TED2003
Evelyn Glennie: How to truly listen
Evelyn Glennie ne invata cum sa ascultam
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In aceasta demonstratie inaltatoare, percutionista surda Evelyn Glennie ne arata ca a asculta muzica inseamna mult mai mult decat a permite undelor sonore sa ne patrunda urechile.
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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Nu sunt sigura ca imi doresc sa vad
00:29
a snare drum at nine o'clock or so in the morning.
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un premier la ora noua dimineata
00:33
But anyway, it's just great to see such a full theater,
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In orice caz este minunat sa vad o sala atat de plina
00:37
and really I must thank Herbie Hancock
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si chiar trebuie sa ii multumesc lui Herbie Hancock
00:39
and his colleagues for such a great presentation. (Applause)
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si colegilor sai pentru o prezentare minunata.
00:43
One of the interesting things,
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Unul din lucrurile interesante,
00:47
of course, is the combination of that raw hand on the instrument
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bineinteles, este combinatia intre instrumentul folosit cu mana goala
00:53
and technology, and of course what he said about listening to our young people.
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si tehnologie, si bineinteles ceea ce spunea despre a ne asculta semenii tineri.
01:00
Of course, my job is all about listening,
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Evident, slujba mea este strans legata de ascultare
01:05
and my aim, really, is to teach the world to listen.
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si telul meu, realmente, este sa invat lumea sa asculte.
01:11
That's my only real aim in life.
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Acestea este singurul meu scop adevarat in viata.
01:15
And it sounds quite simple, but actually it's quite a big, big job.
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Si pare simplu dar este, de fapt, o sarcina foarte, foarte mare.
01:21
Because you know, when you look at a piece of music -- for example,
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Pentru ca privind o bucata muzicala -- de exemplu,
01:27
if I just open my little motorbike bag -- we have here, hopefully,
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daca imi deschid micul meu rucsac de motocicleta -- avem, sa speram,
01:35
a piece of music that is full of little black dots on the page.
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o partitura care este plina de mici puncte negre pe fiecare pagina.
01:41
And, you know, we open it up and I read the music.
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Si o deschidem iar eu parcurg muzica scrisa.
01:49
So technically, I can actually read this.
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Tehnic vorbind, eu chiar pot citi aceasta pagina.
01:54
I will follow the instructions, the tempo markings, the dynamics.
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Voi urma instructiunile, indiicatiile de tempo, dinamica.
01:58
I will do exactly as I'm told.
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Voi face intocmai cum mi se spune.
02:03
And so therefore, because time is short,
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Asadar, pentru ca timpul este limitat,
02:06
if I just play you literally the first maybe two lines or so. It's very straightforward.
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va redau, sa zicem, primele doua randuri. Este foarte simplu.
02:15
There's nothing too difficult about the piece.
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Aceasta bucata nu are parti prea dificile.
02:16
But here I'm being told that the piece of music is very quick.
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Dar mi se spune aici ca aceasta bucata muzicala este foarte rapida.
02:20
I'm being told where to play on the drum.
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Mi se indica unde anume pe toba sa bat.
02:24
I'm being told which part of the stick to use.
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Mi se indica ce parte a batului sa folosesc.
02:29
And I'm being told the dynamic.
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Si mi se indica dinamica.
02:31
And I'm also being told that the drum is without snares.
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Si mi se spune, de asemenea, ca premierul are cordarul lasat.
02:36
Snares on, snares off.
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Cordar ridicat, cordar lasat.
02:39
So therefore, if I translate this piece of music, we have this idea. (Music)
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Asadar, daca transpun aceasta bucata muzicala, avem urmatoarea idee.
03:18
And so on. My career would probably last about five years.
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Si asa mai departe. Cariera mea ar dura, probabil, vreo cinci ani.
03:24
However, what I have to do as a musician is do everything that is not on the music.
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Insa, ceea ce am de facut ca muzician este sa fac si tot ceea ce nu scrie pe partitura.
03:32
Everything that there isn't time to learn from a teacher,
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Tot ceea ce nu am avut vreme sa invat de la un profesor,
03:38
or to talk about, even, from a teacher.
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sau nici macar nu am avut vreme sa discut cu un profesor.
03:41
But it's the things that you notice when you're not actually with your instrument
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Este vorba despre lucruri pe care le observi atunci cand nu canti la instrumentul tau
03:46
that in fact become so interesting, and that you want to explore
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dar care devin atat de interesante, incat vrei sa le explorezi
03:51
through this tiny, tiny surface of a drum.
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prin intermediul acestei mici suprafete a unei tobe.
03:55
So there, we experience the translation. Now we'll experience the interpretation. (Music) (Applause)
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Iata -- am experimentat transpunerea. Acum vom experimenta interpretarea.
04:50
Now my career may last a little longer!
