TED Fellows Retreat 2015
Meklit Hadero: The unexpected beauty of everyday sounds
梅克里特·哈德洛: 日常音景的始料未及之美
Filmed:
Readability: 4.1
1,132,751 views
梅克里特·哈德洛，一名歌手兼音樂家，通過引用鳥類叫聲、強調語氣自然輕快的聲音，到鍋蓋的聲音，讓我們看見日常音景，甚而無聲，也可以變成音樂。
她說：「這世界因多種音樂表達方式而活潑。」「我們已經被音樂圍繞著。」
Meklit Hadero - Singer-songwriter
Meklit Hadero is an Ethiopian-American singer-songwriter living the cultural in-between, both in her own luminous compositions and as a co-founder of the Nile Project. Full bio
Meklit Hadero is an Ethiopian-American singer-songwriter living the cultural in-between, both in her own luminous compositions and as a co-founder of the Nile Project. Full bio
Double-click the English transcript below to play the video.
00:13
As a singer-songwriter,
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我身為歌手兼作曲家，
00:15
people often ask me about my influences
or, as I like to call them,
or, as I like to call them,
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大家常問我的靈感來源，
但我喜歡這麼說，
但我喜歡這麼說，
00:19
my sonic lineages.
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我的「聲音族譜」是什麼。
00:21
And I could easily tell you
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我可以很爽快地回答，
00:23
that I was shaped by the jazz
and hip hop that I grew up with,
and hip hop that I grew up with,
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成長的時候我受
爵士及嘻哈音樂風格影響，
爵士及嘻哈音樂風格影響，
00:26
by the Ethiopian heritage of my ancestors,
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以及來自我祖先
衣索比亞的傳統音樂，
衣索比亞的傳統音樂，
00:29
or by the 1980s pop
on my childhood radio stations.
on my childhood radio stations.
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或是我童年時期廣播
常播放的 80 年代流行音樂。
常播放的 80 年代流行音樂。
00:33
But beyond genre,
there is another question:
there is another question:
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但是除了音樂流派之外，
還有另一個問題：
還有另一個問題：
00:37
how do the sounds we hear every day
influence the music that we make?
influence the music that we make?
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我們日常聽到的聲音
如何影響我們所創作的音樂？
如何影響我們所創作的音樂？
00:42
I believe that everyday soundscape
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我相信此些日常音景
00:44
can be the most unexpected
inspiration for songwriting,
inspiration for songwriting,
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可成為不可思議之創作靈感，
00:48
and to look at this idea
a little bit more closely,
a little bit more closely,
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進一步探討這一想法，
00:50
I'm going to talk today
about three things:
about three things:
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今天我的演講將圍繞三大主體：
00:52
nature, language and silence --
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自然、語言、無聲──
00:55
or rather, the impossibility
of true silence.
of true silence.
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更清楚一點，
真正無聲的不可能性。
真正無聲的不可能性。
00:59
And through this I hope to give you
a sense of a world
a sense of a world
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從而我希望你更了解
01:02
already alive with musical expression,
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這因多種音樂的情感表現
而豐富的世界，
而豐富的世界，
01:05
with each of us serving
as active participants,
as active participants,
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我們每個人都是積極的參與者，
01:09
whether we know it or not.
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雖然我們不一定意識到這問題。
01:12
I'm going to start today with nature,
but before we do that,
but before we do that,
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我會從自然開始，但開始之前，
01:14
let's quickly listen to this snippet
of an opera singer warming up.
of an opera singer warming up.
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請你聽一段歌劇歌手
為演唱暖嗓的音樂。
為演唱暖嗓的音樂。
01:18
Here it is.
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音樂開始。
01:20
(Singing)
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（唱歌）
01:35
(Singing ends)
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（歌唱結束）
01:37
It's beautiful, isn't it?
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很好聽是嗎？
01:40
Gotcha!
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你被騙了！
01:41
That is actually not the sound
of an opera singer warming up.
of an opera singer warming up.
