Meklit Hadero: The unexpected beauty of everyday sounds | TED

Prevodilac: Ivana Krivokuća Lektor: Tijana Mihajlović

As a singer-songwriter,

Kao pevačicu i kompozitorku,

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

ljudi me često pitaju ko je uticao na mene, ili, kako ja to volim da kažem,

my sonic lineages.

o mom zvučnom poreklu.

And I could easily tell you

Mogla bih lako da vam kažem

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

da su me oblikovali džez i hip hop uz koje sam odrasla,

by the Ethiopian heritage of my ancestors,

etiopska tekovina mojih predaka,

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

ili pop 80-ih godina na radio stanicama u mom detinjstvu.

But beyond genre, there is another question:

No, nevezano za žanr, tu je još jedno pitanje:

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

kako zvuci koje čujemo svakoga dana utiču na muziku koju stvaramo?

I believe that everyday soundscape

Smatram da svakodnevna zvučna pozadina

can be the most unexpected inspiration for songwriting,

može biti najneočekivanija inspiracija za pisanje pesama,

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

a da bismo sagledali ovu ideju malo bliže,

I'm going to talk today about three things:

danas ću govoriti o tri stvari:

nature, language and silence --

prirodi, jeziku i tišini,

or rather, the impossibility of true silence.

ili bolje, o nemogućnosti prave tišine.

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

Time se nadam da ću vam dati osećaj sveta

already alive with musical expression,

koji već vrvi od muzičkog izraza,

with each of us serving as active participants,

u kome svako od nas služi kao aktivni učesnik,

whether we know it or not.

znali mi to ili ne.

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

Započeću danas sa prirodom, ali pre toga,

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

hajde da brzo poslušamo ovaj odlomak operskog pevača koji se zagreva.

Here it is.

Evo ga.

(Singing)

(A kapela pevanje)

(Singing ends)

(Pevanje se završava)

It's beautiful, isn't it?

Prelepo je, zar ne?

Gotcha!

Prevarila sam vas!

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

Ovo zapravo nije zvuk operskog pevača koji se zagreva.

That is the sound of a bird

To je zvuk ptice

slowed down to a pace

usporen na ritam

that the human ear mistakenly recognizes as its own.

koji ljudsko uho pogrešno prepoznaje kao svoj.

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

Objavljena je kao deo mađarskih snimaka Pitera Zokea iz 1987. godine

"The Unknown Music of Birds,"

„Nepoznata muzika ptica“,

where he records many birds and slows down their pitches

gde on snima brojne ptice i usporava njihov ton

to reveal what's underneath.

da bi otkrio šta je ispod toga.

Let's listen to the full-speed recording.

Hajde da čujemo snimak u punoj brzini.

(Bird singing)

(Ptica peva)

Now, let's hear the two of them together

Hajde da ih sada čujemo zajedno

so your brain can juxtapose them.

tako da vaš mozak može da ih sagleda jedno uz drugo.

(Bird singing at slow then full speed)

(Ptica peva sporo, a zatim punom brzinom)

(Singing ends)

(Pevanje se završava)

It's incredible.

Neverovatno.

Perhaps the techniques of opera singing were inspired by birdsong.

Možda su tehnike operskog pevanja inspirisane pesmom ptica.

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

Kao ljudi, intuitivno razumemo da su ptice naši muzički učitelji.

In Ethiopia, birds are considered an integral part

U Etiopiji, ptice smatraju sastavnim delom

of the origin of music itself.

porekla same muzike.

The story goes like this:

Priča ide ovako.

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

Pre 1500 godina, jedan mladić je rođen u aksumskom carstvu,

a major trading center of the ancient world.

velikom trgovačkom centru antičkog sveta.

His name was Yared.

Zvao se Jared.

When Yared was seven years old his father died,

Kada je Jared imao sedam godina, njegov otac 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 sveštenik

of the Ethiopian Orthodox tradition,

pravoslavne etiopske tradicije,

one of the oldest churches in the world.

jedne od najstarijih crkava na svetu.

