TED2003
Evelyn Glennie: How to truly listen
Evelyn Glennie o tom, ako počúvať
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V tomto úchvatnom predstavení hluchá hráčka na bicie nástroje Evelyn Glennie ukazuje, že počúvanie hudby zahŕňa oveľa viac, ako len zvukové vlny udierajúce do vašich ušných bubienkov.
Evelyn Glennie - Musician
Percussionist and composer Dame Evelyn Glennie lost nearly all of her hearing by age 12. Rather than isolating her, it has given her a unique connection to her music. Full bio
Percussionist and composer Dame Evelyn Glennie lost nearly all of her hearing by age 12. Rather than isolating her, it has given her a unique connection to her music. Full bio
Double-click the English transcript below to play the video.
00:25
I'm not quite sure whether I really want to see
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Nie som si celkom istá, či chcem videť
00:29
a snare drum at nine o'clock or so in the morning.
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bubon o deviatej hodine ráno.
00:33
But anyway, it's just great to see such a full theater,
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Každopádne je skvelé vidieť tak plné divadlo
00:37
and really I must thank Herbie Hancock
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a musím poďakovať Herbiemu Hancockovi
00:39
and his colleagues for such a great presentation. (Applause)
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a jeho kolegom za skvelú prezentáciu.
00:43
One of the interesting things,
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Jedna z najzaujímavejších vecí je,
00:47
of course, is the combination of that raw hand on the instrument
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samozrejme, kombinácia ruky na inštrumente a technológia,
00:53
and technology, and of course what he said about listening to our young people.
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a tiež to, čo povedal o počúvaní mladých ľudí.
01:00
Of course, my job is all about listening,
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Celá moja práca je o počúvaní
01:05
and my aim, really, is to teach the world to listen.
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a mojím cieľom je naučiť svet, ako počúvať.
01:11
That's my only real aim in life.
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To je môj životný cieľ.
01:15
And it sounds quite simple, but actually it's quite a big, big job.
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Znie to celkom jednoducho, ale je to ťažká, ťažká práca.
01:21
Because you know, when you look at a piece of music -- for example,
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Pretože keď sa pozriete na kúsok skladby -- napríklad,
01:27
if I just open my little motorbike bag -- we have here, hopefully,
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len si otvorím tašku -- hádam tam mám
01:35
a piece of music that is full of little black dots on the page.
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nejakú skladbu s množstvom čiernych bodiek na stránke.
01:41
And, you know, we open it up and I read the music.
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Otvoríme to a ja tú hudbu prečítam.
01:49
So technically, I can actually read this.
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Viem to prečítať.
01:54
I will follow the instructions, the tempo markings, the dynamics.
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Budem dodržiavať pokyny, tempo, dynamiku.
01:58
I will do exactly as I'm told.
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Urobím presne to, čo mi povedia.
02:03
And so therefore, because time is short,
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Keďže máme málo času,
02:06
if I just play you literally the first maybe two lines or so. It's very straightforward.
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zahrám len prvé dva riadky. Je to veľmi jednoduché.
02:15
There's nothing too difficult about the piece.
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Na tomto kúsku nie je nič ťažké.
02:16
But here I'm being told that the piece of music is very quick.
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Tu mi hovoria, že táto skladba je veľmi rýchla.
02:20
I'm being told where to play on the drum.
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Je tam napísané, na ktorej časti bubna mám hrať,
02:24
I'm being told which part of the stick to use.
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aj ktorú časť paličky pri tom použiť.
02:29
And I'm being told the dynamic.
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Tiež je tam napísané, s akou dynamikou sa to má hrať.
02:31
And I'm also being told that the drum is without snares.
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A že bubon má vypnutý strunník.
02:36
Snares on, snares off.
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Strunník zapnutý, strunník vypnutý.
02:39
So therefore, if I translate this piece of music, we have this idea. (Music)
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Takže, keď preložím tento zápis hudby, bude to znieť takto.
03:18
And so on. My career would probably last about five years.
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A tak ďalej. Moja kariéra by trvala asi päť rokov.
03:24
However, what I have to do as a musician is do everything that is not on the music.
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Avšak, čo ako hudobník musím robiť, je všetko to, čo nie je v notách zapísané.
03:32
Everything that there isn't time to learn from a teacher,
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Všetko to, načo nezostal čas sa naučiť od učiteľa,
03:38
or to talk about, even, from a teacher.
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či sa s ním o tom rozprávať.
03:41
But it's the things that you notice when you're not actually with your instrument
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Ale sú isté veci, ktoré si všimnete, keď nie ste so svojím nástrojom,
03:46
that in fact become so interesting, and that you want to explore
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ktoré sú tak zaujímavé, že ich chcete preskúmať
03:51
through this tiny, tiny surface of a drum.
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cez tento tenký, tenučký povrch bubna.