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這不是歌劇歌手開唱前的暖嗓。
01:45
That is the sound of a bird
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而是一種鳥的叫聲，
01:47
slowed down to a pace
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被放慢到一定程度，
01:49
that the human ear mistakenly
recognizes as its own.
recognizes as its own.
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人耳誤聽為人的歌聲。
01:54
It was released as part of Peter Szöke's
1987 Hungarian recording
1987 Hungarian recording
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剛才的音樂就是一名匈牙利音樂家
於 1987 年出版專輯中一部分，
於 1987 年出版專輯中一部分，
01:58
"The Unknown Music of Birds,"
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名為《未發現之鳥類音樂》，
02:01
where he records many birds
and slows down their pitches
and slows down their pitches
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為了突出鳥類叫聲本質，
他錄了多種鳥叫聲並放慢速度。
02:05
to reveal what's underneath.
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現在我們來聽一段正常速度的錄音。
02:07
Let's listen to the full-speed recording.
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02:11
(Bird singing)
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（鳥類叫聲）
02:15
Now, let's hear the two of them together
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現在連續聽這兩首，
02:17
so your brain can juxtapose them.
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你們可以自己比較。
02:20
(Bird singing at slow then full speed)
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（放慢的鳥類叫聲，然後正常速度）
02:38
(Singing ends)
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（音樂結束）
02:42
It's incredible.
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好奇妙！
02:43
Perhaps the techniques of opera singing
were inspired by birdsong.
were inspired by birdsong.
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歌劇技巧大概從鳥類叫聲取得靈感。
02:48
As humans, we intuitively understand birds
to be our musical teachers.
to be our musical teachers.
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人類本能地將鳥類視為音樂老師。
02:54
In Ethiopia, birds
are considered an integral part
are considered an integral part
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在衣索比亞，鳥類被視為
音樂起源的一部分。zz
02:57
of the origin of music itself.
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03:00
The story goes like this:
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根據傳說，
03:03
1,500 years ago, a young man
was born in the Empire of Aksum,
was born in the Empire of Aksum,
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1500 年前，一個小男孩
出生於阿克蘇姆王國，
出生於阿克蘇姆王國，
03:08
a major trading center
of the ancient world.
of the ancient world.
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當時的世界貿易中心。
他的名字為雅瑞德。
03:11
His name was Yared.
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03:14
When Yared was seven years old
his father died,
his father died,
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雅瑞德七歲的時候，他的父親去世，
03:17
and his mother sent him to go live
with an uncle, who was a priest
with an uncle, who was a priest
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母親將他交給舅舅撫養，
這位舅舅是衣索比亞正教的神父，
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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為世界古老的教會系統之一。
03:26
Now, this tradition has an enormous amount
of scholarship and learning,
of scholarship and learning,
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因為此教派傳講大量知識，
03:30
and Yared had to study and study
and study and study,
and study and study,
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所以雅瑞德必須埋頭苦讀，
03:33
and one day he was studying under a tree,
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某天他在樹下學習時，
03:36
when three birds came to him.
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有三隻鳥飛來他旁邊。
03:39
One by one, these birds
became his teachers.
became his teachers.
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每一隻鳥陸續成為他的教師。
牠們教他音樂，其實就是音階。
03:42
They taught him music -- scales, in fact.
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03:47
And Yared, eventually
recognized as Saint Yared,
recognized as Saint Yared,
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後來，雅瑞德被尊稱為聖雅瑞德，
03:50
used these scales to compose
five volumes of chants and hymns
five volumes of chants and hymns
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用此音階寫成五卷聖歌和讚美聖詩，
03:54
for worship and celebration.
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給各種禮拜及節慶使用。
03:56
And he used these scales
to compose and to create
to compose and to create
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他也從這些音階譜出及發明出
04:00
an indigenous musical notation system.