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Acum cariera mea ar putea dura ceva mai mult timp!
04:58
But in a way, you know, it's the same if I look at you and I see
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Intr-un fel, insa, este similar cu a ma uita la dumneavoastra si a vedea
05:03
a nice bright young lady with a pink top on.
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o domnisoara draguta, inteligenta cu o bluza roz.
05:06
I see that you're clutching a teddy bear, etc., etc.
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Vad ca tine in brate un ursulet de plus, etcetera, etcetera.
05:10
So I get a basic idea as to what you might be about, what you might like,
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Asa ca imi fac o idee de baza ce fel de persoana sunteti, ce preferinte ati putea avea,
05:15
what you might do as a profession, etc., etc.
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ce profesie ati putea avea, etcetera, etcetera.
05:20
However, that's just, you know, the initial idea I may have that we all get
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Insa, aceasta este prima impresie pe care o am si pe care am putea-o avea
05:26
when we actually look, and we try to interpret,
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cand va privim. Si incercam sa o interpretam,
05:29
but actually it's so unbelievably shallow.
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dar de fapt este extrem de superficiala.
05:31
In the same way, I look at the music; I get a basic idea;
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In acelasi fel, privesc o partitura, imi fac o prima impresie,
05:34
I wonder what technically might be hard, or, you know, what I want to do.
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ma intreb ce dificultati tehnice ar putea avea, sau ce vreau sa fac.
05:39
Just the basic feeling.
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Doar prima impresie.
05:41
However, that is simply not enough.
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Insa aceasta pur si simplu nu este indeajuns.
05:43
And I think what Herbie said -- please listen, listen.
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Si cred ceea ce a spus si Herbie -- va rog ascultati, ascultati.
05:47
We have to listen to ourselves, first of all.
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Trebuie sa ne ascultam pe noi insine, in primul rand.
05:51
If I play, for example, holding the stick -- where literally I do not let go of the stick --
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Daca, de exemplu, cant tinand batul in asa fel incat nu ii dau drumul deloc
06:01
you'll experience quite a lot of shock coming up through the arm.
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voi simti o serie de socuri urcand prin intermediul bratului.
06:05
And you feel really quite -- believe it or not --
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si ma voi simti -- in mod surprinzator --
06:07
detached from the instrument and from the stick,
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detasata de instrument si de bat,
06:10
even though I'm actually holding the stick quite tightly.
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chiar daca eu tin, de fapt, batul foarte strans
06:16
By holding it tightly, I feel strangely more detached.
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Tinandu-l strans, ma simt, in mod straniu, mai detasata.
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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Daca pur si simplu ii dau drumul si permit mainii mele, bratului meu sa fie mai degraba un sprijin
06:27
suddenly I have more dynamic with less effort. Much more.
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brusc voi avea o dinamica mai mare cu mai putin efort. Mult mai mare.
06:36
And I just feel, at last, one with the stick and one with the drum.
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Si devin, in sfarsit, una cu batul si una cu toba.
06:41
And I'm doing far, far less.
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Si fac mult mai putin.
06:43
So in the same way that I need time with this instrument,
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Astfel, asa cum am avut nevoie de timp cu acest instrument,
06:46
I need time with people in order to interpret them.
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Am nevoie de timp cu oamenii, pentru a ii intelege.
06:52
Not just translate them, but interpret them.
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Nu doar a-i auzi, ci a-i intelege.
06:54
If, for example, I play just a few bars of a piece of music
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Daca, spre exemplu, redau cateva masuri dintr-o piesa
07:02
for which I think of myself as a technician --
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gandindu-ma la mine insami ca la un tehnician
07:07
that is, someone who is basically a percussion player ... (Music)
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adica o persoana care este, in esenta, un percutionist
07:24
And so on. If I think of myself as a musician ... (Music)
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si asa mai departe. Daca ma gandesc la mine insami ca la un muzician
07:50
And so on. There is a little bit of a difference there that is worth just -- (Applause)
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si asa mai departe. Exista o mica diferenta care merita -- (aplauze)
07:57
-- thinking about.
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-- atentie.
07:59
And I remember when I was 12 years old,
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Imi amintesc cand aveam 12 ani
08:02
and I started playing tympani and percussion, and my teacher said,
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incepusem sa studiez timpanul si percutia, iar profesorul meu mi-a spus:
08:08
"Well, how are we going to do this? You know, music is about listening."
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"Ei bine, cum procedam? Stii, muzica este strans legata de ascultare."
08:14
And I said, "Yes, I agree with that. So what's the problem?"
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"Da, sunt de acord cu asta. Deci, care este problema?"
08:18
And he said, "Well, how are you going to hear this? How are you going to hear that?"
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Si el mi-a zis, "Pai, cum vei auzi tu toate astea? Cum vei auzi tu totul?"
