TED2003
Evelyn Glennie: How to truly listen
Evelyn Glennie 展示关于听的艺术
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在这个令人高涨的表演中，聋人打击乐演奏艺术家Evelyn Glennie 展示了，听音乐不仅仅是简单的声波振动耳膜的过程。
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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我一点也不确定是否我自己愿意看到
00:29
a snare drum at nine o'clock or so in the morning.
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小军鼓，在晚上九点以后或是早晨
00:33
But anyway, it's just great to see such a full theater,
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不论如何，非常荣幸看到座无虚席
00:37
and really I must thank Herbie Hancock
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也衷心的感谢 Herbie Hancock
00:39
and his colleagues for such a great presentation. (Applause)
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以及他的同事为了这个伟大的表演所付出的的所有努力
00:43
One of the interesting things,
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很有趣的一件事
00:47
of course, is the combination of that raw hand on the instrument
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当然，是双手和表演乐器技艺的完美结合
00:53
and technology, and of course what he said about listening to our young people.
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以及如他所说聆听我们年轻人
01:00
Of course, my job is all about listening,
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当然 我的工作全部是与听有关的
01:05
and my aim, really, is to teach the world to listen.
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事实上，我的目标，是让世界学会聆听
01:11
That's my only real aim in life.
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那是我生命的唯一目标
01:15
And it sounds quite simple, but actually it's quite a big, big job.
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这听起来很简单，但是确实是一个很艰巨的工作，非常艰巨
01:21
Because you know, when you look at a piece of music -- for example,
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因为你知道，举个例子，当你看到一段音乐
01:27
if I just open my little motorbike bag -- we have here, hopefully,
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现在让我来打开我的小机车包，希望能找到
01:35
a piece of music that is full of little black dots on the page.
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一份画满了黑色小圆点的乐谱
01:41
And, you know, we open it up and I read the music.
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打开它，然后读这段音乐
01:49
So technically, I can actually read this.
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技术上来说，的确，我可以读懂它
01:54
I will follow the instructions, the tempo markings, the dynamics.
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我会根据乐谱上的拍子和节奏
01:58
I will do exactly as I'm told.
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演奏它，一字不拉地按照我所读到的
02:03
And so therefore, because time is short,
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在这里，由于时间的关系
02:06
if I just play you literally the first maybe two lines or so. It's very straightforward.
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请允许我逐字的演奏前面的一两行。它很容易理解
02:15
There's nothing too difficult about the piece.
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这一段也一点都不难
02:16
But here I'm being told that the piece of music is very quick.
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但是到这里，让我看一下，这段音乐节奏很快
02:20
I'm being told where to play on the drum.
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根据乐谱，我知道该敲哪里
02:24
I'm being told which part of the stick to use.
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该用鼓棒的哪一部分演奏
02:29
And I'm being told the dynamic.
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该用怎样的强弱力度
02:31
And I'm also being told that the drum is without snares.
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我发现这个小军鼓响弦是放下的
02:36
Snares on, snares off.
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锁上响弦，放下响弦
02:39
So therefore, if I translate this piece of music, we have this idea. (Music)
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因此，如果我把从乐谱上所读到的东西转移到乐器上，会是这种感觉
03:18
And so on. My career would probably last about five years.
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诸如此类。 我的职业很有可能只能持续五年左右
03:24
However, what I have to do as a musician is do everything that is not on the music.
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但是 作为音乐家，我所做的一切却与音乐没有半点关系
03:32
Everything that there isn't time to learn from a teacher,
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来不及向老师学习的事
03:38
or to talk about, even, from a teacher.
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甚至是无法与老师谈及的事
03:41
But it's the things that you notice when you're not actually with your instrument
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但这是当你并不和你的乐器在一起时，你会发现的事
03:46
that in fact become so interesting, and that you want to explore
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事实上变得很有趣，接着你想探索
03:51
through this tiny, tiny surface of a drum.
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通过这个很小小的鼓面
03:55
So there, we experience the translation. Now we'll experience the interpretation. (Music) (Applause)
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刚刚，我们感受了一个把乐谱翻译到乐器上的过程。 现在我们来感受一下演奏的过程
04:50
Now my career may last a little longer!