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一套當地使用的記譜法。
04:03
And these scales evolved
into what is known as kiñit,
into what is known as kiñit,
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這些音階演變成
衣索比亞音階 (kiñit)，
衣索比亞音階 (kiñit)，
04:07
the unique, pentatonic, five-note,
modal system that is very much alive
modal system that is very much alive
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其獨特的五聲音階，
由五個音組成的調式，
由五個音組成的調式，
現在在衣索比亞還普遍使用及發展。
04:13
and thriving and still evolving
in Ethiopia today.
in Ethiopia today.
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04:18
Now, I love this story because
it's true at multiple levels.
it's true at multiple levels.
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我很喜歡這個故事，
因為它在很多方面都可考證。
因為它在很多方面都可考證。
04:21
Saint Yared was a real, historical figure,
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聖雅瑞德是一位真實人物，
04:24
and the natural world
can be our musical teacher.
can be our musical teacher.
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而自然世界
也可以成為我們的教師呀！
也可以成為我們的教師呀！
04:29
And we have so many examples of this:
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有很多相似的例子：
04:31
the Pygmies of the Congo
tune their instruments
tune their instruments
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剛果俾格米人（矮人族）
根據山鳥叫聲調整琴弦。
04:33
to the pitches of the birds
in the forest around them.
in the forest around them.
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04:36
Musician and natural soundscape
expert Bernie Krause describes
expert Bernie Krause describes
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音樂家兼自然音景專家
伯尼克勞斯描述，
伯尼克勞斯描述，
04:39
how a healthy environment
has animals and insects
has animals and insects
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一個健康的環境會有各種動物及昆蟲
04:42
taking up low, medium
and high-frequency bands,
and high-frequency bands,
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占據低、中及高頻率的音頻，
04:46
in exactly the same way
as a symphony does.
as a symphony does.
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和人類的交響樂一樣。
04:50
And countless works of music
were inspired by bird and forest song.
were inspired by bird and forest song.
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數不清的曲子
以鳥類和森林作為靈感。
以鳥類和森林作為靈感。
04:54
Yes, the natural world
can be our cultural teacher.
can be our cultural teacher.
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沒錯，自然世界
可以成為我們的文化教師。
可以成為我們的文化教師。
05:00
So let's go now to the uniquely
human world of language.
human world of language.
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現在我們來談獨特的人類世界語言。
05:05
Every language communicates
with pitch to varying degrees,
with pitch to varying degrees,
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每個語言通過各種音高交流，
05:08
whether it's Mandarin Chinese,
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無論是華語，
05:09
where a shift in melodic inflection
gives the same phonetic syllable
gives the same phonetic syllable
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如果你將音調發錯，
會讓相同的拼音音節
會讓相同的拼音音節
05:13
an entirely different meaning,
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產生不同的意思；
05:15
to a language like English,
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或者其它語言像英語，
05:16
where a raised pitch
at the end of a sentence ...
at the end of a sentence ...
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在句尾語氣上揚……
05:19
(Going up in pitch) implies a question?
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（提升音高）代表問句，對嗎？
05:21
(Laughter)
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（觀眾大笑）
05:23
As an Ethiopian-American woman,
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身為衣索比亞美裔婦女，
05:24
I grew up around the language
of Amharic, Amhariña.
of Amharic, Amhariña.
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我在阿姆哈拉語環境中長大。
05:27
It was my first language,
the language of my parents,
the language of my parents,
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這是我的母語，是我父母說的語言，
05:29
one of the main languages of Ethiopia.
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是衣索比亞主要語言之一。
05:32
And there are a million reasons
to fall in love with this language:
to fall in love with this language:
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我有一千萬個理由喜愛這個語言：
05:35
its depth of poetics,
its double entendres,
its double entendres,
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詩歌的深度，雙關的詞語，
05:38
its wax and gold, its humor,
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隱藏的涵義，幽默的特性，
05:41
its proverbs that illuminate
the wisdom and follies of life.
the wisdom and follies of life.
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生活中有智慧的俗語以及反語。
05:46
But there's also this melodicism,
a musicality built right in.
a musicality built right in.