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

Ta tradicija je podrazumevala veoma mnogo obrazovanja i izučavanja,

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

i Jared je morao da uči i uči i uči i uči,

and one day he was studying under a tree,

i jednog dana je učio pod drvetom,

when three birds came to him.

kada su mu prišle tri ptice.

One by one, these birds became his teachers.

Jedna po jedna, ove ptice su postale njegovi učitelji.

They taught him music -- scales, in fact.

Naučile su ga muzici - lestvicama, u stvari.

And Yared, eventually recognized as Saint Yared,

I Jared, na kraju priznat kao Sveti Jared,

used these scales to compose five volumes of chants and hymns

koristio je te lestvice da komponuje pet tomova napeva i himni

for worship and celebration.

za bogosluženje i svetkovine.

And he used these scales to compose and to create

Koristio je te lestvice da bi komponovao i stvorio

an indigenous musical notation system.

autohtoni sistem muzičkog obeležavanja.

And these scales evolved into what is known as kiñit,

Te lestvice su se razvile u nešto što je poznato kao „kanjit“,

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

jedinstveni, pentatonski, petonotni, modalni sistem koji je veoma živ,

and thriving and still evolving in Ethiopia today.

uspešan i još uvek se razvija u Etiopiji danas.

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

Volim ovu priču jer je istinita na različitim nivoima.

Saint Yared was a real, historical figure,

Sveti Jared je bio stvarna, istorijska ličnost,

and the natural world can be our musical teacher.

i svet prirode može biti naš učitelj muzike.

And we have so many examples of this:

Imamo mnogo primera ovoga:

the Pygmies of the Congo tune their instruments

Pigmeji u Kongu štimuju svoje instrumente

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

prema tonovima ptica u šumi oko njih.

Musician and natural soundscape expert Bernie Krause describes

Muzičar i ekspert za zvučnu pozadinu u prirodi, Berni Kraus opisuje

how a healthy environment has animals and insects

kako zdrava sredina ima životinje i insekte

taking up low, medium and high-frequency bands,

koji proizvode muziku sa rasponom niskih, srednjih i visokih frekvencija

in exactly the same way as a symphony does.

na potpuno isti način kao što to simfonija čini.

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

Bezbroj muzičkih dela je inspirisano pticama i šumskom pesmom.

Yes, the natural world can be our cultural teacher.

Da, svet prirode može biti naš učitelj kulture.

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

Hajde da sada pređemo na jedinstveno ljudski svet jezika.

Every language communicates with pitch to varying degrees,

Svaki jezik komunicira različitim visinama tona,

whether it's Mandarin Chinese,

bilo da je to mandarinski,

where a shift in melodic inflection gives the same phonetic syllable

gde promena melodijske modulacije 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 ...

gde povišen ton na kraju rečenice...

(Going up in pitch) implies a question?

(Povisuje ton) podrazumeva pitanje?

(Laughter)

(Smeh)

As an Ethiopian-American woman,

Kao etiopsko-američka žena,

I grew up around the language of Amharic, Amhariña.

odrasla sam uz amharski jezik, „Amarinja“.

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 milion razloga da se zaljubite u ovaj jezik:

its depth of poetics, its double entendres,

njegova poetska dubina, njegova dvostruka značenja,

its wax and gold, its humor,

njegova očigledna i skrivena značenja, njegov humor,

its proverbs that illuminate the wisdom and follies of life.

njegove poslovice koje rasvetljavaju mudrosti i ludosti života.

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

Takođe, tu je i melodičnost, muzikalnost koja je ugrađena u njega.

And I find this distilled most clearly

Smatram da je to najčistije prisutno

in what I like to call emphatic language --

u onome što ja zovem izražajnim jezikom -

language that's meant to highlight or underline

jezik koji treba da istakne ili naglasi,

or that springs from surprise.

ili koji proističe iz iznenađenja.

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

Uzmite, na primer, reč „indej“.

Now, if there are Ethiopians in the audience,

Ako ima Etiopljana u publici,

they're probably chuckling to themselves,

verovatno se smeškaju sami za sebe,

because the word means something like "No!"

jer reč znači nešto poput: „Ne!“

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

ili: „Kako je mogao?“ ili „Nije valjda.“

It kind of depends on the situation.

