λ₯Ό ν•΄μ•Όν•  것 κ°™μŠ΅λ‹ˆλ‹€
10:10
We're going to sing those three wonderful notes: T, E, D.
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μ €ν¬λŠ” 이제 T, E, DλΌλŠ” ꡉμž₯ν•œ μ„Έ μŒμ„ λ…Έλž˜ν•  κ²ƒμž…λ‹ˆλ‹€
10:13
Will you have a go for me?
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ν•œ 번 뢈러 μ£Όμ‹œκ² μŠ΅λ‹ˆκΉŒ?
10:15
Audience: T, E, D.
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T, E, D
10:17
Charles Hazlewood: Yeah, you sound a bit more like cows really than human beings.
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흠, μ‚¬λžŒ λ³΄λ‹€λŠ” μ†Œμ— κ°€κΉŒμš΄ μ†Œλ¦¬λ„€μš”
10:20
Shall we try that one again?
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ν•œ 번 더 ν•΄ μ£Όμ‹œκ² μ–΄μš”?
10:22
And look, if you're adventurous, you go up the octave.
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λ§Œμ•½ λŒ€λ‹΄ν•˜μ‹œλ‹€λ©΄, ν•œ μ˜₯νƒ€λΈŒλ₯Ό μ˜¬λ¦¬μ„Έμš”
10:24
T, E, D.
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T, E, D
10:26
Audience: T, E, D.
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T, E, D
10:28
CH: Once more with vim. (Audience: T, E, D.)
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μƒκΈ°μžˆκ²Œ ν•œ 번 더
10:31
There I am like a bloody windmill again, you see.
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μ•„, λ³΄μ…¨λ‹€μ‹œν”Ό μ œκ°€ λ‹€μ‹œ μ‚΄λ²Œν•œ μ§€νœ˜μžκ°€ λ˜μ—ˆκ΅°μš”
10:33
Now we're going to put that in the context of the music.
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그럼 이걸 μŒμ•…μ— μ–Ήμ–΄ 보도둝 ν•˜κ² μŠ΅λ‹ˆλ‹€
10:36
The music will start, and then at a signal from me, you will sing that.
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μ—°μ£Όκ°€ μ‹œμž‘λ˜κ³ , 제 μ‹ ν˜Έλ₯Ό λ³΄μ‹œκ³  λ…Έλž˜λ₯Ό ν•˜μ‹œλ©΄ λ©λ‹ˆλ‹€
10:41
(Music)
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(μŒμ•…)
10:53
One more time,
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ν•œ 번 더,
10:55
with feeling, ladies and gentlemen.
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감정을 μ‹€μ–΄μ„œ κ°€κ² μŠ΅λ‹ˆλ‹€
10:57
You won't make the key otherwise.
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μ•ˆ 그러면 μž₯단이 μ•ˆ λ§žμŠ΅λ‹ˆλ‹€
11:00
Well done, ladies and gentlemen.
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고생 ν•˜μ…¨μŠ΅λ‹ˆλ‹€, μ—¬λŸ¬λΆ„
11:02
It wasn't a bad debut for the TED choir,
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TED ν•©μ°½λ‹¨μ˜ 데뷔 μΉ˜κ³ λŠ” λ‚˜μ˜μ§„ μ•Šμ•˜μŠ΅λ‹ˆλ‹€
11:05
not a bad debut at all.
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μ•„μ£Ό 멋진 λ°λ·”μ˜€μŠ΅λ‹ˆλ‹€
11:08
Now there's a project that I'm initiating at the moment
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μ œκ°€ μ°©μˆ˜ν•˜κ³  μžˆλŠ” ν”„λ‘œμ νŠΈ 쀑에
11:10
that I'm very excited about and wanted to share with you,
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μ œκ°€ μ•„μ£Ό 열성적이고, μ—¬λŸ¬λΆ„λ“€κ³Ό κ³΅μœ ν•˜κ³  싢은 ν”„λ‘œμ νŠΈκ°€ ν•˜λ‚˜ μžˆμŠ΅λ‹ˆλ‹€
11:12
because it is all about changing perceptions,
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μ™œλƒν•˜λ©΄ 이 ν”„λ‘œμ νŠΈλŠ” μ‚¬λžŒλ“€μ˜ 인식을 λ°”κΎΈκ³ ,
11:14
and, indeed, building a new level of trust.