03:55
So there, we experience the translation. Now we'll experience the interpretation. (Music) (Applause)
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Takže, počuli sme preklad. Teraz zažijeme interpretáciu.
04:50
Now my career may last a little longer!
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Moja kariéra by asi trvala trochu dlhšie.
04:58
But in a way, you know, it's the same if I look at you and I see
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Ale je to istým spôsobom také isté, ako keď sa pozriem na vás a vidím
05:03
a nice bright young lady with a pink top on.
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milú mladú dámu s ružovým tričkom.
05:06
I see that you're clutching a teddy bear, etc., etc.
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A vidím, že má pri sebe medvedíka, a tak ďalej, a tak ďalej.
05:10
So I get a basic idea as to what you might be about, what you might like,
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Takže získam tým základnú predstavu o tom, aká asi ste, čo sa vám páči,
05:15
what you might do as a profession, etc., etc.
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kde pracujete, a tak ďalej, a tak ďalej.
05:20
However, that's just, you know, the initial idea I may have that we all get
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To je tá prvotná predstava, ktorú všetci získame,
05:26
when we actually look, and we try to interpret,
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keď sa na niekoho pozrieme. A skúšame interpretovať,
05:29
but actually it's so unbelievably shallow.
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ale v skutočnosti je to neuveriteľne povrchné.
05:31
In the same way, I look at the music; I get a basic idea;
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Rovnakým spôsobom, keď sa pozriem na hudbu, získam zakladanú predstavu,
05:34
I wonder what technically might be hard, or, you know, what I want to do.
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rozmýšľam o tom, ako môže byť technicky náročná, alebo ako ju zahrám.
05:39
Just the basic feeling.
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Len základnú predstavu.
05:41
However, that is simply not enough.
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Ale to jednoducho nestačí.
05:43
And I think what Herbie said -- please listen, listen.
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A ako Herbie povedal -- prosím počúvajte, počúvajte.
05:47
We have to listen to ourselves, first of all.
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Najprv musíme počúvať sami seba.
05:51
If I play, for example, holding the stick -- where literally I do not let go of the stick --
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Ak budem hrať pevne držiac paličku -- kde ju doslova nepustím --
06:01
you'll experience quite a lot of shock coming up through the arm.
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zažijem dosť silný otras smerujúci hore rukou.
06:05
And you feel really quite -- believe it or not --
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A či tomu veríte alebo nie, cítili by ste sa
06:07
detached from the instrument and from the stick,
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oddelený od inštrumentu a od paličky,
06:10
even though I'm actually holding the stick quite tightly.
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hoci ju pevne držíte.
06:16
By holding it tightly, I feel strangely more detached.
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Tým, že ju držím pevne, sa cítim od nej oddelená.
06:20
If I just simply let go and allow my hand, my arm, to be more of a support system,
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Ak ju uvoľním a moja ruka ju bude len podopierať,
06:27
suddenly I have more dynamic with less effort. Much more.
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zrazu mám viac dynamiky pri menšej námahe. Oveľa viac.
06:36
And I just feel, at last, one with the stick and one with the drum.
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A cítim sa súčasťou paličky a bubna.
06:41
And I'm doing far, far less.
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A pritom robím oveľa oveľa menej.
06:43
So in the same way that I need time with this instrument,
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Rovnako, ako potrebujem stráviť čas s týmto nástrojom,
06:46
I need time with people in order to interpret them.
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potrebujem stráviť čas s ľuďmi, aby som ich mohla správne interpretovať.
06:52
Not just translate them, but interpret them.
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Nielen prekladať, ale ich aj interpretovať.
06:54
If, for example, I play just a few bars of a piece of music
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Napríklad zahrám niekoľko taktov skladby
07:02
for which I think of myself as a technician --
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v roli technika --
07:07
that is, someone who is basically a percussion player ... (Music)
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to znamená niekoho, kto je v podstate hráč na bicie...
07:24
And so on. If I think of myself as a musician ... (Music)
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Ale keď hrám ako hudobník...
07:50
And so on. There is a little bit of a difference there that is worth just -- (Applause)
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a tak ďalej. Je v tom predsa len malý rozdiel, nad ktorým sa -- (Potlesk)
07:57
-- thinking about.
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-- má cenu zamyslieť.
07:59
And I remember when I was 12 years old,
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Pamätám si, že keď som mala 12 rokov,
08:02
and I started playing tympani and percussion, and my teacher said,
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a začala som hrať na tympan a perkusie, môj učiteľ povedal,
08:08
"Well, how are we going to do this? You know, music is about listening."
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"Nuž, ako to spravíme? Vieš, hudba je o počúvaní."
08:14
And I said, "Yes, I agree with that. So what's the problem?"
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"Áno, s tým súhlasím. Takže, aký je problém?"
08:18
And he said, "Well, how are you going to hear this? How are you going to hear that?"
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A on povedal, "Ako to budeš počuť? Ako to budeš počúvať?"