08:23
And I said, "Well, how do you hear it?"
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Iar eu i-am zis, "Pai tu cum le auzi?"
08:25
He said, "Well, I think I hear it through here."
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El spuse "Pai, eu cred ca le aud pe aici."
08:29
And I said, "Well, I think I do too -- but I also hear it through my hands,
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Iar eu am zis "Ei bine, si eu cred ca le aud la fel -- dar le aud, de asemenea, prin mainile mele,
08:34
through my arms, cheekbones, my scalp, my tummy, my chest, my legs and so on."
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prin bratele mele, pometi, cap, burta, piept, picioarele mele si asa mai departe."
08:41
And so we began our lessons every single time tuning drums --
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Asa ca ne incepeam de fiecare data lectiile acordand tobe --
08:47
in particular, the kettle drums, or tympani --
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mai ales paucele sau timpanele --
08:50
to such a narrow pitch interval, so something like ...
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la intervale sonore foarte mici, ceva de genul ...
08:59
that of a difference. Then gradually ... and gradually ...
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cam asa diferenta. Apoi treptat ... si treptat ...
09:06
and it's amazing that when you do open your body up,
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si este spectaculos ca in momentul in care chiar iti deschizi corpul,
09:11
and open your hand up to allow the vibration to come through,
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si iti deschizi mainile pentru a permite vibratiilor sa patrunda,
09:15
that in fact the tiny, tiny difference ...
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ca, de fapt, o foarte mica diferenta..
09:19
can be felt with just the tiniest part of your finger, there.
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poate fi simtita cu o foarte mica parte a degetului, aici.
09:25
And so what we would do is that I would put my hands on the wall
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Asa ca ceea ce faceam era ca eu sa imi pun mainile pe peretele
09:29
of the music room, and together we would "listen" to the sounds of the instruments,
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salii de muzica si impreuna sa ascultam sunetul instrumentelor
09:36
and really try to connect with those sounds
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si sa incercam sa conectam la sunete
09:39
far, far more broadly than simply depending on the ear.
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mult mai amplu decat bazandu-ne doar pe ureche.
09:44
Because of course, the ear is, I mean, subject to all sorts of things.
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Pentru ca, in mod evident, urechea este supusa unei intregi serii de aspecte.
09:48
The room we happen to be in, the amplification, the quality of the instrument,
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Sala in care ne aflam, amplificarea, calitatea instrumentului,
09:53
the type of sticks ... etc., etc.
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tipul de bat, et cetera, et cetera.
10:03
They're all different.
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Toate variaza.
10:11
Same amount of weight, but different sound colors.
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Aceeasi greutate, dar cu nuante diferte ale sunetului.
10:16
And that's basically what we are. We're just human beings,
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In esenta asta suntem si noi. Suntem toti fiinte umane
10:18
but we all have our own little sound colors, as it were,
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dar, intr-un fel, fiecare are propriile nuante de sunet,
10:21
that make up these extraordinary personalities
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care alcatuiesc aceste personalitati extraordinare
10:24
and characters and interests and things.
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si caractere si interese si tot felul de lucruri.
10:27
And as I grew older, I then auditioned for the Royal Academy of Music in London,
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Cand am crescut, am dat o proba la Academia Regala de Muzica din Londra,
10:33
and they said, "Well, no, we won't accept you, because we haven't a clue,
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iar ei mi-au spus "Nu, nu te putem primi pentru ca nu avem nici cea mai vaga idee
10:37
you know, of the future of a so-called 'deaf' musician."
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ce viitor ar putea avea un asa-zis muzician surd."
10:42
And I just couldn't quite accept that.
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Iar eu nu am putut accepta acest raspuns
10:46
And so therefore, I said to them, "Well, look, if you refuse --
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Asa ca le-am spus "Uitati, daca ma respingeti --
10:53
if you refuse me through those reasons,
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daca ma respingeti pentru acest motiv,
10:56
as opposed to the ability to perform and to understand and love
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netinand cont de capacitatea mea de a interpreta si de a intelege si iubi
11:05
the art of creating sound --
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arta de a crea sunete --
11:08
then we have to think very, very hard about the people you do actually accept."
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atunci trebuie sa ne gandim foarte, foarte atent la genul de oameni pe care ii acceptati."
11:14
And as a result -- once we got over a little hurdle, and having to audition twice --
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Drept urmare -- odata ce am trecut acest mic obstacol si am fost nevoita sa dau proba de doua ori --
11:20
they accepted me. And not only that --
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m-au primit. Si nu doar atat --
11:24
what had happened was that it changed the whole role
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ceea ce s-a intamplat a fost ca s-a schimbat intreg rolul
11:28
of the music institutions throughout the United Kingdom.
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institutiilor muzicale de pe teritoriul Marii Britanii.