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λ‚˜μ•„κ°€, μƒˆλ‘œμš΄ λ‹¨κ³„μ˜ μ‹ λ’°λ₯Ό ν˜•μ„±ν•˜λŠ” 것에 λŒ€ν•œ 것이기 λ•Œλ¬Έμž…λ‹ˆλ‹€
11:17
The youngest of my children was born with cerebral palsy,
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제 막내 μ•„μ΄λŠ” λ‡Œμ„±λ§ˆλΉ„λ₯Ό 가지고 νƒœμ–΄λ‚¬μŠ΅λ‹ˆλ‹€
11:20
which as you can imagine,
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λ‹€λ“€ μ•„μ‹œκ² μ§€λ§Œ,
11:22
if you don't have an experience of it yourself,
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그런 κ²½ν—˜μ„ κ²ͺμ–΄λ³΄μ‹œμ§€ λͺ»ν•œ λΆ„λ“€κ»˜μ„œλŠ”
11:24
is quite a big thing to take on board.
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받아듀이기 κ½€λ‚˜ νž˜λ“  일이라고 μƒκ°ν•˜μ‹œλ©΄ λ©λ‹ˆλ‹€
11:26
But the gift that my gorgeous daughter has given me,
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κ·ΈλŸ¬λ‚˜ 아이가 νƒœμ–΄λ‚¬λ‹€λŠ” 사싀 이외에
11:29
aside from her very existence,
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제 막내 딸이 제게 μ•ˆκ²¨μ€€ 선물은
11:31
is that it's opened my eyes to a whole stretch of the community
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μ§€κΈˆκΉŒμ§€ μˆ¨κ²¨μ Έμ™”λ˜
11:34
that was hitherto hidden,
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μž₯μ• λ₯Ό 가진 μ‚¬λžŒλ“€μ˜ 곡동체에 이λ₯΄κΈ°κΉŒμ§€
11:36
the community of disabled people.
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제 μ‹œκ°μ„ λ„“ν˜€μ€¬λ‹€λŠ” κ²ƒμž…λ‹ˆλ‹€
11:38
And I found myself looking at the Paralympics and thinking how incredible
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그리고 μ „ νŒ¨λŸ΄λ¦Όν”½λ„ 보게 λ˜μ—ˆκ³ , 이것이 μ–Όλ§ˆλ‚˜ λŒ€λ‹¨ν•œμ§€,
11:41
how technology's been harnessed to prove beyond doubt
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그리고 기술의 λ°œμ „μ΄ μ–΄λ–»κ²Œ 신체적인 μž₯μ• κ°€
11:44
that disability is no barrier
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졜고 μˆ˜μ€€μ˜ μš΄λ™κ²½κΈ°μ˜ 성취에 μžˆμ–΄μ„œ
11:46
to the highest levels of sporting achievement.
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어렀움이 μ•„λ‹ˆλΌλŠ” 사싀을 증λͺ…ν•˜κΈ° μœ„ν•΄ μ΄μš©λ˜μ–΄ μ™”λŠ”μ§€ μƒκ°ν•˜κ²Œ λ˜μ—ˆμŠ΅λ‹ˆλ‹€
11:48
Of course there's a grimmer side to that truth,
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λ¬Όλ‘  κ·Έ μ§„μ‹€μ—λŠ” 더 λ¬΄μ„œμš΄ 면이 μžˆμŠ΅λ‹ˆλ‹€
11:50
which is that it's actually taken decades for the world at large
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그것은 세계 μ „μ²΄λ‘œμ¨,
11:53
to come to a position of trust,
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μ‹ λ’°μ˜ ꡭ면으둜 μ˜€κΈ°κΉŒμ§€,
11:56
to really believe that disability and sports can go together
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또 μ§„μ‹€λ‘œ μž₯애와 μŠ€ν¬μΈ κ°€ 같이 갈 수 μžˆλ‹€λŠ” 것을 납득이 κ°€κ³ ,
11:59
in a convincing and interesting fashion.