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现在我的职业生涯或许可以持续的长一点了。
04:58
But in a way, you know, it's the same if I look at you and I see
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但是其实是一样的，如果我观察一下您，我会看到
05:03
a nice bright young lady with a pink top on.
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一个戴着粉色帽子的靓丽女士
05:06
I see that you're clutching a teddy bear, etc., etc.
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您正在抓着一个泰迪熊，等等等等
05:10
So I get a basic idea as to what you might be about, what you might like,
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所以我会得到一个基本的个人印象，比如您可能是个怎样的人，您的爱好是什么
05:15
what you might do as a profession, etc., etc.
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您的职业，等等等等
05:20
However, that's just, you know, the initial idea I may have that we all get
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但是，众所周至，这样的初次印象每个人都会得到
05:26
when we actually look, and we try to interpret,
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当大家在观察的时候。然后我们试图解释
05:29
but actually it's so unbelievably shallow.
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但是，事实上，这是很表面的
05:31
In the same way, I look at the music; I get a basic idea;
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同样地，当我看一段音乐的时候，我得到一个基本的概念
05:34
I wonder what technically might be hard, or, you know, what I want to do.
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我在想，什么将会是技术上的难关，我到底要怎么处理
05:39
Just the basic feeling.
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一些最初的感受
05:41
However, that is simply not enough.
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但是，这完全不够
05:43
And I think what Herbie said -- please listen, listen.
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我在想Herbie的话 请听一听
05:47
We have to listen to ourselves, first of all.
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首先，我们必须聆听我们自己
05:51
If I play, for example, holding the stick -- where literally I do not let go of the stick --
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举个例子，当我拿着鼓棒，事实上我没有松开它
06:01
you'll experience quite a lot of shock coming up through the arm.
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你能通过手臂感受到强烈的震动
06:05
And you feel really quite -- believe it or not --
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你会确确实实地感受到，信不信由你，
06:07
detached from the instrument and from the stick,
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与乐器本身以及鼓棒是分离的
06:10
even though I'm actually holding the stick quite tightly.
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然而事实上，我正紧紧的握着鼓棒
06:16
By holding it tightly, I feel strangely more detached.
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紧紧的握着它，奇怪的是我却感受到更多的分离感
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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如果我松开一些，让我的手和手臂作为更好的支撑
06:27
suddenly I have more dynamic with less effort. Much more.
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突然，我用相对少的力气得到更多的动力，多得多
06:36
And I just feel, at last, one with the stick and one with the drum.
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最后我感觉到，一个离鼓槌很近，一个离鼓很近
06:41
And I'm doing far, far less.
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我做的越来越少
06:43
So in the same way that I need time with this instrument,
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所以相同的道理，我需要时间与乐器一起
06:46
I need time with people in order to interpret them.
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我需要时间和人们在一起才能去了解阐释他们
06:52
Not just translate them, but interpret them.
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不仅仅是从表面上翻译它，而是演绎它。
06:54
If, for example, I play just a few bars of a piece of music
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例如，我来演奏一点音乐的片段
07:02
for which I think of myself as a technician --
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从我把自己看做是个会这门技术的人的角度来看
07:07
that is, someone who is basically a percussion player ... (Music)
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后者，人们称之为打击乐演奏者
07:24
And so on. If I think of myself as a musician ... (Music)
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等等......如果从我把自己看做一个音乐家的角度
07:50
And so on. There is a little bit of a difference there that is worth just -- (Applause)
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等等......但即便是有些许的不同，那也值得
07:57
-- thinking about.
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仔细想一想
07:59
And I remember when I was 12 years old,
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我记得在我12岁的时候
08:02
and I started playing tympani and percussion, and my teacher said,
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我开始演奏定音鼓和打击乐，我的老师说
08:08
"Well, how are we going to do this? You know, music is about listening."
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“我们怎么开始去做呢？ 你知道，音乐与听是密切相关的”
08:14
And I said, "Yes, I agree with that. So what's the problem?"
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“当然，我同意您的观点。所以问题在哪呢？”
08:18
And he said, "Well, how are you going to hear this? How are you going to hear that?"