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但更主要的是包括在
詞語裡面的旋律感。
詞語裡面的旋律感。
05:50
And I find this distilled most clearly
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我發現這種旋律感在
05:52
in what I like to call
emphatic language --
emphatic language --
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我所稱的「強調語言」中
明顯突出——
明顯突出——
05:55
language that's meant
to highlight or underline
to highlight or underline
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即明顯指出、強調意思之語言，
05:57
or that springs from surprise.
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或者表示驚訝的狀態。
06:00
Take, for example, the word: "indey."
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例如 indey 這個字，
06:03
Now, if there are Ethiopians
in the audience,
in the audience,
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如果在座有衣索比亞人，
06:05
they're probably chuckling to themselves,
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他們一定會咯咯笑起來，
06:07
because the word means
something like "No!"
something like "No!"
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因為這個字的意思是「不行！」
06:09
or "How could he?" or "No, he didn't."
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或「他怎麼能這樣呢？」
或「不，他沒有。」
或「不，他沒有。」
06:11
It kind of depends on the situation.
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根據具體的情況而不同。
06:13
But when I was a kid,
this was my very favorite word,
this was my very favorite word,
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可是在我小時候，
這是我最喜歡的字，
這是我最喜歡的字，
06:17
and I think it's because it has a pitch.
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我想是因為我喜歡它的音高。
06:20
It has a melody.
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它有旋律。
06:21
You can almost see the shape
as it springs from someone's mouth.
as it springs from someone's mouth.
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這個字發出來，
我們幾乎可以看到它的口型。
我們幾乎可以看到它的口型。
06:24
"Indey" -- it dips, and then raises again.
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“Indey” —
音調先往下降後再往上升高。
音調先往下降後再往上升高。
06:28
And as a musician and composer,
when I hear that word,
when I hear that word,
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身為音樂家和作曲家，
每次聽到此字，
每次聽到此字，
06:31
something like this
is floating through my mind.
is floating through my mind.
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這樣的畫面就在我的腦海裡展現。
06:35
(Music and singing "Indey")
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（音樂和唱 indey）
06:45
(Music ends)
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（音樂停止）
06:48
Or take, for example, the phrase
for "It is right" or "It is correct" --
for "It is right" or "It is correct" --
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另外一個例子，
代表「沒錯、正確」——
代表「沒錯、正確」——
06:52
"Lickih nehu ... Lickih nehu."
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"Lickih nehu ... Lickih nehu."
06:54
It's an affirmation, an agreement.
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就是確定、同意。
06:56
"Lickih nehu."
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"Lickih nehu."
06:58
When I hear that phrase,
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我聽到此詞的時候，
06:59
something like this starts rolling
through my mind.
through my mind.
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音樂泉在我的腦海裡流出。
07:04
(Music and singing "Lickih nehu")
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（音樂及唱 “Lickih nehu” 聲）
07:11
(Music ends)
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（音樂結束）
07:14
And in both of those cases,
what I did was I took the melody
what I did was I took the melody
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以上兩個例子，
我都以這些字的旋律和分句，
07:17
and the phrasing
of those words and phrases
of those words and phrases
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07:19
and I turned them into musical parts
to use in these short compositions.
to use in these short compositions.
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轉成音樂的因素，從而寫成短曲。
07:24
And I like to write bass lines,
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我喜歡寫低音音樂，
07:26
so they both ended up
kind of as bass lines.
kind of as bass lines.
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所以以上的兩個短曲都是低音的。
07:29
Now, this is based on the work
of Jason Moran and others
of Jason Moran and others
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根據賈森莫蘭及同事的研究，
07:32
who work intimately
with music and language,
with music and language,
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他們是音樂及語言研究專家，
07:35
but it's also something I've had
in my head since I was a kid,
in my head since I was a kid,
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也是我從小時候一直關注的，
07:38
how musical my parents sounded
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就是我父母
07:40
when they were speaking
to each other and to us.
to each other and to us.