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ν₯미둜운 λ°©λ²•μœΌλ‘œ 믿도둝 ν•˜κΈ°κΉŒμ§€ 수 십년이 κ±Έλ Έλ‹€λŠ” μ‚¬μ‹€μž…λ‹ˆλ‹€
12:02
So I find myself asking:
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κ·Έλž˜μ„œ μ „ μ΄λ ‡κ²Œ 묻게 λ˜μ—ˆμŠ΅λ‹ˆλ‹€
12:04
where is music in all of this?
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κ·Έλ ‡λ‹€λ©΄ μ—¬κΈ°μ„œ μŒμ•…μ€ μ–΄λ”” μžˆλŠ” κ²ƒμΌκΉŒμš”?
12:06
You can't tell me that there aren't millions of disabled people,
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영ꡭ ν•œ λ‚˜λΌμ—μ„œ,
12:08
in the U.K. alone,
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수 λ°± 만λͺ…μ˜ μž₯μ• λ₯Ό 가진 μ‚¬λžŒλ“€μ΄
12:10
with massive musical potential.
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μ—„μ²­λ‚œ μŒμ•…μ  재λŠ₯을 가지고 μžˆμ§€ μ•Šλ‹€κ³  말할 μˆ˜λŠ” 없을 κ²ƒμž…λ‹ˆλ‹€
12:13
So I decided to create a platform for that potential.
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κ·Έλž˜μ„œ μ „ κ·Έ 재λŠ₯을 μœ„ν•œ 연단을 λ§Œλ“€κΈ°λ‘œ κ²°μ‹¬ν–ˆμ—ˆμŠ΅λ‹ˆλ‹€
12:16
It's going to be Britain's first ever
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μ΄λŠ” 영ꡭ 졜초의
12:18
national disabled orchestra.
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ꡭ립 μž₯애인 μ˜€μΌ€μŠ€νŠΈλΌκ°€ 될 κ²ƒμž…λ‹ˆλ‹€
12:20
It's called Paraorchestra.
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이름은 Paraorchestra(νŒ¨λŸ¬μ˜€μΌ€μŠ€νŠΈλΌ)μž…λ‹ˆλ‹€
12:22
I'm going to show you a clip now
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μ—¬λŸ¬λΆ„λ“€κ»˜ 저희가 ν•œ
12:24
of the very first improvisation session that we had.
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첫 즉ν₯곑 μ„Έμ…˜μ˜ 클립을 λ³΄μ—¬λ“œλ¦¬κ² μŠ΅λ‹ˆλ‹€
12:26
It was a really extraordinary moment.
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정말 νŠΉλ³„ν•œ μˆœκ°„μ΄μ—ˆμŠ΅λ‹ˆλ‹€
12:28
Just me and four astonishingly gifted disabled musicians.