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他说：“那么，你怎样来听这个，怎样来听那个呢？”
08:23
And I said, "Well, how do you hear it?"
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我说：“那么，您是怎样听的呢？”
08:25
He said, "Well, I think I hear it through here."
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他说：“我想我是通过这儿来听的。”
08:29
And I said, "Well, I think I do too -- but I also hear it through my hands,
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我说：“我想我也是，但是我还通过我的手来听。”
08:34
through my arms, cheekbones, my scalp, my tummy, my chest, my legs and so on."
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以及我的手臂，颧骨，头皮，胃，胸部，我的腿等等
08:41
And so we began our lessons every single time tuning drums --
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从那以后，每节课的一开始，我们都会调整鼓
08:47
in particular, the kettle drums, or tympani --
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尤其是定音鼓
08:50
to such a narrow pitch interval, so something like ...
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使其处于很窄的音域里，就像这样
08:59
that of a difference. Then gradually ... and gradually ...
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有些许不同 。然后逐渐的变化，一点一点地
09:06
and it's amazing that when you do open your body up,
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令人惊奇的是，当你的身体完全打开
09:11
and open your hand up to allow the vibration to come through,
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张开双手使震动穿过
09:15
that in fact the tiny, tiny difference ...
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事实上，极为微小的不同
09:19
can be felt with just the tiniest part of your finger, there.
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都可以被你手指上最微小的部分感知
09:25
And so what we would do is that I would put my hands on the wall
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因此，我们常做的就是我会把双手贴在
09:29
of the music room, and together we would "listen" to the sounds of the instruments,
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音乐教室的墙上，这样就能听到乐器所发出的声音
09:36
and really try to connect with those sounds
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仔细地感受那些声音
09:39
far, far more broadly than simply depending on the ear.
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效果远远好于只是依靠耳朵
09:44
Because of course, the ear is, I mean, subject to all sorts of things.
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这当然是因为，我是说，耳朵受制于很多因素
09:48
The room we happen to be in, the amplification, the quality of the instrument,
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我们现在所在的房间，扩音效果，乐器的音效
09:53
the type of sticks ... etc., etc.
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鼓棒，等等等等
10:03
They're all different.
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都是不一样的
10:11
Same amount of weight, but different sound colors.
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同样的重量，但是不同的声音色彩
10:16
And that's basically what we are. We're just human beings,
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就如同我们一样，我们是普通的人类
10:18
but we all have our own little sound colors, as it were,
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但我们都有自己本身独特的，不易察觉的声音色彩
10:21
that make up these extraordinary personalities
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组成了人的独特的个性
10:24
and characters and interests and things.
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特点以及对事物的不同兴趣
10:27
And as I grew older, I then auditioned for the Royal Academy of Music in London,
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当我年纪大些，我参加了伦敦皇家音乐学院的甄选
10:33
and they said, "Well, no, we won't accept you, because we haven't a clue,
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他们说：“恩，不，我们不能录取你，因为我们没有先例
10:37
you know, of the future of a so-called 'deaf' musician."
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你知道，培养一位将来的，所谓的‘失聪’音乐家。”
10:42
And I just couldn't quite accept that.
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我无法接受这样的解释
10:46
And so therefore, I said to them, "Well, look, if you refuse --
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因此，我对他们说：“看着吧，如果你们
10:53
if you refuse me through those reasons,
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是因为那些原因拒绝我
10:56
as opposed to the ability to perform and to understand and love
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却忽略了表演的能力，对音乐的理解
11:05
the art of creating sound --
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以及对创造音乐艺术的挚爱
11:08
then we have to think very, very hard about the people you do actually accept."
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我真想象不出，到底你们想要招收的学生是怎样的
11:14
And as a result -- once we got over a little hurdle, and having to audition twice --
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结果就是，我们跨过一个很小的障碍，获得了再次甄选的机会
11:20
they accepted me. And not only that --
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他们录取了我。结果还不仅如此
11:24
what had happened was that it changed the whole role
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在当时，它改变了
11:28
of the music institutions throughout the United Kingdom.