11:32
Under no circumstances were they to refuse any application whatsoever on the basis of
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In nici un caz nu mai aveau sa refuze vreo candidatura pe baza faptului
11:41
whether someone had no arms, no legs --
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ca cineva nu are maini, nu are picioare --
11:43
they could still perhaps play a wind instrument if it was supported on a stand.
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poate totusi pot canta la un instrument de suflat, daca este sustinut de un suport.
11:47
No circumstances at all were used to refuse any entry.
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Nici un fel de conditii similare nu au fost folosite pentru a refuza o candidatura.
11:54
And every single entry had to be listened to, experienced and then
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Fiecare proba trebuia ascultata, parcursa si apoi
11:59
based on the musical ability -- then that person could either enter or not.
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bazandu-se pe aptitudinea muzicala, acea persoana putea fi admisa sau nu.
12:07
So therefore, this in turn meant that there was an extremely interesting
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Asadar, acesta turnura a adus o generatie fascinanta
12:13
bunch of students who arrived in these various music institutions.
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de studenti a fost admisa in toate aceste institutii.
12:17
And I have to say, many of them now
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Si trebuie sa mentionez ca, multi dintre ei,
12:20
in the professional orchestras throughout the world.
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au intrat, mai departe, in orchestre de pretutindeni.
12:24
The interesting thing about this as well, though --
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Lucrul interesant in legatura cu asta, insa --
12:26
(Applause) --
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(Aplauze) --
12:31
is quite simply that not only were people connected with sound --
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este nu numai ca oamenii sunt legati de sunet --
12:37
which is basically all of us, and we well know that music really is our daily medicine.
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adica noi toti si stim bine ca muzica este leacul nostru zilnic.
12:44
I say "music," but actually I mean "sound."
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Spun muzica, dar de fapt ma refer la sunet.
12:47
Because you know, some of the extraordinary things I've experienced
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Pentru ca unele din lucrurile extraordinare pe care le-am trait
12:50
as a musician, when you may have a 15-year-old lad
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ca muzician, cand poate ai un baiat de 15 ani
12:55
who has got the most incredible challenges,
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care infrunta cele mai crancene provocari
13:00
who may not be able to control his movements,
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care poate nu este capabil sa isi controleze miscarile,
13:03
who may be deaf, who may be blind, etc., etc. --
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care poate fi surd, care poate fi orb, etcetera, etcetera
13:06
suddenly, if that young lad sits close to this instrument,
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Totusi, daca acest tanar este asezat aproape de instrument,
13:12
and perhaps even lies underneath the marimba,
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sau poate chiar intins sub marimbafon
13:15
and you play something that's so incredibly organ-like, almost --
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iar tu intrepretezi ceva ce semana foarte mult cu o orga --
13:21
I don't really have the right sticks, perhaps --
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Nu prea am eu betele potrivite, poate --
13:24
but something like this. Let me change. (Music)
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ceva de genul acesta. Dati-mi voie sa schimb.
14:18
Something that's so unbelievably simple --
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Ceva ce este incredibil de simplu --
14:19
but he would be experiencing something that I wouldn't be,
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dar el ar trai ceva ce eu nu as trai,
14:25
because I'm on top of the sound.
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pentru ca eu sunt deasupra sunetului.
14:27
I have the sound coming this way.
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Sunetul ajunge la mine pe aceasta cale.
14:30
He would have the sound coming through the resonators.
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Sunetul ar ajunge la el prin intermediul rezonatorilor.
14:33
If there were no resonators on here, we would have ... (Music)
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Daca nu as avea rezonatori aici, am obtine --
14:43
So he would have a fullness of sound that those of you in the front few rows
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si el ar beneficia de o plenitudine a sunetului de care voi in primele cateva randuri
14:47
wouldn't experience, those of you in the back few rows wouldn't experience either.
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nu ati beneficia; nici cei dintre voi asezati in randurile din spate.
14:51
Every single one of us, depending on where we're sitting,
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Fiecare dintre noi, in functie de unde suntem asezati,
14:54
will experience this sound quite, quite differently.
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vom percepe acest sunet foarte, foarte diferit.
14:58
And of course, being the participator of the sound,
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Si bineinteles, fiind generatorul acestui sunet
15:01
and that is starting from the idea of what type of sound I want to produce --
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pornesc de la ideea de ce fel de sunet vreau sa produc --
15:07
for example, this sound.
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spre exemplu, acest sunet.
15:16
Can you hear anything?
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Auziti ceva?
15:19
Exactly. Because I'm not even touching it.
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Exact. Pentru ca nici nu il ating.
15:22
But yet, we get the sensation of something happening.
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Si totusi, avem senzatia ca ceva se intampla.
15:28
In the same way that when I see tree moves,
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In acelasi fel in care, atunci cand un copac se misca,
15:30
then I imagine that tree making a rustling sound.