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彼此對談與跟我們對話時
具音樂性的腔調。
具音樂性的腔調。
07:44
It was from them
and from Amhariña that I learned
and from Amhariña that I learned
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正是他們講的阿姆哈拉語
讓我推出一個觀念，
讓我推出一個觀念，
07:46
that we are awash in musical expression
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就是語言充滿了音樂風格，
07:49
with every word,
every sentence that we speak,
every sentence that we speak,
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在每一句我們說出的話，
07:52
every word, every sentence
that we receive.
that we receive.
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在每一句我們聽到的話。
07:54
Perhaps you can hear it
in the words I'm speaking even now.
in the words I'm speaking even now.
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你們或許可以在我現在說出的
每一句話中領會到。
每一句話中領會到。
08:00
Finally, we go to the 1950s United States
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最後，我要談一首 1950 年
美國的音樂作品，
美國的音樂作品，
08:02
and the most seminal work
of 20th century avant-garde composition:
of 20th century avant-garde composition:
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為 20 世紀前衛派
最具影響力的曲子：
最具影響力的曲子：
08:06
John Cage's "4:33,"
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約翰·凱吉之《4′33″》，
08:08
written for any instrument
or combination of instruments.
or combination of instruments.
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寫給任何樂器或任何組合樂器。
08:12
The musician or musicians are invited
to walk onto the stage
to walk onto the stage
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演奏家受邀上舞台，
08:16
with a stopwatch and open the score,
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帶著碼錶並把樂譜打開，
08:19
which was actually purchased
by the Museum of Modern Art --
by the Museum of Modern Art --
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此樂譜已被當代藝術博物館
收購作展覽專用——
收購作展覽專用——
08:22
the score, that is.
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只有樂譜，就這樣。
08:24
And this score has not
a single note written
a single note written
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這張樂譜上沒有任何音符，
08:28
and there is not a single note played
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演奏家在整整 4 分 33 秒的時間
也不彈任何一個音。
也不彈任何一個音。
08:30
for four minutes and 33 seconds.
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08:34
And, at once enraging and enrapturing,
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（觀眾）在又生氣又著迷的狀態下，
08:39
Cage shows us that even
when there are no strings
when there are no strings
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凱吉告訴我們就算琴弦不被彈，
08:42
being plucked by fingers
or hands hammering piano keys,
or hands hammering piano keys,
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鋼琴弦不被敲，
08:47
still there is music,
still there is music,
still there is music,
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音樂還是顯現，
對， 音樂還是顯現。
對， 音樂還是顯現。
08:49
still there is music.
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音樂依舊顯現。
08:51
And what is this music?
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所以這首裡面的音樂是什麼呢？
08:54
It was that sneeze in the back.
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在遠處有某人打噴嚏。
08:57
(Laughter)
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（笑聲）
08:58
It is the everyday soundscape
that arises from the audience themselves:
that arises from the audience themselves:
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這首音樂就是觀眾的日常音景：
09:03
their coughs, their sighs, their rustles,
their whispers, their sneezes,
their whispers, their sneezes,
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咳嗽、歎氣、耳語、
打噴嚏、衣服摩擦之聲音，
打噴嚏、衣服摩擦之聲音，
09:08
the room, the wood
of the floors and the walls
of the floors and the walls
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屋子、木板牆、木頭地板
09:10
expanding and contracting,
creaking and groaning
creaking and groaning
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因熱脹冷縮發出吱嘎作響的聲音，
09:13
with the heat and the cold,
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09:14
the pipes clanking and contributing.
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水管劈劈啪啪也來湊一腳。
09:19
And controversial though it was,
and even controversial though it remains,
and even controversial though it remains,
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雖然此曲充滿爭議性，
而且一直備受爭議，
而且一直備受爭議，
09:22
Cage's point is that there is no
such thing as true silence.
such thing as true silence.
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凱奇的觀點就是沒有真正的無聲。
09:28
Even in the most silent environments,
we still hear and feel the sound
we still hear and feel the sound
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甚至在最無聲的環境中，
我們還是能聽到及感受到
我們還是能聽到及感受到
09:32
of our own heartbeats.