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英国范围内所有音乐学院的整个角色
11:32
Under no circumstances were they to refuse any application whatsoever on the basis of
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在任何情况下，他们都不能拒绝任何申请者
11:41
whether someone had no arms, no legs --
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仅仅基于他有没有胳膊或者腿等等
11:43
they could still perhaps play a wind instrument if it was supported on a stand.
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他们很可能仍然可以演奏管乐器，只要乐器支好
11:47
No circumstances at all were used to refuse any entry.
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无论任何情况，都不应该习惯于去决绝任何申请
11:54
And every single entry had to be listened to, experienced and then
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每一个都申请者都应该被聆听，被感受，
11:59
based on the musical ability -- then that person could either enter or not.
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基于音乐上的才能，然后再决定这个人是否被录取
12:07
So therefore, this in turn meant that there was an extremely interesting
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这就意味着，有相当一部分有趣的学生
12:13
bunch of students who arrived in these various music institutions.
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能够在这些多元化的音乐学院学习
12:17
And I have to say, many of them now
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我不得不说， 现在他们当中的很多人
12:20
in the professional orchestras throughout the world.
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遍布于世界各地的专业管弦乐团
12:24
The interesting thing about this as well, though --
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但是，有意思的也是
12:26
(Applause) --
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（鼓掌）
12:31
is quite simply that not only were people connected with sound --
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其实很简单，人们不仅仅于声音连系在一起
12:37
which is basically all of us, and we well know that music really is our daily medicine.
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基本上是我们所有的人，我们都深知音乐其实是我们的生活良药
12:44
I say "music," but actually I mean "sound."
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我所说的音乐，其实就是指声音
12:47
Because you know, some of the extraordinary things I've experienced
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其实，我所经历的一些非比寻常的事情
12:50
as a musician, when you may have a 15-year-old lad
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作为一个音乐家，你可能有一个15岁的男孩
12:55
who has got the most incredible challenges,
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他有很多不可思议的挑战
13:00
who may not be able to control his movements,
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他可能无法控制自己的行动
13:03
who may be deaf, who may be blind, etc., etc. --
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也有可能是失聪的，失明的等等等等
13:06
suddenly, if that young lad sits close to this instrument,
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突然，如果这个年轻的小伙子坐在乐器旁边
13:12
and perhaps even lies underneath the marimba,
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甚至躺在木琴底下
13:15
and you play something that's so incredibly organ-like, almost --
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然后你弹奏一个非常像木琴的声音
13:21
I don't really have the right sticks, perhaps --
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可能我拿的鼓棒不对
13:24
but something like this. Let me change. (Music)
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但和这个差不多。 换一下
14:18
Something that's so unbelievably simple --
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一些特别简单的
14:19
but he would be experiencing something that I wouldn't be,
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但，他可能感受到我所不能感受到的东西
14:25
because I'm on top of the sound.
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因为我在声音的上方
14:27
I have the sound coming this way.
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声音从这个方向传来
14:30
He would have the sound coming through the resonators.
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而对他来说，声音是从共鸣器里传来的
14:33
If there were no resonators on here, we would have ... (Music)
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如果没有共振器的话，
14:43
So he would have a fullness of sound that those of you in the front few rows
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他可能会听到一个饱满的声音，而坐在前排的你们
14:47
wouldn't experience, those of you in the back few rows wouldn't experience either.
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不一定能感受到这样的声音，当然，后排也不会
14:51
Every single one of us, depending on where we're sitting,
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我们每一个人，取决于我们坐在哪里。
14:54
will experience this sound quite, quite differently.
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对于同一声音都会有完全不同的感觉
14:58
And of course, being the participator of the sound,
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当然，作为创造声音的参与者
15:01
and that is starting from the idea of what type of sound I want to produce --
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这始于我想创造怎样的声音
15:07
for example, this sound.
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例如，这个声音
15:16
Can you hear anything?
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你们能听到什么
15:19
Exactly. Because I'm not even touching it.
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没错，因为我还没有碰到它呢
15:22
But yet, we get the sensation of something happening.
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但是，我们感觉到有什么事情在发生
15:28
In the same way that when I see tree moves,
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同样地，当我看到树在动时
15:30
then I imagine that tree making a rustling sound.
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我可以想象到，树发出瑟瑟的声音
15:34
Do you see what I mean?