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eu imi imaginez copacul fosnind.
15:34
Do you see what I mean?
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Intelegeti ce vreau sa spun?
15:36
Whatever the eye sees, then there's always sound happening.
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Orice vad ochii este insotit si de producerea unui sunet.
15:40
So there's always, always that huge --
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Asa ca intotdeauna exista acea imensa --
15:44
I mean, just this kaleidoscope of things to draw from.
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literalmente caleidoscopica, gama de aspecte din care sa te inspiri.
15:49
So all of my performances are based on entirely what I experience,
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Asadar toate spectacolele mele se bazeaza in intregime pe ceea ce simt
15:55
and not by learning a piece of music, putting on someone else's interpretation of it,
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si nu pe memorarea unei piese, pe ascultarea unei alte interpretari a piesei,
15:59
buying all the CDs possible of that particular piece of music, and so on and so forth.
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pe achizitia tuturor CD-urilor posibile ce contin acea piesa si asa mai departe.
16:04
Because that isn't giving me enough of something that is so raw and so basic,
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Pentru ca aceste lucruri nu imi dau destul din ceva ce este atat de neprelucrat si de primar
16:10
and something that I can fully experience the journey of.
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si ceva ce pot eu insami experimenta ca si calatorie.
16:16
So it may be that, in certain halls, this dynamic may well work. (Music)
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Este posibil ca in anumite sali sa functioneze dinamica aceasta.
16:34
It may be that in other halls, they're simply not going to experience that
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Este la fel de posibil ca in alte sali, publicul sa nu auda deloc acelasi lucru
16:38
at all and so therefore, my level of soft,
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si, ca urmare, gradul meu de interpretare domoala,
16:41
gentle playing may have to be ... (Music)
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linistita sa fie nevoit a fi
17:08
Do you see what I mean? So, because of this explosion in access to sound,
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intelegeti ceea ce vreau sa spun? Astfel, datorita acestei explozii de acces la sunet,
17:15
especially through the deaf community,
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mai ales in randurile comunitatii de surzi,
17:17
this has not only affected how music institutions,
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a fost afectat felul in care institutiile muzicale,
17:22
how schools for the deaf treat sound -- and not just as a means of therapy --
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in care scolile pentru surzi abordeaza sunetele. Si nu numai in calitate terapeutica --
17:28
although of course, being a participator of music,
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desi evident, fiind un generator de muzica,
17:31
that definitely is the case as well.
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este si acesta scopul, cu siguranta.
17:34
But it's meant that acousticians have had to really think about the types of halls
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Ceea ce a insemnat, insa, este ca acusticienii au fost nevoiti sa se gandeasca atent la salile
17:41
they put together. There are so few halls in this world
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pe care le proiecteaza. Sunt atat de putin sali pe lumea aceasta
17:46
that actually have very good acoustics,
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care au realmente o acustica buna,
17:50
dare I say. But by that I mean where you can absolutely do anything you imagine.
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imi permit sa o spun. Iar, prin asta vreau sa spun ca poti face orice iti trece prin minte.
17:56
The tiniest, softest, softest sound to something that is so broad,
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Cel mai marunt si mai stins sunet este raspandit atat de larg,
18:01
so huge, so incredible! There's always something --
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de imens, de incredibil! Intotdeauna apare ceva --
18:06
it may sound good up there, may not be so good there.
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poate ca suna bine acolo, dar nu asa de bine dincolo.
18:08
May be great there, but terrible up there.
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Poate fi minunat acolo, dar ingrozitor dincolo.
18:10
Maybe terrible over there, but not too bad there, etc., etc.
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Poate fi ingrozitor acolo, dar nu asa de rau dincolo, etcetera, etcetera.
18:14
So to find an actual hall is incredible
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Asa ca este incredibil sa gasesti o sala adevarata
18:19
-- for which you can play exactly what you imagine,
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-- unde poti canta tot ce iti imaginezi,
18:23
without it being cosmetically enhanced.
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fara a fi nevoit sa cosmetizezi sunetul.
18:26
And so therefore, acousticians are actually in conversation with people who are
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Asadar acusticienii sunt in dialog cu persoane
18:33
hearing impaired, and who are participators of sound.
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care au deficiente de auz si care sunt, de asemenea, generatori de sunet.
18:39
And this is quite interesting.
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Si este foarte interesant.
18:41
I cannot, you know, give you any detail as far as what is actually happening
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Nu pot sa va dau detalii cu privire la ce anume se intampla
18:47
with those halls, but it's just the fact that they are going to a group of people
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cu acele sali, dar faptul ca sunt atenti la un grup de oameni
18:53
for whom so many years we've been saying,
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despre care atat de mult timp s-a spus
18:57
"Well, how on Earth can they experience music? You know, they're deaf."