Zavisi od situacije.

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

Kada sam bila dete, to je bila moja omiljena reč,

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

a mislim da je to bilo jer ima naročit ton.

It has a melody.

Ima melodiju.

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

Gotovo da možete videti oblik dok izlazi iz nečijih usta.

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

„Indej“ - pada, a zatim se ponovo podiže.

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

Kao muzičar i kompozitor, kada čujem tu reč,

something like this is floating through my mind.

ovako nešto mi prolazi kroz um.

(Music and singing "Indey")

(Muzika i pevanje „Indej“)

(Music ends)

(Muzika se završava)

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

Ili uzmite, na primer, frazu „To je tačno“ ili „To je ispravno“ -

"Lickih nehu ... Lickih nehu."

„Liki nou... liki nou.“

It's an affirmation, an agreement.

To je potvrda, slaganje.

"Lickih nehu."

„Liki nou.“

When I hear that phrase,

Kada čujem tu frazu,

something like this starts rolling through my mind.

ovako nešto počne da mi se vrti po glavi.

(Music and singing "Lickih nehu")

(Muzika i pevanje „Liki nou“)

(Music ends)

(Muzika se 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 formulaciju tih reči i fraza i pretvorila ih

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

u muzičke delove da bih ih koristila u ovim kratkim kompozicijama.

And I like to write bass lines,

A ja volim da pišem deonice za bas,

so they both ended up kind of as bass lines.

tako da su obe završile kao bas deonice.

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

E sad, ovo je zasnovano na delu Džejsona Morana i drugih

who work intimately with music and language,

koji prisno rade na muzici i jeziku,

ali to je takođe nešto što sam imala u glavi otkad sam bila dete,

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

how musical my parents sounded

kako su moji roditelji muzikalno zvučali

when they were speaking to each other and to us.

kada su pričali međusobno i sa nama.

It was from them and from Amhariña that I learned

Od njih i od amharskog jezika sam naučila

that we are awash in musical expression

da odišemo muzičkim izrazom

with every word, every sentence that we speak,

svakom rečju, svakom rečenicom koju izgovorimo,

every word, every sentence that we receive.

svakom rečju, svakom rečenicom koju primimo.

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

Možda to možete čuti čak i sada, u rečima koje izgovaram.

Finally, we go to the 1950s United States

Konačno, idemo u SAD 50-ih godina

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

i najuticajnije delo avangardne kompozicije 20. veka:

John Cage's "4:33,"

„4:33“ Džona Kejdža,

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

Muzičar ili muzičari se pozivaju da dođu na pozornicu

with a stopwatch and open the score,

sa štopericom i otvore partituru,

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

koju je zapravo kupio Muzej moderne umetnosti -

the score, that is.

partituru, to jest.

And this score has not a single note written

A u toj partituri nije zapisana nijedna nota

and there is not a single note played

i nijedna nota se ne svira

for four minutes and 33 seconds.

četiri minuta i 33 sekunde.

And, at once enraging and enrapturing,

Istovremeno razjarujući i oduševljavajući,

Cage shows us that even when there are no strings

Kejdž nam pokazuje da čak i kada nema žica

being plucked by fingers or hands hammering piano keys,

koje okidaju prsti, niti ruku koje udaraju po dirkama klavira,

still there is music, still there is music,

i dalje postoji muzika, i dalje postoji muzika,

still there is music.

i dalje postoji muzika.

And what is this music?

A koja je to muzika?

It was that sneeze in the back.

To je bilo kijanje pozadi.

(Laughter)

(Smeh)

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

To je svakodnevna zvučna pozadina koja proističe iz same publike:

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

njihov kašalj, njihovi uzdasi, šuškanje, šapati, kijanje,

the room, the wood of the floors and the walls

prostorija, drvo sa podova i zidova

expanding and contracting, creaking and groaning

koje se širi i skuplja, škripi i stenje

with the heat and the cold,

na vrućini i hladnoći,

the pipes clanking and contributing.

cevi koje klepeću i doprinose tome.

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

Kontroverzna pomisao je bila, i mada ostaje kontroverzna,

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

Kejdžova poenta je da ne postoji prava tišina.