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明白我的意思吗
15:36
Whatever the eye sees, then there's always sound happening.
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无论眼睛看到什么，总有声音随之进行
15:40
So there's always, always that huge --
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因此，常常会有
15:44
I mean, just this kaleidoscope of things to draw from.
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确切地说，千变万化的东西作为我的声音源泉
15:49
So all of my performances are based on entirely what I experience,
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因此，我所有的表演都基于我的一些经历
15:55
and not by learning a piece of music, putting on someone else's interpretation of it,
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学会一段音乐，不是加入别人的理解
15:59
buying all the CDs possible of that particular piece of music, and so on and so forth.
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或是研究一些与那段音乐有关的光盘，等等等等
16:04
Because that isn't giving me enough of something that is so raw and so basic,
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因为那样不会让我接触到最原始的东西
16:10
and something that I can fully experience the journey of.
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那种让我可以完全感受过程的东西
16:16
So it may be that, in certain halls, this dynamic may well work. (Music)
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所以很有可能，在某些演奏厅里，这样的强弱力度会很不错
16:34
It may be that in other halls, they're simply not going to experience that
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可能在其他地方，人们肯能一点也不会有那样的感受了
16:38
at all and so therefore, my level of soft,
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因此，我发出的轻声，
16:41
gentle playing may have to be ... (Music)
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柔和的声音可能是这样的
17:08
Do you see what I mean? So, because of this explosion in access to sound,
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明白我的意思了吗? 因此，就因为获取声音的这个特别因素
17:15
especially through the deaf community,
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特别是对于聋人群体来说
17:17
this has not only affected how music institutions,
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这不仅仅影响了聋人音乐学院
17:22
how schools for the deaf treat sound -- and not just as a means of therapy --
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处理声音的方式。 同时也不仅仅是治疗的一种方式而已
17:28
although of course, being a participator of music,
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当然，作为一个音乐的参与者
17:31
that definitely is the case as well.
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我完全同意这样的观点
17:34
But it's meant that acousticians have had to really think about the types of halls
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但这意味着，声学工作者需要去仔细考虑一下演奏厅的类型
17:41
they put together. There are so few halls in this world
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他们所选择的。 在这个世界上，很少有演奏厅
17:46
that actually have very good acoustics,
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有很棒的音响效果
17:50
dare I say. But by that I mean where you can absolutely do anything you imagine.
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我敢说。 但即便如此，你仍然可以展开想象的翅膀，去做任何事
17:56
The tiniest, softest, softest sound to something that is so broad,
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最微小，最轻柔的声音对某些东西来说或许它很广阔
18:01
so huge, so incredible! There's always something --
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很巨大，无法想象。 总有一些东西
18:06
it may sound good up there, may not be so good there.
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在这儿或许听着很不错，在那儿了又或许不那么好
18:08
May be great there, but terrible up there.
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在那儿或许很棒，但在上边却糟糕透顶
18:10
Maybe terrible over there, but not too bad there, etc., etc.
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在那儿简直是个噩梦，但在这儿听着还不错呢 ，等等等等
18:14
So to find an actual hall is incredible
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所以找到一个真正意义上合适的演奏大厅是不可能的
18:19
-- for which you can play exactly what you imagine,
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像你想象到的那样的效果
18:23
without it being cosmetically enhanced.
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并非表面上的修饰和放大
18:26
And so therefore, acousticians are actually in conversation with people who are
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因此，事实上，声音工作者是在和一些
18:33
hearing impaired, and who are participators of sound.
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听力受损的人们探讨这个问题，事实上他们也是声音的参与者
18:39
And this is quite interesting.
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这一点其实很有趣
18:41
I cannot, you know, give you any detail as far as what is actually happening
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我还不能透露目前的进展如何
18:47
with those halls, but it's just the fact that they are going to a group of people
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关于演奏厅的效果，但意义重大的是，他们正向这样一群人寻求帮助
18:53
for whom so many years we've been saying,
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多年来我们常常议论的这样一群人
18:57
"Well, how on Earth can they experience music? You know, they're deaf."