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"Cum naiba sa asculte muzica? Stiti, sunt surzi."
19:00
We just -- we go like that, and we imagine that that's what deafness is about.
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Facem asa -- si ne inchipuim ca asta inseamna sa fii surd.
19:04
Or we go like that, and we imagine that's what blindness is about.
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Sau facem asa -- si ne inchipuim ca asta inseamna sa fii nevazator.
19:06
If we see someone in a wheelchair, we assume they cannot walk.
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Daca vedem pe cineva intr-un scaun cu rotile, presupunem ca nu pot merge.
19:11
It may be that they can walk three, four, five steps. That, to them, means they can walk.
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Poate ca pot merge trei, patru, cinci pasi. Asta, pentru ei, inseamna ca pot merge.
19:18
In a year's time, it could be two extra steps.
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Poate intr-un an, mai pot face doi pasi in plus.
19:22
In another year's time, three extra steps.
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In inca un an, trei pasi in plus.
19:25
Those are hugely important aspects to think about.
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Este extrem de important sa ne gandim la aspecte de genul acesta.
19:30
So when we do listen to each other,
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Asadar, atunci cand ne ascultam unii pe altii,
19:34
it's unbelievably important for us to really test our listening skills,
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este extrem de important sa ne testam cu adevarat capacitatea de ascultare.
19:42
to really use our bodies as a resonating chamber, to stop the judgment.
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Sa ne folosim trupurile ca pe niste camere de rezonanta. Sa oprim prejudecatile.
19:47
For me, as a musician who deals with 99 percent of new music,
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Pentru mine, ca muzician care are de-a face cu muzica noua in proportie de 99 la suta
19:51
it's very easy for me to say, "Oh yes, I like that piece.
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este foarte usor sa spun "Da, imi place piesa aceea.
19:54
Oh no, I don't like that piece." And so on.
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Nu, nu imi place piesa cealalta." Si asa mai departe.
19:56
And you know, I just find that I have to give those pieces of music real time.
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Am descoperit insa ca trebuie sa le dau timp acelor piese.
20:02
It may be that the chemistry isn't quite right between myself and that particular piece of music,
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Se poate intampla ca legatura dintre mine si piesa sa nu fie tocmai buna.
20:07
but that doesn't mean I have the right to say it's a bad piece of music.
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Dar asta nu inseamna ca am dreptul sa spun ca este o piesa muzicala proasta.
20:12
And you know, it's just one of the great things about being a musician,
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Unul din aspectele minunate ale vietii de muzician
20:17
is that it is so unbelievably fluid.
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este fluiditatea incredibila
20:21
So there are no rules, no right, no wrong, this way, that way.
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Nu exista reguli, bine, rau, asa da, asa nu.
20:25
If I asked you to clap -- maybe I can do this.
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Daca v-as ruga sa bateti din palme -- poate o pot face.
20:30
If I can just say, "Please clap and create the sound of thunder."
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Daca va spun "va rog bateti din palme". Si creati sunetul unui tunet.
20:36
I'm assuming we've all experienced thunder.
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Presupun ca stim cu totii ce este acela un tunet.
20:39
Now, I don't mean just the sound;
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Nu ma refer doar la sunet
20:41
I mean really listen to that thunder within yourselves.
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vreau sa ascultati, cu adevarat, tunetul dinauntrul vostru.
20:46
And please try to create that through your clapping. Try. Just -- please try.
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Si va rog sa creati acel sunet prin bataia palmelor. Incercati. Doar incercati va rog.
20:51
(Applause)
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(Aplauze)
20:58
Very good! Snow. Snow. Have you ever heard snow?
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Foarte bine! Zapada. Zapada. Ati auzit vreodata zapada?
21:08
Audience: No.
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Publicul: Nu.
21:09
Evelyn Glennie: Well then, stop clapping. (Laughter) Try again.
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Evelyn Glennie: Ei bine, atunci opriti-va din batut. (Rasete) Incercati din nou.
21:15
Try again. Snow.
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Incercati din nou. Zapada.
21:21
See, you're awake.
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Vedeti, dumneavoastra sunteti atent.
21:23
Rain. Not bad. Not bad.
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Ploaie.Nu e rau. Nu e rau.
21:32
You know, the interesting thing here, though, is that I asked a group of kids
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Aspectul interesant, insa, este ca am rugat un grup de copii
21:36
not so long ago exactly the same question.
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sa faca acelasi lucru, acum recent.
21:40
Now -- great imagination, thank you very much.
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Acum -- extraordinara imaginatie, multumesc mult.
21:44
However, not one of you got out of your seats to think,
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Insa, nici unul dintre dumneavoastra nu s-a ridicat de pe scaun
21:47
"Right! How can I clap? OK, maybe ... (Claps)
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sa se gandeasca "Bine! Cum pot bate din palme? Ok, poate...