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我們心跳的聲音。
09:34
The world is alive
with musical expression.
with musical expression.
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這個世界充滿音樂表達。
09:38
We are already immersed.
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基本上我們一直沉浸在音樂裡。
09:42
Now, I had my own moment of,
let's say, remixing John Cage
let's say, remixing John Cage
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我自己也有可以說是重混
約翰·凱吉的經驗瞬間。
約翰·凱吉的經驗瞬間。
09:46
a couple of months ago
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就在幾個月前，
09:47
when I was standing
in front of the stove cooking lentils.
in front of the stove cooking lentils.
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我站在爐子前煮著扁豆的時候，
09:50
And it was late one night
and it was time to stir,
and it was time to stir,
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那時已經很晚，
可是到了該攪拌的時刻，
可是到了該攪拌的時刻，
09:53
so I lifted the lid off the cooking pot,
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所以我打開鍋蓋，
09:55
and I placed it onto
the kitchen counter next to me,
the kitchen counter next to me,
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把蓋子放在旁邊的流理台上，
09:58
and it started to roll back and forth
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蓋子就滾來滾去
10:00
making this sound.
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發出這種聲音。
10:04
(Sound of metal lid
clanking against a counter)
clanking against a counter)
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（金屬蓋子碰撞流理台的噹啷聲）
10:10
(Clanking ends)
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（噹啷聲停止）
10:13
And it stopped me cold.
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我瞬間凍住。
10:15
I thought, "What a weird, cool swing
that cooking pan lid has."
that cooking pan lid has."
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我想：「蓋子搖擺聲
真是好酷好怪！」
真是好酷好怪！」
10:22
So when the lentils were ready and eaten,
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所以在扁豆熟了，也吃完了之後，
10:26
I hightailed it to my backyard studio,
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我馬上帶著鍋子到後院的錄音房，
10:30
and I made this.
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錄出來此曲子。
10:33
(Music, including the sound
of the lid, and singing)
of the lid, and singing)
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（音樂，包括蓋子聲音及歌聲）
10:50
(Music ends)
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（音樂停止）
10:52
Now, John Cage
wasn't instructing musicians
wasn't instructing musicians
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約翰·凱吉沒有意思要告訴音樂家
10:54
to mine the soundscape
for sonic textures to turn into music.
for sonic textures to turn into music.
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將任何背景聲音寫成曲子。
10:59
He was saying that on its own,
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他的意思是，我們周圍環境本身
11:01
the environment is musically generative,
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已經常常產生聲音，
11:05
that it is generous, that it is fertile,
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非常多量、豐沛，
11:09
that we are already immersed.
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我們已經被音樂圍繞著。
11:12
Musician, music researcher, surgeon
and human hearing expert Charles Limb
and human hearing expert Charles Limb
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音樂家、音樂研究家、
手術醫生及聽力專家查爾斯·理姆
手術醫生及聽力專家查爾斯·理姆
11:18
is a professor at Johns Hopkins University
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是約翰霍普金斯大學教授，
11:20
and he studies music and the brain.
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他專長研究音樂及腦部。
11:24
And he has a theory
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他也定出一個理論，
11:27
that it is possible -- it is possible --
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指出很可能，非常有可能，
11:30
that the human auditory system
actually evolved to hear music,
actually evolved to hear music,
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人類聽力系統是為了聽音樂而進化，
11:36
because it is so much more complex
than it needs to be for language alone.
than it needs to be for language alone.
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因為這比聽懂語言
這個簡單目的複雜的多。
這個簡單目的複雜的多。
11:41
And if that's true,
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如果這論點是正確的，
11:43
it means that we're hard-wired for music,
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意思是我們天生就是要聽音樂的，
11:46
that we can find it anywhere,
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而且我們到處都可以找到音樂，
11:48
that there is no such thing
as a musical desert,
as a musical desert,
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音樂沙漠是不可能存在的，
11:51
that we are permanently
hanging out at the oasis,
hanging out at the oasis,
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因為我們一直身在音樂綠洲中。
11:55
and that is marvelous.