08:23
And I said, "Well, how do you hear it?"
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Ja som povedala, "Ako to počujete vy?"
08:25
He said, "Well, I think I hear it through here."
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On povedal, "Myslím, že to počujem týmto."
08:29
And I said, "Well, I think I do too -- but I also hear it through my hands,
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Ja som povedala, "Myslím, že ja tiež -- ale tiež počujem cez moje ruky,
08:34
through my arms, cheekbones, my scalp, my tummy, my chest, my legs and so on."
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cez moje ramená, cez lícne kosti, cez moju lebku, moje brucho, moju hruď, moje nohy, a tak ďalej."
08:41
And so we began our lessons every single time tuning drums --
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A tak sme vždy začínali hodinu ladením bubnov --
08:47
in particular, the kettle drums, or tympani --
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najčastejšie tympanu --
08:50
to such a narrow pitch interval, so something like ...
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na tak nízky interval tónu, niečo ako toto...
08:59
that of a difference. Then gradually ... and gradually ...
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s takým rozdielom. Potom postupne... a postupne...
09:06
and it's amazing that when you do open your body up,
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a je úžasné, že keď otvoríte svoje telo,
09:11
and open your hand up to allow the vibration to come through,
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a otvoríte svoju dlaň, aby ste dovolili vibráciám prejsť cez ňu,
09:15
that in fact the tiny, tiny difference ...
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tak potom môžete cítiť i tak malý, maličký rozdiel...
09:19
can be felt with just the tiniest part of your finger, there.
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s touto maličkou časťou prsta, takto.
09:25
And so what we would do is that I would put my hands on the wall
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A tak som položila svoje dlane na stenu hudobnej miestnosti,
09:29
of the music room, and together we would "listen" to the sounds of the instruments,
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a spolu sme počúvali zvuky inštrumentov,
09:36
and really try to connect with those sounds
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a naozaj sme sa snažili spojiť sa s tými zvukmi
09:39
far, far more broadly than simply depending on the ear.
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oveľa, oveľa hlbšie ako len pomocou ucha.
09:44
Because of course, the ear is, I mean, subject to all sorts of things.
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Pretože to, ako počujeme, ovplyvňuje veľa vecí.
09:48
The room we happen to be in, the amplification, the quality of the instrument,
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Miestnosť, kde sa nachádzame, ozvučenie, kvalita inštrumentu,
09:53
the type of sticks ... etc., etc.
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typ paličiek, a tak ďalej.
10:03
They're all different.
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Každé sú iné.
10:11
Same amount of weight, but different sound colors.
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Rovnaká váha, ale iná farba zvuku.
10:16
And that's basically what we are. We're just human beings,
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A to sme vlastne aj my. Sme len ľudské bytosti,
10:18
but we all have our own little sound colors, as it were,
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ale všetci máme svoje takpovediac farby zvuku,
10:21
that make up these extraordinary personalities
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ktoré tvoria tieto výnimočné osobnosti
10:24
and characters and interests and things.
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a povahy a záujmy.
10:27
And as I grew older, I then auditioned for the Royal Academy of Music in London,
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Keď som vyrástla, zúčastnila som sa konkurzu do Kráľovskej hudobnej akadémie v Londýne,
10:33
and they said, "Well, no, we won't accept you, because we haven't a clue,
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a oni povedali, "Viete, nemôžeme vás prijať, pretože nemáme predstavu
10:37
you know, of the future of a so-called 'deaf' musician."
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o budúcnosti hluchej hudobníčky."
10:42
And I just couldn't quite accept that.
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A to som jednoducho nemohla akceptovať.
10:46
And so therefore, I said to them, "Well, look, if you refuse --
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Preto som im povedala, "Pozrite, ak ma odmietnete --
10:53
if you refuse me through those reasons,
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ak ma odmietnete kvôli tomu,
10:56
as opposed to the ability to perform and to understand and love
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a nie kvôli tomu, ako hrám a chápem a milujem
11:05
the art of creating sound --
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umenie vytvárania zvuku --
11:08
then we have to think very, very hard about the people you do actually accept."
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tak by sme sa mali zamyslieť nad tým, akých ľudí prijímate."
11:14
And as a result -- once we got over a little hurdle, and having to audition twice --
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A nakoniec -- keď sme sa dostali cez túto malú prekážku a zúčastnila som sa druhýkrát --
11:20
they accepted me. And not only that --
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tak ma prijali. A nielen to --
11:24
what had happened was that it changed the whole role
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zmenilo sa i stanovisko hudobných inštitúcií
11:28
of the music institutions throughout the United Kingdom.
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po celej Veľkej Británii.
11:32
Under no circumstances were they to refuse any application whatsoever on the basis of
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V žiadnom prípade neodmietli prihlášku len na základe toho,
11:41
whether someone had no arms, no legs --
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že niekto nemal ruky alebo nohy --
11:43
they could still perhaps play a wind instrument if it was supported on a stand.