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“瞧，到底他们怎样感知音乐呢？要知道，他们可是失聪的。”
19:00
We just -- we go like that, and we imagine that that's what deafness is about.
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我们一直这样，我们想象着聋人应该是怎样的
19:04
Or we go like that, and we imagine that's what blindness is about.
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或者我们也这样，我们想象着失明的人应该是怎样的
19:06
If we see someone in a wheelchair, we assume they cannot walk.
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当我们看到有人坐在轮椅上，我们就认为他们不会走路
19:11
It may be that they can walk three, four, five steps. That, to them, means they can walk.
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或许，事实上他们可以走上好几步。 而这，对他们来说，意味着
19:18
In a year's time, it could be two extra steps.
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或许一年以后，他们可以一次多走两步
19:22
In another year's time, three extra steps.
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再过一年，他们可以多走三步
19:25
Those are hugely important aspects to think about.
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这其实是很值得好好思考的地方
19:30
So when we do listen to each other,
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因此，当我们真正彼此倾听的时候
19:34
it's unbelievably important for us to really test our listening skills,
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我们应该先测测自己倾听的本领
19:42
to really use our bodies as a resonating chamber, to stop the judgment.
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真正地把我们的身体作为共鸣腔。 停止表面的判断
19:47
For me, as a musician who deals with 99 percent of new music,
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对我来说，作为一个99%都在与新音乐打交道的音乐家
19:51
it's very easy for me to say, "Oh yes, I like that piece.
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要说出“噢，对，我喜欢这首。
19:54
Oh no, I don't like that piece." And so on.
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噢，不，我不喜欢那首。”等等这样的话是很容易的事
19:56
And you know, I just find that I have to give those pieces of music real time.
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但我发现我应该给与那些音乐更多时间的关注
20:02
It may be that the chemistry isn't quite right between myself and that particular piece of music,
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有可能，仅仅是我和那首歌之间并没有很好的化学反应
20:07
but that doesn't mean I have the right to say it's a bad piece of music.
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但这并不代表着我有权利评价，这不是首好曲子
20:12
And you know, it's just one of the great things about being a musician,
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其实，这是作为音乐家感觉最棒的一点
20:17
is that it is so unbelievably fluid.
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是种让人难以想象的液体
20:21
So there are no rules, no right, no wrong, this way, that way.
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因此，没有规则，没有对错，没有这样那样的方式
20:25
If I asked you to clap -- maybe I can do this.
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如果我让大家发出拍击声，或许我可以这么做
20:30
If I can just say, "Please clap and create the sound of thunder."
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如果我说：“请大家发出拍击声。” 发出打雷般的声音
20:36
I'm assuming we've all experienced thunder.
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假设大家都知道打雷是怎样的声音
20:39
Now, I don't mean just the sound;
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现在，我说的不是声音本身
20:41
I mean really listen to that thunder within yourselves.
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我所说的意味着真正地全身心地去听雷声
20:46
And please try to create that through your clapping. Try. Just -- please try.
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然后通过拍击发出打雷般的声音，请大家试一试
20:51
(Applause)
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（鼓掌）
20:58
Very good! Snow. Snow. Have you ever heard snow?
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很好！那么下雪的声音呢，大家听过吗？
21:08
Audience: No.
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观众：没有
21:09
Evelyn Glennie: Well then, stop clapping. (Laughter) Try again.
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Evelyn Glennie：那么，停下来吧。（笑声）再试一试
21:15
Try again. Snow.
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试一试 ，下雪的声音
21:21
See, you're awake.
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看吧，大家睡醒了
21:23
Rain. Not bad. Not bad.
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下雨的声音呢？ 还不错，还不错
21:32
You know, the interesting thing here, though, is that I asked a group of kids
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大家知道吗，其实很有意思的是，我曾经也让一群孩子
21:36
not so long ago exactly the same question.
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不久以前做过完全一样的事情
21:40
Now -- great imagination, thank you very much.
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现在，非常好的想象力，谢谢大家
21:44
However, not one of you got out of your seats to think,
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然而，你们中没有一个人离开座位去想一想
21:47
"Right! How can I clap? OK, maybe ... (Claps)
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“好，该怎样发出拍击声呢？好的，或许......