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這真是絕妙。
11:58
We can add to the soundtrack,
but it's already playing.
but it's already playing.
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我們可以把這些聲音加進創作中，
不過這些已經在演奏了。
不過這些已經在演奏了。
12:02
And it doesn't mean don't study music.
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他不是告訴我們不要學音樂。
12:04
Study music, trace your sonic lineages
and enjoy that exploration.
and enjoy that exploration.
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還是要學音樂，還是要追溯
你的聲音族譜，並享受這場探險。
你的聲音族譜，並享受這場探險。
12:09
But there is a kind of sonic lineage
to which we all belong.
to which we all belong.
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可是有一種聲音族譜
是我們都屬於的。
是我們都屬於的。
12:14
So the next time you are seeking
percussion inspiration,
percussion inspiration,
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下次你在尋找打擊樂的靈感時，
12:16
look no further than your tires,
as they roll over the unusual grooves
as they roll over the unusual grooves
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就近去聽你的車輪在高速公路上
12:20
of the freeway,
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碾過稀少的凹凸處的聲音；
12:22
or the top-right burner of your stove
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或者去聽你家右邊的爐頭，
12:24
and that strange way that it clicks
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在打火點燃時
12:25
as it is preparing to light.
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發出的卡嗒聲。
12:28
When seeking melodic inspiration,
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要尋找旋律的靈感時，
12:30
look no further than dawn
and dusk avian orchestras
and dusk avian orchestras
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就近去聽早晨或傍晚之鳥叫聲，
12:33
or to the natural lilt
of emphatic language.
of emphatic language.
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或者是強調語音之自然悠揚聲音。
12:37
We are the audience
and we are the composers
and we are the composers
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我們是聽眾，也是作曲家，
12:40
and we take from these pieces
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我們可用現有的聲音資源。
12:41
we are given.
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我們創作，創作，一直創作，
12:43
We make, we make, we make, we make,
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12:45
knowing that when it comes to nature
or language or soundscape,
or language or soundscape,
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因為知道大自然或語言或音景
12:49
there is no end to the inspiration --
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可以帶來永恆靈感，
12:52
if we are listening.
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只要我們認真聆聽。
12:55
Thank you.
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感謝大家！
12:56
(Applause)
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（鼓掌聲）
ABOUT THE SPEAKER
Meklit Hadero - Singer-songwriterMeklit Hadero is an Ethiopian-American singer-songwriter living the cultural in-between, both in her own luminous compositions and as a co-founder of the Nile Project.
Why you should listen
Meklit Hadero's music is imbued with poetry and multiplicity, from hybridized sounds of Tizita (haunting and nostalgic music) drawing from her Ethiopian heritage, to the annals of jazz, folk songs and rock & roll. Hadero describes her music as emanating from “in-between spaces,” and the result is a smoky, evocative world peopled by strong bass, world instruments and her soothing voice.
In the Nile Project, founded along with Egyptian ethnomusicologist Mina Girgis, Hadero set out to explore the music of the Nile basin, pulling influences from countries along the river, from Uganda, Kenya, Tanzania, Ethiopia, South Sudan, Sudan, and finally to Egypt. The project brings together hip-hop, traditional and contemporary music, with instruments and traditions old and new. As she says, "My work on a lot of levels is about multiplicity." Their new record is Aswan.
About her own music, here's what people say:
“Soulful, tremulous and strangely cinematic, Meklit’s voice will implant scenes in your mind — a softly lit supperclub, a Brooklyn stoop, a sun-baked road. Close your eyes, listen and dream." -- Seattle Times
"Meklit… combines N.Y. jazz with West Coast folk and African flourishes, all bound together by her beguiling voice, which is part sunshine and part cloudy day.” -- Filter Magazine
Meklit Hadero | Speaker | TED.com