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stále predsa môžu hrať na dychovom nástroje, ak bude podopretý na stojane.
11:47
No circumstances at all were used to refuse any entry.
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Žiadne okolnosti neboli dôvodom odmietnutia.
11:54
And every single entry had to be listened to, experienced and then
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Každého prihláseného vypočuli a až potom,
11:59
based on the musical ability -- then that person could either enter or not.
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na základe jeho hudobných schopností, mohla byť tá osoba prijatá alebo nie.
12:07
So therefore, this in turn meant that there was an extremely interesting
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Toto znamenalo, že do viacerých hudobných inštitúcií prišla
12:13
bunch of students who arrived in these various music institutions.
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veľmi zaujímavá skupina študentov.
12:17
And I have to say, many of them now
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A musím povedať, mnoho z nich teraz hraje
12:20
in the professional orchestras throughout the world.
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v profesionálnych orchestroch po celom svete.
12:24
The interesting thing about this as well, though --
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A zaujímavé na tom je to,
12:26
(Applause) --
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(Potlesk)
12:31
is quite simply that not only were people connected with sound --
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že títo ľudia neboli len spojení hudbou --
12:37
which is basically all of us, and we well know that music really is our daily medicine.
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to sme predsa my všetci, veď hudba je naozaj náš každodenný liek.
12:44
I say "music," but actually I mean "sound."
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Keď hovorím hudba, mám na mysli zvuk.
12:47
Because you know, some of the extraordinary things I've experienced
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Ako hudobníčka som zažila niekoľko neobyčajných vecí,
12:50
as a musician, when you may have a 15-year-old lad
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ako keď máte 15-ročného mládenca,
12:55
who has got the most incredible challenges,
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ktorý bojuje s neuveriteľnými výzvami,
13:00
who may not be able to control his movements,
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ktorý nemusí byť schopný kontrolovať svoje pohyby,
13:03
who may be deaf, who may be blind, etc., etc. --
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ktorý môže byť hluchý alebo slepý.
13:06
suddenly, if that young lad sits close to this instrument,
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A naraz, keď si tento mladý muž sadne blízko k inštrumentu,
13:12
and perhaps even lies underneath the marimba,
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nebo dokonca keď si ľahne pod marimbu,
13:15
and you play something that's so incredibly organ-like, almost --
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a vy zahráte niečo, čo sa podobá na organ --
13:21
I don't really have the right sticks, perhaps --
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nemám tie správne paličky --
13:24
but something like this. Let me change. (Music)
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niečo takéto. Musím si ich vymeniť.
14:18
Something that's so unbelievably simple --
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Niečo tak neuveriteľne jednoduché --
14:19
but he would be experiencing something that I wouldn't be,
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a on bude vnímať niečo, čo ja nemôžem,
14:25
because I'm on top of the sound.
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pretože som navrchu.
14:27
I have the sound coming this way.
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Ku mne prichádza zvuk takto.
14:30
He would have the sound coming through the resonators.
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K nemu prichádza zvuk cez rezonátory.
14:33
If there were no resonators on here, we would have ... (Music)
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Ak by tam neboli rezonátory, mali by sme --
14:43
So he would have a fullness of sound that those of you in the front few rows
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vnímal by plnosť zvuku, ktorú by ste nepocítili
14:47
wouldn't experience, those of you in the back few rows wouldn't experience either.
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ani vy v prvých radoch, ani tí vzadu.
14:51
Every single one of us, depending on where we're sitting,
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Každý z nás, podľa toho, kde sedí,
14:54
will experience this sound quite, quite differently.
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vníma tento zvuk úplne, úplne inak.
14:58
And of course, being the participator of the sound,
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Keď chcete hrať, začína to predstavou,
15:01
and that is starting from the idea of what type of sound I want to produce --
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aký typ zvuku chcem vytvoriť --
15:07
for example, this sound.
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napríklad tento zvuk.
15:16
Can you hear anything?
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Počujete niečo?
15:19
Exactly. Because I'm not even touching it.
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Presne tak. Pretože sa toho nedotýkam.
15:22
But yet, we get the sensation of something happening.
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Ale napriek tomu máme pocit, že sa niečo deje.
15:28
In the same way that when I see tree moves,
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Keď vidím, ako sa hýbu stromy,
15:30
then I imagine that tree making a rustling sound.
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predstavujem si zvuk šumenia listov.
15:34
Do you see what I mean?
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Viete, čo tým myslím?
15:36
Whatever the eye sees, then there's always sound happening.
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Čokoľvek oko vidí, má k sebe pripojený zvuk.
15:40
So there's always, always that huge --
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Takže je tu obrovský
15:44
I mean, just this kaleidoscope of things to draw from.
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kaleidoskop vecí, od ktorých sa dá odraziť.