21:52
Maybe I can use my jewelry to create extra sounds.
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-- poate ma pot folosi de bijuterii sa creez sunete noi.
21:55
Maybe I can use the other parts of my body to create extra sounds."
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Poate ma pot folosi de celelalte parti ale trupului sa creez sunete noi."
21:59
Not a single one of you thought about clapping in a slightly different way
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Nici unul dintre dumneavoastra nu s-a gandit sa bata din palme in mod diferit
22:04
other than sitting in your seats there and using two hands.
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in alt fel decat a sta pe scaun si a folosi doua maini.
22:08
In the same way that when we listen to music,
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In mod similar atunci cand ascultam muzica
22:10
we assume that it's all being fed through here.
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presupunem ca intra pe aici.
22:14
This is how we experience music. Of course it's not.
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In acest fel traim muzica. Bineinteles ca nu este asa.
22:18
We experience thunder -- thunder, thunder. Think, think, think.
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Traim tunetul -- tunet, tunet. Ganditi-va, ganditi-va, ganditi-va.
22:22
Listen, listen, listen. Now -- what can we do with thunder?
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Ascultati, ascultati, ascultati. Acum -- ce putem face cu tunetul?
22:29
I remember my teacher. When I first started, my very first lesson,
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Imi amintesc de profesorul meu. Cand am inceput prima lectie din viata mea
22:34
I was all prepared with sticks, ready to go.
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eram pregatita, aveam bete, eram gata sa incep.
22:38
And instead of him saying, "OK, Evelyn, please, feet slightly apart,
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Si in loc sa imi spuna "OK, Evelyn, te rog. Picioarele usor departate,
22:43
arms at a more-or-less 90 degree angle, sticks in a more-or-less V shape,
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bratele la unghi de 90 grade, betele intr-o pozitie de V
22:49
keep this amount of space here, etc.
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pastreaza atat spatiu aici, etcetera.
22:52
Please keep your back straight, etc., etc., etc." --
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Te rog mentine-ti spatele drept, etcetera, etcetera, etcetera."
22:54
where I was probably just going to end up absolutely rigid, frozen,
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Probabil ca as fi devenit extrem de rigida, intepenita
22:58
and I would not be able to strike the drum,
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si nu as fi fost in stare sa lovesc toba
23:00
because I was thinking of so many other things -- he said,
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pentru ca m-as fi gandit la o mie de alte lucruri. Mi-a spus
23:02
"Evelyn, take this drum away for seven days, and I'll see you next week."
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"Evelyn ia toba asta cu tine timp de sapte zile si ne vedem peste o saptamana".
23:07
So, heavens! What was I to do? I no longer required the sticks;
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Dumnezeule! Ce sa fac? Nu mai aveam nevoie de bete,
23:12
I wasn't allowed to have these sticks.
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Nu aveam voie sa am betele cu mine.
23:14
I had to basically look at this particular drum,
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Am fost nevoita sa ma uit la toba aceasta,
23:18
see how it was made, what these little lugs did, what the snares did.
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sa vad cum este construita, ce fac suruburile astea mici, ce face cordarul.
23:23
Turned it upside down, experimented with the shell, experimented with the head.
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Am intors-o cu susul in jos, am experimentat cu corpul de lemn, am experimentat cu membrana
23:30
Experimented with my body, experimented with jewelry,
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Am experimentat cu trupul meu, am experimentat cu bijuteriile,
23:36
experimented with all sorts of things.
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am experimentat cu tot soiul de lucruri.
23:48
And of course, I returned with all sorts of bruises and things like that --
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Si, evident, m-am intors cu tot felul de vanatai si lucruri de genul asta --
23:51
but nevertheless, it was such an unbelievable experience,
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dar cu toate astea, a fost o experienta de necrezut
23:56
because then, where on Earth are you going to experience that in a piece of music?
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pentru ca in ce piesa muzicala o sa traiesti o astfel de experienta?
24:01
Where on Earth are you going to experience that in a study book?
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In ce caiet de studiu o sa traiesti o asa experienta?
24:05
So we never, ever dealt with actual study books.
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Asa ca niciodata nu ne-am ocupat propriu-zis de caiete de studiu.
24:08
So for example, one of the things that we learn
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Spre exemplu, unul din lucrurile pe care le invatam
24:11
when we are dealing with being a percussion player, as opposed to a musician,
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cand vrem sa devenim percutionisti, spre deosebire de alti muzicieni,
24:17
is basically straightforward single stroke rolls.
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sunt lovituri simple, drepte, una cate una.
24:24
Like that. And then we get a little faster and a little faster and a little faster.
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Asa. Apoi acceleram un pic, si inca un pic, si inca un pic.
24:31
And so on and so forth. What does this piece require?
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Si asa mai departe. De ce are nevoie piesa aceasta?