21:52
Maybe I can use my jewelry to create extra sounds.
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或许我可以用随身的配饰去创造些不一样的声音
21:55
Maybe I can use the other parts of my body to create extra sounds."
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又或许我可以用身体的其他部位发出一些其他声音
21:59
Not a single one of you thought about clapping in a slightly different way
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没有一个人尝试用些许不一样的方式发出拍击声
22:04
other than sitting in your seats there and using two hands.
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除了坐在座位上，拍动自己的双手
22:08
In the same way that when we listen to music,
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当我们听音乐其实也是同样的道理
22:10
we assume that it's all being fed through here.
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我们以为我们只能通过这里感受它
22:14
This is how we experience music. Of course it's not.
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这就是我们如何感受音乐。 当然事实并非如此
22:18
We experience thunder -- thunder, thunder. Think, think, think.
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我们感受雷声——雷声，雷声，想一想
22:22
Listen, listen, listen. Now -- what can we do with thunder?
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听一听 现在，我们怎样处理雷声呢？
22:29
I remember my teacher. When I first started, my very first lesson,
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我记得我的一位老师，当我开始学习音乐的时候，我最早的课程
22:34
I was all prepared with sticks, ready to go.
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我准备好了鼓棒，信心满满
22:38
And instead of him saying, "OK, Evelyn, please, feet slightly apart,
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然而，他却说：“好的，Evelyn ，双脚略微分开，
22:43
arms at a more-or-less 90 degree angle, sticks in a more-or-less V shape,
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双臂大约成90度，保持鼓棒成大约v字形
22:49
keep this amount of space here, etc.
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保持这样的空间，等等
22:52
Please keep your back straight, etc., etc., etc." --
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把背挺直，等等等等”
22:54
where I was probably just going to end up absolutely rigid, frozen,
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当时，最后我变得很僵硬，像被冻住了一样
22:58
and I would not be able to strike the drum,
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我也很可能不能学会敲鼓
23:00
because I was thinking of so many other things -- he said,
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因为我一直在想着其他的事情，他对我说：
23:02
"Evelyn, take this drum away for seven days, and I'll see you next week."
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“Evelyn，把这个鼓带回去七天，我下周再来看你。”
23:07
So, heavens! What was I to do? I no longer required the sticks;
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我的天哪！我该怎么做呢？我不能再要拿鼓棒了
23:12
I wasn't allowed to have these sticks.
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老师不允许我用这些鼓棒了
23:14
I had to basically look at this particular drum,
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我只能看着这个鼓
23:18
see how it was made, what these little lugs did, what the snares did.
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研究一下它是怎么做成的，小把手是做什么用的，响弦有是干什么的
23:23
Turned it upside down, experimented with the shell, experimented with the head.
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把它翻过来，试试它的外壳，它的鼓面
23:30
Experimented with my body, experimented with jewelry,
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用我的身体尝试敲打他，用我的配饰
23:36
experimented with all sorts of things.
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用一切可以用的东西尝试
23:48
And of course, I returned with all sorts of bruises and things like that --
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当然，结果是归还的时候，我伤痕累累
23:51
but nevertheless, it was such an unbelievable experience,
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不过，这是一次非常特别的经历
23:56
because then, where on Earth are you going to experience that in a piece of music?
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因为那段经历，在一段音乐中，究竟在哪里你能有那样的感受呢
24:01
Where on Earth are you going to experience that in a study book?
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在一本教科书中，究竟在哪里你能有那样的感受呢？
24:05
So we never, ever dealt with actual study books.
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因此，我们从来没有真正地在研究教科书上的东西
24:08
So for example, one of the things that we learn
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举个例子，我们曾经学过一种演奏方法
24:11
when we are dealing with being a percussion player, as opposed to a musician,
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作为一个打击乐演奏家，而并非音乐家，当我们处理音乐的时候
24:17
is basically straightforward single stroke rolls.
265
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就是最基本的单击滚奏（专业术语）
24:24
Like that. And then we get a little faster and a little faster and a little faster.
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像这样 然后快一些，再快一些，再快一些
24:31
And so on and so forth. What does this piece require?
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诸如此类 这段该怎样呢？
24:34
Single stroke rolls. So why can't I then do that whilst learning a piece of music?