15:49
So all of my performances are based on entirely what I experience,
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Všetky moje predstavenia sú založené na tom, čo vnímam ja,
15:55
and not by learning a piece of music, putting on someone else's interpretation of it,
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a nie na tom, že sa naučím zahrať nejakú hudbu, vložím do toho interpretáciu,
15:59
buying all the CDs possible of that particular piece of music, and so on and so forth.
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kúpim si všetky možné CD s tou skladbou, a tak ďalej, a tak ďalej.
16:04
Because that isn't giving me enough of something that is so raw and so basic,
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Pretože to mi nedáva dostatok niečoho tak prvotného a tak základného,
16:10
and something that I can fully experience the journey of.
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nedáva mi to niečo, čo si môžem plne vychutnať.
16:16
So it may be that, in certain halls, this dynamic may well work. (Music)
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V určitých halách môže táto dynamika fungovať dobre.
16:34
It may be that in other halls, they're simply not going to experience that
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Možno v nejakej inej miestnosti nebudú mať taký zážitok,
16:38
at all and so therefore, my level of soft,
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a preto moje jemné,
16:41
gentle playing may have to be ... (Music)
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mierne hranie bude musieť byť takéto --
17:08
Do you see what I mean? So, because of this explosion in access to sound,
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rozumiete tomu? Takže, táto explózia v prístupe k hudbe,
17:15
especially through the deaf community,
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predovšetkým medzi hluchými,
17:17
this has not only affected how music institutions,
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neovplyvnila len to, ako hudobné inštitúcie,
17:22
how schools for the deaf treat sound -- and not just as a means of therapy --
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ako školy pre hluchých používajú zvuk. A nielen ako prostriedok terapie --
17:28
although of course, being a participator of music,
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hoci mať podiel na hudbe
17:31
that definitely is the case as well.
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je terapiou samo o sebe.
17:34
But it's meant that acousticians have had to really think about the types of halls
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Ale akustici musia naozaj porozmýšľať o typoch miestností,
17:41
they put together. There are so few halls in this world
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ktoré dávajú dokopy. Na svete je tak málo hál,
17:46
that actually have very good acoustics,
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ktoré majú naozaj veľmi dobrú akustiku.
17:50
dare I say. But by that I mean where you can absolutely do anything you imagine.
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A tým myslím také, kde môžete urobiť čokoľvek, čo si predstavíte,
17:56
The tiniest, softest, softest sound to something that is so broad,
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že i ten najmenší, najjemnejší zvuk sa rozvinie do niečoho tak širokého,
18:01
so huge, so incredible! There's always something --
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tak obrovského, tak neuveriteľného! Vždy je tu niečo --
18:06
it may sound good up there, may not be so good there.
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čo znie dobre tam, ale nie tak dobre inde.
18:08
May be great there, but terrible up there.
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Môže to byť skvelé tam, ale hrozné zase inde.
18:10
Maybe terrible over there, but not too bad there, etc., etc.
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Možno hrozné tam, ale tu nie až také zlé, a tak ďalej, a tak ďalej.
18:14
So to find an actual hall is incredible
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Nájsť halu, v ktorej môžete hrať presne tak,
18:19
-- for which you can play exactly what you imagine,
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ako to znie vo vašej hlave,
18:23
without it being cosmetically enhanced.
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bez toho, aby ste museli kozmeticky upravovať, je neuveriteľne ťažké.
18:26
And so therefore, acousticians are actually in conversation with people who are
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A preto sú akustici v kontakte s ľuďmi, ktorí sú sluchovo postihnutí,
18:33
hearing impaired, and who are participators of sound.
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ale ktorí hrajú a sú súčasťou zvuku.
18:39
And this is quite interesting.
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A to je celkom zaujímavé.
18:41
I cannot, you know, give you any detail as far as what is actually happening
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Viete, nemôžem vám povedať žiadne detaily o tých halách, ale
18:47
with those halls, but it's just the fact that they are going to a group of people
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fakt je, že chodia za ľuďmi,
18:53
for whom so many years we've been saying,
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ktorým roky hovorievali,
18:57
"Well, how on Earth can they experience music? You know, they're deaf."
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"Ako môžete vy vnímať hudbu? Veď ste hluchý."
19:00
We just -- we go like that, and we imagine that that's what deafness is about.
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Dáme si ruky na uši a myslíme si, že tak vypadá hluchota.
19:04
Or we go like that, and we imagine that's what blindness is about.
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Dáme si ruky na oči a myslíme si, že tak vypadá slepota.
19:06
If we see someone in a wheelchair, we assume they cannot walk.
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A ak vidíme niekoho na invalidnom vozíku, predpokladáme, že nemôže chodiť.
19:11
It may be that they can walk three, four, five steps. That, to them, means they can walk.
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A pritom možno vie urobiť tri, štyri, päť krokov. Pre nich to znamená, že môžu chodiť.
19:18
In a year's time, it could be two extra steps.