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단지 저와 λ„€ λͺ…μ˜ λ†€λž„ μ •λ„λ‘œ 재λŠ₯이 μžˆλŠ” μž₯애인 μŒμ•…κ°€κ°€ λ‚˜μ˜΅λ‹ˆλ‹€
12:31
Normally when you improvise --
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μ œκ°€ 세계λ₯Ό λŒμ•„λ‹€λ‹ˆλ©΄μ„œ 항상 ν•˜κΈ΄ ν•˜μ§€λ§Œ,
12:34
and I do it all the time around the world --
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일반적으둜 즉ν₯적인 곡연을 ν•  λ•ŒλŠ”
12:36
there's this initial period of horror,
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μ΄ˆλ°˜μ— 곡포감이 λ“œλŠ” μˆœκ°„μ΄ μžˆμŠ΅λ‹ˆλ‹€
12:38
like everyone's too frightened to throw the hat into the ring,
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마치 λͺ¨λ“  μ‚¬λžŒμ΄ λ„ˆλ¬΄ λ‘λ €μ›Œμ„œ κ²½μŸμ„ μ‹œμž‘ν•˜μ§€ λͺ»ν•˜λŠ” κ²ƒμ²˜λŸΌ
12:40
an awful pregnant silence.
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곡포둜 가득찬 침묡이 흐λ₯΄μ£ 
12:42
Then suddenly, as if by magic, bang! We're all in there
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그러곀 κ°‘μžκΈ° λ§ˆλ²•μ²˜λŸΌ, νŽ‘!! μ—°μ£ΌμžλŠ” λ‹€ μ•„μˆ˜λΌμž₯에 λΉ μ§€κ²Œ λ©λ‹ˆλ‹€
12:44
and it's complete bedlam. You can't hear anything.
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κ·Έ μ–΄λ–€ 것도 듀리지가 μ•Šμ£ 
12:46
No one's listening. No one's trusting.
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아무도 λ“£μ§ˆ μ•Šκ³ , 믿지도 μ•ŠμŠ΅λ‹ˆλ‹€
12:48
No one's responding to each other.
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μ„œλ‘œ λŒ€λ‹΅λ„ ν•˜μ§€ μ•Šμ£ 
12:51
Now in this room with these four disabled musicians,
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5λΆ„ μ•ˆμ— 이 κ³΅μ•ˆμ€ 이 4λͺ…μ˜ μž₯μ• λ₯Ό 가진 μŒμ•…κ°€λ“€λ‘œ 인해
12:53
within five minutes
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ν™©ν™€ν•œ κ²½μ²­κ³Ό λ°˜μ‘,
12:55
a rapt listening, a rapt response
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그리고 정말 ꡉμž₯히 μ•„λ¦„λ‹€μš΄ μŒμ•…μœΌλ‘œ
12:57
and some really insanely beautiful music.
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가득 μ°° κ²ƒμž…λ‹ˆλ‹€
13:02
(Video) (Music)
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(μ˜μƒ)
13:10
Nicholas:: My name's Nicholas McCarthy.
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제 이름은 λ‹ˆμ½œλΌμŠ€ λ§€μΉ΄ν‹°μž…λ‹ˆλ‹€
13:12
I'm 22, and I'm a left-handed pianist.
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μ „ 22살이고 왼손 ν”Όμ•„λ‹ˆμŠ€νŠΈμž…λ‹ˆλ‹€
13:14
And I was born without my left hand -- right hand.
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그리고 μ „ 제 왼손, μ•„λ‹ˆ 였λ₯Έμ†μ΄ 없이 νƒœμ–΄λ‚¬μŠ΅λ‹ˆλ‹€
13:17
Can I do that one again?
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λ‹€μ‹œ 해도 λΌμš”?
13:20
(Music)
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(μŒμ•…)
13:27
Lyn: When I'm making music,
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λ¦° : μ „ μž‘κ³‘μ„ ν•  λ•Œ
13:29
I feel like a pilot in the cockpit flying an airplane.
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마치 ν•˜λŠ˜μ„ λ‚˜λŠ” λΉ„ν–‰κΈ°μ˜ 쑰쒅석에 μ•‰μ•„μžˆλŠ” 쑰쒅사 같은 λŠλ‚Œμ΄ λ“€μ–΄μš”
13:32
I become alive.