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

Čak i u najtišim okruženjima i dalje čujemo i osećamo zvuk

of our own heartbeats.

naših otkucaja srca.

The world is alive with musical expression.

Svet vrvi od muzičkog izraza.

We are already immersed.

Već smo zaronjeni u njemu.

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

E sad, imala sam svoj momenat, da kažem, remiksovanja Džona Kejdža

a couple of months ago

pre par meseci

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

kada sam stajala ispred šporeta kuvajući sočivo.

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

Bilo je kasno jedne noći i bilo je vreme da promešam,

so I lifted the lid off the cooking pot,

pa sam podigla poklopac sa šerpe,

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

stavila ga na radnu površinu pored sebe

and it started to roll back and forth

i počeo je da se vrti napred-nazad

making this sound.

praveći ovaj zvuk.

(Sound of metal lid clanking against a counter)

(Zvuk metalnog poklopca koji zvecka o radnu površinu)

(Clanking ends)

(Zveckanje se završava)

And it stopped me cold.

Zapanjilo me je.

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

Pomislila sam: „Kako čudan, kul ritam ima poklopac šerpe.“

So when the lentils were ready and eaten,

I kada je sočivo skuvano i pojedeno,

I hightailed it to my backyard studio,

pohitala sam u moj obližnji studio

and I made this.

i napravila ovo.

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

(Muzika sa zvukom poklopca i pevanje)

(Music ends)

(Muzika se završava)

Now, John Cage wasn't instructing musicians

E sad, Džon Kejdž nije nalagao muzičarima

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

da iz zvučne pozadine izvlače zvučne sklopove i da ih pretvore u muziku.

He was saying that on its own,

On je poručio da, sama po sebi,

the environment is musically generative,

životna sredina proizvodi muziku,

that it is generous, that it is fertile,

da je darežljiva, da je plodna,

that we are already immersed.

da smo već zaronjeni.

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

Muzičar, istraživač muzike, hirurg i stručnjak za ljudski sluh, Čarls Lim,

is a professor at Johns Hopkins University

profesor je na Univerzitetu Džons Hopkins

and he studies music and the brain.

i izučava muziku i mozak.

And he has a theory

On 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 auditivni sistem zapravo evoluirao da čuje muziku,

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

jer je toliko kompleksniji nego što treba da bude radi samog jezika.

And if that's true,

Ako je to istina,

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

to znači da smo predodređeni za muziku,

that we can find it anywhere,

da možemo da je pronađemo svuda,

that there is no such thing as a musical desert,

da ne postoji muzička pustinja,

that we are permanently hanging out at the oasis,

da se stalno nalazimo u oazi

and that is marvelous.

i to je čudesno.

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

Možemo da dodajemo zvučnu pratnju, ali već se svira.

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

A to ne znači da ne izučavate muziku.

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

Proučavajte muziku, pratite zvučno poreklo i uživajte u tom istraživanju.

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

Ipak, postoji zvučno poreklo kome svi pripadamo.

Dakle, sledeći put kada tražite inspiraciju za perkusije,

So the next time you are seeking percussion inspiration,

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

ne gledajte dalje od vaših guma, dok se kotrljaju preko neobičnih brazda

of the freeway,

na auto-putu,

or the top-right burner of your stove

ili od gornje desne ringle na šporetu

and that strange way that it clicks

i tog čudnog načina na koji klikće

as it is preparing to light.

dok se priprema da zasvetli.

When seeking melodic inspiration,

Kada tragate za melodičnom inspiracijom,

look no further than dawn and dusk avian orchestras

ne tražite dalje od ptičjih orkestara u zoru i sumrak

or to the natural lilt of emphatic language.

ili prirodne raspevanosti izražajnog jezika.

We are the audience and we are the composers

Mi smo publika i kompozitori

and we take from these pieces

i uzimamo iz tih komada

we are given.

koji su nam dati.

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, kada se radi o prirodi ili jeziku ili zvučnoj pozadini,

there is no end to the inspiration --

nema kraja inspiraciji -

if we are listening.

ako slušamo.

Thank you.

Hvala.

(Applause)

(Aplauz)