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Za rok k tomu môžu pribudnúť ďalšie dva kroky.
19:22
In another year's time, three extra steps.
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Za ďalší rok tri kroky.
19:25
Those are hugely important aspects to think about.
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Je neuveriteľne dôležité pozrieť sa na to aj z tohto pohľadu.
19:30
So when we do listen to each other,
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Takže keď počúvame jeden druhého,
19:34
it's unbelievably important for us to really test our listening skills,
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je dôležité, aby sme si naozaj otestovali naše schopnosti počúvať.
19:42
to really use our bodies as a resonating chamber, to stop the judgment.
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Aby sme vedeli urobiť z našich tiel rezonančné komory. Aby sme prestali súdiť.
19:47
For me, as a musician who deals with 99 percent of new music,
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Pre mňa ako hudobníčku, ktorá sa stretne s 99 percentami novej hudby,
19:51
it's very easy for me to say, "Oh yes, I like that piece.
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je veľmi ľahké povedať, "Áno, to sa mi páči.
19:54
Oh no, I don't like that piece." And so on.
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Nie, to sa mi nepáči."
19:56
And you know, I just find that I have to give those pieces of music real time.
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Zistila som, že musím dať tým skladbám čas.
20:02
It may be that the chemistry isn't quite right between myself and that particular piece of music,
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Možno len nefunguje chémia medzi mnou a tou konkrétnou skladbou.
20:07
but that doesn't mean I have the right to say it's a bad piece of music.
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Ale to neznamená, že mám právo povedať, že je to zlá skladba.
20:12
And you know, it's just one of the great things about being a musician,
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Viete, jedna z úžasných vecí na tom byť muzikantom je,
20:17
is that it is so unbelievably fluid.
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že je to neuveriteľne premenlivé.
20:21
So there are no rules, no right, no wrong, this way, that way.
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Neexistujú žiadne pravidlá, žiadne správne, žiadne nesprávne, takto a týmto spôsobom.
20:25
If I asked you to clap -- maybe I can do this.
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Možno vám to ukázať takto.
20:30
If I can just say, "Please clap and create the sound of thunder."
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Zatlieskajte. A vytvorte zvuk búrky.
20:36
I'm assuming we've all experienced thunder.
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Predpokladám, že sme všetci zažili búrku.
20:39
Now, I don't mean just the sound;
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A nemyslím len ten zvuk,
20:41
I mean really listen to that thunder within yourselves.
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ale že sme naozaj počuli zvuk hromu v nás.
20:46
And please try to create that through your clapping. Try. Just -- please try.
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Pokúste sa vytvoriť to pomocou tlieskania. Skúste to.
20:51
(Applause)
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(Potlesk)
20:58
Very good! Snow. Snow. Have you ever heard snow?
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Veľmi dobre! Sneh. Sneh. Počuli ste už niekedy sneh?
21:08
Audience: No.
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Publikum: Nie.
21:09
Evelyn Glennie: Well then, stop clapping. (Laughter) Try again.
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Evelyn Glennie: Tak potom prestaňte tlieskať. (Smiech) Skúste znovu.
21:15
Try again. Snow.
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Skúste znovu. Sneh.
21:21
See, you're awake.
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Vidíte, že sa to dá.
21:23
Rain. Not bad. Not bad.
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Dážď. Nie zlé. Nie zlé.
21:32
You know, the interesting thing here, though, is that I asked a group of kids
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Viete, nedávno som položila tie isté otázky
21:36
not so long ago exactly the same question.
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skupine detí.
21:40
Now -- great imagination, thank you very much.
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Skvelá predstavivosť, ďakujem veľmi pekne.
21:44
However, not one of you got out of your seats to think,
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Ale nikto z vás nevstal zo sedadla a nezamyslel sa,
21:47
"Right! How can I clap? OK, maybe ... (Claps)
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"Hm, ako môžem tlieskať? Možno, ...
21:52
Maybe I can use my jewelry to create extra sounds.
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-- možno môžem použiť moje šperky, aby som vytvorila ešte ďalšie zvuky.
21:55
Maybe I can use the other parts of my body to create extra sounds."
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Možno môžem použiť ďalšie časti môjho tela, aby som vytvorila zvuky."
21:59
Not a single one of you thought about clapping in a slightly different way
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Ani jednému z vás nenapadlo tlieskať trochu iným spôsobom,
22:04
other than sitting in your seats there and using two hands.
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ako sedieť na sedadle a použiť dve ruky.
22:08
In the same way that when we listen to music,
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Rovnakým spôsobom, keď počúvame hudbu,
22:10
we assume that it's all being fed through here.
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predpokladáme, že sa k nám dostane tadiaľto.
22:14
This is how we experience music. Of course it's not.
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Takto vnímame hudbu. Samozrejme, že nie.
22:18
We experience thunder -- thunder, thunder. Think, think, think.