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μ‚΄μ•„ μžˆλŠ” λŠλ‚Œμ΄ λ“€μ£ 
13:34
(Music)
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(μŒμ•…)
13:45
Clarence: I would rather be able to play an instrument again
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클레런슀 : λ‹€μ‹œ κ±·λŠ” 것 λ³΄λ‹€λŠ”
13:48
than walk.
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차라리 μ—°μ£Όλ₯Ό ν•  수 μžˆμ—ˆμœΌλ©΄ μ’‹κ² μ–΄μš”
13:50
There's so much joy and things
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μ•…κΈ°λ₯Ό μ—°μ£Όν•˜κ³  곡연을 ν•˜λ©΄μ„œ
13:52
I could get from playing an instrument and performing.
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얻을 수 μžˆλŠ” 것듀과 즐거움이 ꡉμž₯히 λ§Žκ±°λ“ μš”
13:56
It's removed some of my paralysis.
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그게 제 λ§ˆλΉ„λ₯Ό μ—†μ• μ€¬μ—ˆμ£ 
14:00
(Music)
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(μŒμ•…)
14:15
(Applause)
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(λ°•μˆ˜)
14:22
CH: I only wish that some of those musicians were here with us today,
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μ—¬λŸ¬λΆ„λ“€κ»˜μ„œ 그듀이 μ–Όλ§ˆλ‚˜ λŒ€λ‹¨ν•œμ§€ 직접 눈으둜 λ³Ό 수 μžˆλ„λ‘
14:25
so you could see at firsthand how utterly extraordinary they are.
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κ·Έλ“€ 쀑 λͺ‡ λͺ…이 였늘 μ—¬κΈ° μ™”μœΌλ©΄ μ’‹μ•˜μ„ν…λ°μš”...
14:28
Paraorchestra is the name of that project.
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νŒ¨λŸ¬μ˜€μΌ€μŠ€νŠΈλΌλŠ” 이 ν”„λ‘œμ νŠΈμ˜ μ΄λ¦„μž…λ‹ˆλ‹€
14:30
If any of you thinks you want to help me in any way
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λ§Œμ•½ μ—¬λŸ¬λΆ„λ“€κ»˜μ„œ μ•„μ£Ό λΆˆκ°€λŠ₯ν•˜κ³  λ―ΏκΈ° νž˜λ“  κΏˆμ„ μ„±μ·¨ν•˜λŠ” 것을
14:32
to achieve what is a fairly impossible and implausible dream still at this point,
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μ–΄λ–€ λ°©λ²•μœΌλ‘œλΌλ„ 돕고 μ‹ΆμœΌμ‹œλ‹€λ©΄,
14:35
please let me know.
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제게 말씀해 μ£Όμ‹­μ‹œμ˜€
14:37
Now my parting shot
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제 λ§ˆμ§€λ§‰ 말은
14:39
comes courtesy of the great Joseph Haydn,
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18μ„ΈκΈ° ν›„λ°˜λΆ€μ˜ μœ„λŒ€ν•œ μ˜€μŠ€νŠΈλ¦¬μ•„ μž‘κ³‘κ°€μΈ
14:41
wonderful Austrian composer in the second half of the 18th century --
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μš”μ œν”„ ν•˜μ΄λ“ μ— λ°”μΉ˜λ©΄μ„œ λ§ˆλ¬΄λ¦¬ν•˜κ² μŠ΅λ‹ˆλ‹€
14:44
spent the bulk of his life
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ν•˜μ΄λ“ μ€ 그의 일생 쀑 μ—„μ²­λ‚˜κ²Œ λ§Žμ€ μ‹œκ°„μ„
14:46
in the employ of Prince Nikolaus Esterhazy, along with his orchestra.
