TED2003
Evelyn Glennie: How to truly listen
Evelin Gleni pokazuje kako slušati
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U ovoj uzvišenoj demonstraciji, gluva perkusionistkinja Evelin Gleni ilustruje kako slušanje muzike obuhvata mnogo više od puštanja da zvučni talasi pogode vaše bubne opne.
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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Nisam baš potpuno sigurna da želim da vidim
00:29
a snare drum at nine o'clock or so in the morning.
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doboš oko devet ujutru.
00:33
But anyway, it's just great to see such a full theater,
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U svakom slučaju, sjajno je videti ovako popunjenu salu,
00:37
and really I must thank Herbie Hancock
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i stvarno moram da se zahvalim Herbi Henkoku
00:39
and his colleagues for such a great presentation. (Applause)
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i njegovim kolegama na odličnoj prezentaciji.
00:43
One of the interesting things,
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Jedna od zanimljivosti,
00:47
of course, is the combination of that raw hand on the instrument
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naravno, je kombinacija žive ruke na instrumentu
00:53
and technology, and of course what he said about listening to our young people.
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i tehnologije, i naravno ono što je rekao o slušanju naših mladih.
01:00
Of course, my job is all about listening,
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Naravno, suština mog posla je u slušanju,
01:05
and my aim, really, is to teach the world to listen.
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i moj cilj, u stvari, je da naučim svet da sluša.
01:11
That's my only real aim in life.
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To je moj jedini stvarni cilj u životu.
01:15
And it sounds quite simple, but actually it's quite a big, big job.
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To zvuči prilično jednostavno, ali je zapravo dosta velik posao.
01:21
Because you know, when you look at a piece of music -- for example,
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Jer, znate, kad vidite muzičko delo -- na primer,
01:27
if I just open my little motorbike bag -- we have here, hopefully,
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samo da otvorim moju malenu motorističku torbu -- tu imamo, nadam se,
01:35
a piece of music that is full of little black dots on the page.
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muzičko delo koje je puno malih crnih tačkica na stranici.
01:41
And, you know, we open it up and I read the music.
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I tako, otvorimo ga i ja pročitam muziku.
01:49
So technically, I can actually read this.
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Tehnički, ja zapravo ovo mogu da pročitam.
01:54
I will follow the instructions, the tempo markings, the dynamics.
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Pratiću uputstva, oznake za tempo, dinamiku.
01:58
I will do exactly as I'm told.
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Uradiću tačno kako mi je rečeno.
02:03
And so therefore, because time is short,
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Dakle, pošto imam malo vremena,
02:06
if I just play you literally the first maybe two lines or so. It's very straightforward.
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da ja vama odsviram doslovce dva, tri reda. Vrlo je jednostavno.
02:15
There's nothing too difficult about the piece.
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Nema ničeg suviše teškog u ovom komadu.
02:16
But here I'm being told that the piece of music is very quick.
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Ali ovde mi kažu da je ovo delo vrlo brzo.
02:20
I'm being told where to play on the drum.
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Piše mi gde da sviram na dobošu.
02:24
I'm being told which part of the stick to use.
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Piše mi koji deo palice da koristim.
02:29
And I'm being told the dynamic.
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I rečeno mi ja kakva je dinamika.
02:31
And I'm also being told that the drum is without snares.
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Takođe mi je rečeno da je doboš bez snara.
02:36
Snares on, snares off.
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Snar dignut, snar spušten.
02:39
So therefore, if I translate this piece of music, we have this idea. (Music)
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Tako da, ako prevedem ovo delo, ovo je ideja.
03:18
And so on. My career would probably last about five years.
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I tako dalje. Moja karijera bi verovatno trajala oko pet godina.
03:24
However, what I have to do as a musician is do everything that is not on the music.
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Međutim, ono što bih ja kao muzičar trebalo da uradim, je da uradim sve ono što ne piše u notama.
03:32
Everything that there isn't time to learn from a teacher,
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Sve ono za šta nema dovoljno vremena da se nauči od učitelja,
03:38
or to talk about, even, from a teacher.
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ili makar da se o tome razgovara sa učiteljem.
03:41
But it's the things that you notice when you're not actually with your instrument
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Stvari koje primećujete kada niste za svojim instrumentom
03:46
that in fact become so interesting, and that you want to explore
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postaju u stvari toliko interesantne, da želite da ih istražujete
03:51
through this tiny, tiny surface of a drum.
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preko ove sićušne površine doboša.
03:55
So there, we experience the translation. Now we'll experience the interpretation. (Music) (Applause)
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I tako -- doživeli smo prevod. A sada ćemo doživeti interpretaciju.
04:50
Now my career may last a little longer!
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E sad će moja karijera možda i potrajati!
04:58
But in a way, you know, it's the same if I look at you and I see
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Ali na neki način, znate, to je isto kao kad pogledam vas i vidim
05:03
a nice bright young lady with a pink top on.
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finu veselu mladu damu u pink majici.
05:06
I see that you're clutching a teddy bear, etc., etc.
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Vidim da držite plišanog medu, i tako dalje i tako dalje.
05:10
So I get a basic idea as to what you might be about, what you might like,
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Tako stičem otprilike ideju kakvi ste, šta volite,
05:15
what you might do as a profession, etc., etc.