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单击滚奏。 那么为什么我不可以在学一段音乐的首用这种手法呢？
24:42
And that's exactly what he did.
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那正是他所做的
24:45
And interestingly, the older I became, and when I became a full-time student
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有意思的是，随着年龄的增长，当我成为了专业学生以后
24:50
at a so called "music institution," all of that went out of the window.
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在所谓的“音乐学院”，那些疑惑都消失了
24:56
We had to study from study books.
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我们开始学习书本
24:58
And constantly, the question, "Well, why? Why? What is this relating to?
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“为什么？为什么？学这些有什么用呢？”这些问题常常出现在我的脑海里
25:02
I need to play a piece of music." "Oh, well, this will help your control!"
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我需要去演奏音乐。“噢，学习这些会帮住你学会控制！”
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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那么，怎么用它学会控制？为什么我需要学这些？我需要把它和音乐联系起来
25:11
You know. I need to say something.
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你知道，我需要说些什么
25:14
"Why am I practicing paradiddles?
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为什么我要练习复合式打点
25:20
Is it just literally for control, for hand-stick control? Why am I doing that?
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真的是为了很好地控制吗？为了控制鼓棒？为什么我要这么做？
25:25
I need to have the reason,
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我需要知道答案
25:28
and the reason has to be by saying something through the music."
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而答案需要通过音乐告知
25:33
And by saying something through music, which basically is sound,
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通过音乐，实际上就是通过声音
25:38
we then can reach all sorts of things to all sorts of people.
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这样以来，我们可以把所有的东西传递给所有的人
25:43
But I don't want to take responsibility of your emotional baggage.
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但我不想为大家的情绪包袱负责
25:46
That's up to you, when you walk through a hall.
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这由你决定，当你走进一座演奏大厅
25:48
Because that then determines what and how we listen to certain things.
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因为这样，决定了我们怎样去听一些东西
25:54
I may feel sorrowful, or happy, or exhilarated, or angry when I play
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我可能觉得很悲伤，或者很高兴，或者很雀跃，或者很生气，当我演奏
26:00
certain pieces of music, but I'm not necessarily
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某段音乐的时候，但我不应该
26:02
wanting you to feel exactly the same thing.
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让大家感受到我的这种情绪
26:06
So please, the next time you go to a concert,
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因此，下次当大家去演奏会的时候
26:09
just allow your body to open up, allow your body to be this resonating chamber.
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让自己的身体打开，让它成为你的共鸣腔
26:16
Be aware that you're not going to experience the same thing as the performer is.
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确定你不会受到演奏者情绪的影响
26:21
The performer is in the worst possible position for the actual sound,
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演奏者可能正位于声音最不好的位置
26:25
because they're hearing the contact of the stick on the drum,
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他们听到的是鼓棒碰触鼓面的声音
26:31
or the mallet on the bit of wood, or the bow on the string, etc.,
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或是木槌碰触木块的声音，又或是弓碰触弦的声音，等等
26:35
or the breath that's creating the sound from wind and brass.
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或是为了发出声音而吹动管乐器的呼吸声
26:39
They're experiencing that rawness there.
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他们感受的就是那些最原始的声音
26:41
But yet they're experiencing something so unbelievably pure,
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然而，他们感受到的恰巧就是那种最纯粹的声音
26:45
which is before the sound is actually happening.
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其实是声音发出前的一瞬间的感觉
26:49
Please take note of the life of the sound after the actual initial strike,
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请记住声音从一开始敲打到产生的整个过程
26:55
or breath, is being pulled. Just experience the whole journey of that sound
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或是，从呼吸开始 试着感受声音产生的整个旅程
27:02
in the same way that I wished I'd experienced the whole journey
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就如同我自己度过了整个旅程一般
27:06
of this particular conference, rather than just arriving last night.
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今天的这次会面，尽管昨天晚上才到达这里
27:11
But I hope maybe we can share one or two things as the day progresses.
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我希望我们可以有机会在以后的时间里交流心得
27:15
But thank you very much for having me!
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非常感谢大家的聆听与关注
27:18
(Applause)
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(鼓掌)
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