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λ‹ˆμ½œλΌμš°μŠ€ μ—μŠ€ν…Œλ₯΄ν•˜μ§€ ν›„μž‘μ—κ²Œ κ³ μš©λ˜μ–΄ 그의 μ˜€μΌ€μŠ€νŠΈλΌμ™€ λ³΄λƒˆμŠ΅λ‹ˆλ‹€
14:49
Now this prince loved his music,
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ν›„μž‘μ€ ν•˜μ΄λ“ μ˜ μŒμ•…μ„ μ•„μ£Ό μ’‹μ•„ν–ˆμŠ΅λ‹ˆλ‹€
14:52
but he also loved the country castle that he tended to reside in most of the time,
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ν•˜μ§€λ§Œ κ·ΈλŠ” λŒ€λΆ€λΆ„μ˜ μ‹œκ°„μ„ λ³΄λƒˆλ˜
14:55
which is just on the Austro-Hungarian border,
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μ‹œκ³¨μ˜ μ„± λ˜ν•œ ꡉμž₯히 μ’‹μ•„ν–ˆμ—ˆλŠ”λ°,
14:57
a place called Esterhazy --
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이 성은 λŒ€λ„μ‹œμΈ λΉ„μ—”λ‚˜μ—μ„œ 멀리 떨어진
14:59
a long way from the big city of Vienna.
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μ˜€μŠ€νŠΈλ¦¬μ•„μ™€ ν—κ°€λ¦¬μ˜ κ΅­κ²½ 근처의 μ—μŠ€ν…Œλ₯΄ν•˜μ§€μ— μœ„μΉ˜ν•΄ μžˆμ—ˆμŠ΅λ‹ˆλ‹€
15:01
Now one day in 1772,
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1772λ…„ μ–΄λŠ λ‚ ,
15:03
the prince decreed that the musicians' families,
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ν›„μž‘μ€ μ„±μ—μ„œ μŒμ•…κ°€μ˜ 가쑱듀을,
15:05
the orchestral musicians' families,
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즉 μ˜€μΌ€μŠ€νŠΈλΌ μ—°μ£Όμžμ˜ 가쑱듀을
15:07
were no longer welcome in the castle.
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더 이상 λ°˜κΈ°μ§€ μ•ŠλŠ”λ‹€κ³  λ§ν–ˆμŠ΅λ‹ˆλ‹€
15:09
They weren't allowed to stay there anymore; they had to be returned to Vienna --
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가쑱듀은 μ„±μ—μ„œ 더 머무λ₯Ό 수 μ—†μ—ˆκ³ , λΉ„μ—”λ‚˜λ‘œ λŒμ•„κ°€μ•Όλ§Œ ν–ˆμ—ˆμŠ΅λ‹ˆλ‹€
15:12
as I say, an unfeasibly long way away in those days.
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μ œκ°€ λ§ν–ˆλ‹€μ‹œν”Ό, κ·Έ λ‹Ήμ‹œ κ·Έ 길은 μ—„μ²­λ‚˜κ²Œ λ©€μ—ˆμŠ΅λ‹ˆλ‹€
15:15
You can imagine, the musicians were disconsolate.
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μƒμƒν•˜μ…¨λ‹€μ‹œν”Ό, μŒμ•…κ°€λ“€μ€ μš°μšΈν•¨μ— λΉ μ‘ŒμŠ΅λ‹ˆλ‹€
15:19
Haydn remonstrated with the prince, but to no avail.
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ν•˜μ΄λ“ μ΄ ν›„μž‘μ—κ²Œ ν•­μ˜λ₯Ό ν–ˆμ§€λ§Œ μ•„λ¬΄λŸ° μ†Œμš©μ΄ μ—†μ—ˆμ£ 
15:22
So given the prince loved his music,
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κ·Έλž˜μ„œ ν›„μž‘μ΄ μžμ‹ μ˜ μŒμ•…μ„ μ’‹μ•„ν–ˆκΈ° λ•Œλ¬Έμ—,
15:24
Haydn thought he'd write a symphony to make the point.