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Vnímame búrku -- búrku, búrku. Rozmýšľame, rozmýšľame..
22:22
Listen, listen, listen. Now -- what can we do with thunder?
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Počúvame, počúvame. A teraz - čo môžeme urobiť s búrkou?
22:29
I remember my teacher. When I first started, my very first lesson,
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Pamätám si môjho učiteľa. Keď sme začali moju prvú hodinu,
22:34
I was all prepared with sticks, ready to go.
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bola som pripravená s paličkami, pripravená hrať.
22:38
And instead of him saying, "OK, Evelyn, please, feet slightly apart,
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A on namiesto toho, aby mi povedal, "OK, Evelyn, prosím ťa. Nohy trochu od seba,
22:43
arms at a more-or-less 90 degree angle, sticks in a more-or-less V shape,
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ruky vo viac menej 90 stupňovom uhle, paličky viac menej v tvare V,
22:49
keep this amount of space here, etc.
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udržiavaj si tu takýto priestor, a tak ďalej.
22:52
Please keep your back straight, etc., etc., etc." --
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Narovnaj si chrbát, a tak ďalej, a tak ďalej."
22:54
where I was probably just going to end up absolutely rigid, frozen,
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Skončila by som úplne zmrazená,
22:58
and I would not be able to strike the drum,
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neschopná udrieť do bubna,
23:00
because I was thinking of so many other things -- he said,
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pretože by som rozmýšľala o všetkých tých veciach. On ale povedal,
23:02
"Evelyn, take this drum away for seven days, and I'll see you next week."
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"Evelyn, vezmi si tento bubon domov na sedem dní, uvidíme sa o týždeň."
23:07
So, heavens! What was I to do? I no longer required the sticks;
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Preboha! Čo budem robiť? Nepotrebovala som paličky,
23:12
I wasn't allowed to have these sticks.
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nedovolil mi použiť paličky.
23:14
I had to basically look at this particular drum,
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Musela som si obzrieť ten bubon,
23:18
see how it was made, what these little lugs did, what the snares did.
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zistiť, z čoho sa skladá, na čo sú tieto malé výstupky, čo robí strunník.
23:23
Turned it upside down, experimented with the shell, experimented with the head.
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Otočila som ho hore nohami, experimentovala som s telom aj s blanou.
23:30
Experimented with my body, experimented with jewelry,
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Experimentovala som s mojím telom, so šperkami,
23:36
experimented with all sorts of things.
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so všetkým možným.
23:48
And of course, I returned with all sorts of bruises and things like that --
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Vrátila som sa s pár modrinami a odreninami --
23:51
but nevertheless, it was such an unbelievable experience,
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ale napriek tomu to bol tak neuveriteľný zážitok,
23:56
because then, where on Earth are you going to experience that in a piece of music?
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pretože ako môžete také niečo zažiť, keď na ten bubon hráte?
24:01
Where on Earth are you going to experience that in a study book?
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Ako môžete také niečo zažiť pri čítaní učebnice?
24:05
So we never, ever dealt with actual study books.
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A tak sme sa nikdy nezaoberali učebnicami.
24:08
So for example, one of the things that we learn
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Napríklad, jedna z vecí, ktoré sa učíme,
24:11
when we are dealing with being a percussion player, as opposed to a musician,
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keď z nás vychovávajú hráča na perkusie, na rozdiel od muzikanta,
24:17
is basically straightforward single stroke rolls.
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je v podstate obyčajné vírenie jednoduchými údermi.
24:24
Like that. And then we get a little faster and a little faster and a little faster.
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Také niečo. A potom to zrýchlime a zrýchlime a zrýchlime.
24:31
And so on and so forth. What does this piece require?
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A tak ďalej. Čo táto skladba vyžaduje?
24:34
Single stroke rolls. So why can't I then do that whilst learning a piece of music?
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Jednoduché údery. Prečo by som ich teda nemohla robiť v rámci učenia sa skladby?
24:42
And that's exactly what he did.
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A to je presne to, čo sme robili.
24:45
And interestingly, the older I became, and when I became a full-time student
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Keď som vyrástla a stala som sa študentkou
24:50
at a so called "music institution," all of that went out of the window.
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na takzvanej "hudobnej škole", všetko to šlo von z okna.
24:56
We had to study from study books.
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Museli sme študovať z učebníc.
24:58
And constantly, the question, "Well, why? Why? What is this relating to?
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A stále som sa pýtala prečo, prečo? Prečo? K čomu sa to viaže?
25:02
I need to play a piece of music." "Oh, well, this will help your control!"
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Potrebujem zahrať túto skladbu. "Nuž, toto pomôže tvojmu ovládaniu!"
25:06
"Well, how? Why do I need to learn that? I need to relate it to a piece of music.
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Ale ako? Prečo sa to musím učiť? Potrebujem si to spojiť s nejakou skladbou.
25:11
You know. I need to say something.