24:34
Single stroke rolls. So why can't I then do that whilst learning a piece of music?
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Lovituri simple una cate una. Si de ce nu pot face asta in timp ce ascult muzica?
24:42
And that's exactly what he did.
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Si exact asta a facut el.
24:45
And interestingly, the older I became, and when I became a full-time student
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In mod interesant, pe masura ce am crescut, atunci cand am devenit studenta
24:50
at a so called "music institution," all of that went out of the window.
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la o asa-zisa "institutie muzicala", toate acestea au disparut.
24:56
We had to study from study books.
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Am fost nevoiti sa invatam din carti.
24:58
And constantly, the question, "Well, why? Why? What is this relating to?
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Si in mod constant ne intrebam de ce? De ce? Cu ce are legatura asta?
25:02
I need to play a piece of music." "Oh, well, this will help your control!"
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Eu vreau sa cant o piesa. "Ei bine, asta te va ajuta la partea de control"
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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Cum? De ce trebuie sa invat asta? Am nevoie sa o leg de o melodie.
25:11
You know. I need to say something.
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Stiti. Am nevoie sa spun ceva.
25:14
"Why am I practicing paradiddles?
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De ce exersez grupuri de patru lovituri?
25:20
Is it just literally for control, for hand-stick control? Why am I doing that?
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Este oare doar pentru controlul mai bun al betelor? De ce fac asta?
25:25
I need to have the reason,
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Imi trebuie un motiv
25:28
and the reason has to be by saying something through the music."
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si motivul trebuie sa fie ceva ce pot transmite prin muzica.
25:33
And by saying something through music, which basically is sound,
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Si transmitand ceva prin muzica, ce in esenta este sunet
25:38
we then can reach all sorts of things to all sorts of people.
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putem transmite tot soiul de lucruri catre tot soiul de oameni.
25:43
But I don't want to take responsibility of your emotional baggage.
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Dar nu vreau sa imi asum responsabilitatea pentru bagajul dumneavoastra emotional.
25:46
That's up to you, when you walk through a hall.
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Acesta este la latitudinea dumneavoastra atunci cand intrati intr-o sala.
25:48
Because that then determines what and how we listen to certain things.
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Pentru ca acesta determina ce si cum ascultam.
25:54
I may feel sorrowful, or happy, or exhilarated, or angry when I play
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Poate sunt trista, sau vesela, sau exuberanta sau furioasa atunci cand cant
26:00
certain pieces of music, but I'm not necessarily
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anumite melodii, dar nu vreau neaparat
26:02
wanting you to feel exactly the same thing.
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ca voi sa simtiti acelasi lucru.
26:06
So please, the next time you go to a concert,
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Asa ca, va rog, data viitoare cand mergeti la un concert
26:09
just allow your body to open up, allow your body to be this resonating chamber.
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permiteti trupului vostru sa se deschida, permiteti trupului vostru sa fie o camera de rezonanta
26:16
Be aware that you're not going to experience the same thing as the performer is.
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Intelegeti ca nu veti trai acelasi sentiment ca si intrepretul.
26:21
The performer is in the worst possible position for the actual sound,
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Intrepretul este, de fapt, cel mai prost pozitionat pentru a percepe sunetul
26:25
because they're hearing the contact of the stick on the drum,
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el aude zgomotul la contactul batului cu toba,
26:31
or the mallet on the bit of wood, or the bow on the string, etc.,
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sau al ciocanelului cu lemnul, sau al arcusului cu coarda, etcetera.
26:35
or the breath that's creating the sound from wind and brass.
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Sau suflul care da nastere sunetului alamei si al suflatorilor.
26:39
They're experiencing that rawness there.
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Ei traiesc sunetul brut acolo.
26:41
But yet they're experiencing something so unbelievably pure,
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Si totusi experimenteaza ceva atat de pur
26:45
which is before the sound is actually happening.
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inainte ca sunetul sa ia nastere.
26:49
Please take note of the life of the sound after the actual initial strike,
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Va rog observati viata sunetului dupa prima lovitura propriu-zisa
26:55
or breath, is being pulled. Just experience the whole journey of that sound
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sau dupa prima suflare. Ganditi-va la intreaga calatorie a acelui sunet
27:02
in the same way that I wished I'd experienced the whole journey
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in acelasi fel in care imi doresc sa ma gandesc la intregul drum
27:06
of this particular conference, rather than just arriving last night.
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al acestei conferinte, spre deosebire de a ma gandi ca abia am ajuns aseara.
27:11
But I hope maybe we can share one or two things as the day progresses.
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Sper sa putem imparti unul sau doua lucruri pe masura ce ziua merge mai departe.
27:15
But thank you very much for having me!
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Va multumesc foarte mult ca m-ati primit!
27:18
(Applause)
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(Aplauze)
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