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ν•˜μ΄λ“ μ€ μžμ‹ μ˜ μ£Όμž₯을 펴기 μœ„ν•΄ ꡐν–₯곑을 λ§Œλ“œλŠ”κ²Œ λ‚˜μ„ 것이라고 μƒκ°ν–ˆμ—ˆμŠ΅λ‹ˆλ‹€
15:27
And we're going to play just the very tail end of this symphony now.
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저희가 μ§€κΈˆ κ·Έ ꡐν–₯곑의 μ•„μ£Ό λ§ˆμ§€λ§‰ 뢀뢄을 λ“€λ € λ“œλ¦¬κ² μŠ΅λ‹ˆλ‹€
15:30
And you'll see the orchestra in a kind of sullen revolt.
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μ—¬λŸ¬λΆ„λ“€μ€ μ˜€μΌ€μŠ€νŠΈλΌκ°€ μΌμ’…μ˜ 뢈만 κ°€λ“ν•œ λ°˜ν•­μ΄λΌλŠ” κ±Έ κΉ¨λ‹¬μœΌμ‹€ κ²λ‹ˆλ‹€
15:33
I'm pleased to say, the prince did take the tip
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κΈ°μ˜κ²Œλ„, ν›„μž‘μ€ μ˜€μΌ€μŠ€νŠΈλΌ κ³΅μ—°μ˜
15:35
from the orchestral performance,
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κ²½κ³ λ₯Ό λ°›μ•„ λ“€μ˜€κ³ ,
15:37
and the musicians were reunited with their families.
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μŒμ•…κ°€λ“€μ€ κ°€μ‘±λ“€κ³Ό μž¬νšŒν•˜κ²Œ λ˜μ—ˆμŠ΅λ‹ˆλ‹€
15:39
But I think it sums up my talk rather well, this,
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ν•˜μ§€λ§Œ 그것이 제 이야기λ₯Ό 더 잘 마무리 ν•œ 것 κ°™μŠ΅λ‹ˆλ‹€
15:42
that where there is trust,
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즉, 믿음이 μžˆλŠ” 곳에
15:44
there is music -- by extension life.
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μŒμ•…μ΄, 더 λ‚˜μ•„κ°€ 삢이 있고,
15:47
Where there is no trust,
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믿음이 μ‘΄μž¬ν•˜μ§€ μ•ŠλŠ” κ³³μ—μ„œ
15:49
the music quite simply withers away.
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μŒμ•…μ€ μ‹œλ“€μ–΄ λ²„λ¦½λ‹ˆλ‹€
15:56
(Music)
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(μŒμ•…)
19:06
(Applause)
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(λ°•μˆ˜)
이 μ›Ήμ‚¬μ΄νŠΈ 정보

이 μ‚¬μ΄νŠΈλŠ” μ˜μ–΄ ν•™μŠ΅μ— μœ μš©ν•œ YouTube λ™μ˜μƒμ„ μ†Œκ°œν•©λ‹ˆλ‹€. μ „ 세계 졜고의 μ„ μƒλ‹˜λ“€μ΄ κ°€λ₯΄μΉ˜λŠ” μ˜μ–΄ μˆ˜μ—…μ„ 보게 될 κ²ƒμž…λ‹ˆλ‹€. 각 λ™μ˜μƒ νŽ˜μ΄μ§€μ— ν‘œμ‹œλ˜λŠ” μ˜μ–΄ μžλ§‰μ„ 더블 ν΄λ¦­ν•˜λ©΄ κ·Έκ³³μ—μ„œ λ™μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€. λΉ„λ””μ˜€ μž¬μƒμ— 맞좰 μžλ§‰μ΄ μŠ€ν¬λ‘€λ©λ‹ˆλ‹€. μ˜κ²¬μ΄λ‚˜ μš”μ²­μ΄ μžˆλŠ” 경우 이 문의 양식을 μ‚¬μš©ν•˜μ—¬ λ¬Έμ˜ν•˜μ‹­μ‹œμ˜€.

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