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Viete. Potrebovala som niečo povedať.
25:14
"Why am I practicing paradiddles?
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Prečo precvičujem paradidle?
25:20
Is it just literally for control, for hand-stick control? Why am I doing that?
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Je to doslova na ovládanie, na lepšie ovládanie paličky rukou? Prečo to robím?
25:25
I need to have the reason,
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Potrebovala som dôvod
25:28
and the reason has to be by saying something through the music."
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a ten dôvod mal byť vyjadriť niečo hudbou.
25:33
And by saying something through music, which basically is sound,
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A keď vyjadríme niečo hudbou, ktorá je v podstate zvuk,
25:38
we then can reach all sorts of things to all sorts of people.
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môžeme sa dotknúť ľudí rôznymi spôsobmi.
25:43
But I don't want to take responsibility of your emotional baggage.
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Nechcem byť zodpovedná za vaše emocionálne zaťaženie.
25:46
That's up to you, when you walk through a hall.
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To je na vás, keď prechádzate sálou.
25:48
Because that then determines what and how we listen to certain things.
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Ale to potom určuje, čo a ako počúvame.
25:54
I may feel sorrowful, or happy, or exhilarated, or angry when I play
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Možno sa cítim smutná, alebo šťastná, alebo veselá, alebo nahnevaná,
26:00
certain pieces of music, but I'm not necessarily
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keď hrám určité skladby, ale nemusím nutne chcieť
26:02
wanting you to feel exactly the same thing.
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preniesť ten pocit na vás.
26:06
So please, the next time you go to a concert,
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Takže prosím, keď pôjdete nabudúce na koncert,
26:09
just allow your body to open up, allow your body to be this resonating chamber.
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dovoľte svojmu telu otvoriť sa, dovoľte svojmu telu byť rezonančnou komorou.
26:16
Be aware that you're not going to experience the same thing as the performer is.
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Uvedomte si, že vy nevnímate zvuk tak, ako hudobník.
26:21
The performer is in the worst possible position for the actual sound,
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Umelec je pre zvuk na tom najhoršom mieste,
26:25
because they're hearing the contact of the stick on the drum,
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počuje ako sa paličky dotýkajú bubna,
26:31
or the mallet on the bit of wood, or the bow on the string, etc.,
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alebo kúskov dreva, alebo počuje sláčik strún, a tak ďalej.
26:35
or the breath that's creating the sound from wind and brass.
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Alebo vzduch, ktorý vytvára zvuk u dychových a plechových nástrojov.
26:39
They're experiencing that rawness there.
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Oni tam cítia aj tú surovosť.
26:41
But yet they're experiencing something so unbelievably pure,
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Ale na druhej strane vnímajú niečo tak neuveriteľne čisté,
26:45
which is before the sound is actually happening.
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a to ten moment pred tým, ako sa vytvorí zvuk.
26:49
Please take note of the life of the sound after the actual initial strike,
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Prosím všimnite si zrodenie zvuku po prvom dopade
26:55
or breath, is being pulled. Just experience the whole journey of that sound
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alebo výdychu. Vnímajte celú cestu toho zvuku
27:02
in the same way that I wished I'd experienced the whole journey
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rovnakým spôsobom, ako som si ja priala prežiť vývoj
27:06
of this particular conference, rather than just arriving last night.
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tejto konferencie, a nielen príchod sem včera večer.
27:11
But I hope maybe we can share one or two things as the day progresses.
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Dúfam, že sa počas dňa ešte budeme môcť podeliť o nejaké svoje zážitky.
27:15
But thank you very much for having me!
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Ďakujem, že som tu mohla byť!
27:18
(Applause)
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(Potlesk)
ABOUT THE SPEAKER
Evelyn Glennie - MusicianPercussionist and composer Dame Evelyn Glennie lost nearly all of her hearing by age 12. Rather than isolating her, it has given her a unique connection to her music.
Why you should listen
Dame Evelyn Glennie's music challenges the listener to ask where music comes from: Is it more than simply a translation from score to instrument to audience?
The Grammy-winning percussionist and composer became almost completely deaf by the age of 12, but her hearing loss brought her a deeper understanding of and connection to the music she loves. She's the subject of the documentary Touch the Sound, which explores this unconventional and intriguing approach to percussion.
Along with her vibrant solo career, Glennie has collaborated with musicians ranging from classical orchestras to Björk. Her career has taken her to hundreds of concert stages around the world, and she's recorded a dozen albums, winning a Grammy for her recording of Bartók's Sonata for Two Pianos and Percussion, and another for her 2002 collaboration with Bela Fleck.
Her passion for music and musical literacy brought her to establish, in collaboration with fellow musicians Julian Lloyd Weber and Sir James Galway, the Music Education Consortium, which successfully lobbied for an investment of 332 million pounds in music education and musical resources in Britain.
Evelyn Glennie | Speaker | TED.com