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čime bi mogli da se bavite, itd itd.
05:20
However, that's just, you know, the initial idea I may have that we all get
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Međutim, to je samo prvi utisak koji svi mi možemo steći
05:26
when we actually look, and we try to interpret,
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kada samo pogledamo. I pokušavamo da interpretiramo,
05:29
but actually it's so unbelievably shallow.
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ali je to zapravo neverovatno površno.
05:31
In the same way, I look at the music; I get a basic idea;
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Isto tako, ja pogledam note, shvatim osnovnu ideju,
05:34
I wonder what technically might be hard, or, you know, what I want to do.
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zapitam se šta bi tehnički moglo da bude teško, ili, znate, šta želim da uradim.
05:39
Just the basic feeling.
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Samo osnovni osećaj.
05:41
However, that is simply not enough.
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Ali, to jednostavno nije dovoljno.
05:43
And I think what Herbie said -- please listen, listen.
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I ja mislim ono što je Herbi rekao -- molim vas, slušajte, slušajte.
05:47
We have to listen to ourselves, first of all.
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Moramo prvenstveno da slušamo sami sebe.
05:51
If I play, for example, holding the stick -- where literally I do not let go of the stick --
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Ako sviram, na primer, držeći palicu tako da bukvalno ne puštam palicu,
06:01
you'll experience quite a lot of shock coming up through the arm.
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osetićete znatnu povratnu silu kroz ruku.
06:05
And you feel really quite -- believe it or not --
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A osećate se prilično, verovali ili ne,
06:07
detached from the instrument and from the stick,
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odvojeno od instrumenta i od palice,
06:10
even though I'm actually holding the stick quite tightly.
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iako držim palicu dosta čvrsto.
06:16
By holding it tightly, I feel strangely more detached.
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Držeći je čvrsto, čudno je ali osećam se više odvojeno.
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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Ako se samo opustim i pustim da moja šaka i ruka samo budu oslonac,
06:27
suddenly I have more dynamic with less effort. Much more.
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odjednom postižem više dinamike sa manje truda. Mnogo više.
06:36
And I just feel, at last, one with the stick and one with the drum.
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I najzad osećam jedinstvo sa palicom i dobošem.
06:41
And I'm doing far, far less.
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A radim mnogo, mnogo manje.
06:43
So in the same way that I need time with this instrument,
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Kao što mi je potrebno da provedem vreme sa ovim instrumentom,
06:46
I need time with people in order to interpret them.
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potrebno mi je vreme i sa ljudima da bih mogla da ih protumačim.
06:52
Not just translate them, but interpret them.
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Ne samo da ih "prevedem", nego protumačim.
06:54
If, for example, I play just a few bars of a piece of music
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Ako, na primer, odsviram samo par taktova muzičkog dela
07:02
for which I think of myself as a technician --
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zamislivši da sam tehničar
07:07
that is, someone who is basically a percussion player ... (Music)
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tj, neko ko je u osnovi perkusionista...
07:24
And so on. If I think of myself as a musician ... (Music)
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itd. Ako zamislim da sam muzičar...
07:50
And so on. There is a little bit of a difference there that is worth just -- (Applause)
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itd. Postoji malena razlika o kojoj vredi (aplauz)
07:57
-- thinking about.
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razmisliti.
07:59
And I remember when I was 12 years old,
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Sećam se kada sam imala 12 godina,
08:02
and I started playing tympani and percussion, and my teacher said,
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i kad sam počela da sviram timpane i perkusije, a moj nastavnik rekao,
08:08
"Well, how are we going to do this? You know, music is about listening."
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"Pa, kako ćemo ovo da radimo? Znaš, poenta muzike je u slušanju."
08:14
And I said, "Yes, I agree with that. So what's the problem?"
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"Da, slažem se. I, u čemu je problem?"
08:18
And he said, "Well, how are you going to hear this? How are you going to hear that?"
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A on je rekao, "Pa, kako ćeš da čuješ ovo? Kako ćeš da čuješ ono?"
08:23
And I said, "Well, how do you hear it?"
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A ja sam rekla, "Pa, kako vi to čujete?"
08:25
He said, "Well, I think I hear it through here."
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Rekao je, "Pa, mislim da čujem preko ovoga."
08:29
And I said, "Well, I think I do too -- but I also hear it through my hands,
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A ja sam rekla, "Pa, mislim da i ja tako čujem ali čujem i preko šaka,
08:34
through my arms, cheekbones, my scalp, my tummy, my chest, my legs and so on."
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preko ruku, jagodica, temena, stomaka, grudnog koša, nogu itd."
08:41
And so we began our lessons every single time tuning drums --
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I tako smo svaku lekciju počinjali štimovanjem doboša --
08:47
in particular, the kettle drums, or tympani --
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tačnije, timpana --
08:50
to such a narrow pitch interval, so something like ...
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na vrlo precizan interval visine tona, nešto poput...
08:59
that of a difference. Then gradually ... and gradually ...
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ovolike razlike. A onda malo po malo... postepeno...
09:06
and it's amazing that when you do open your body up,
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neverovatno je to što kad oslobodite svoje telo,
09:11
and open your hand up to allow the vibration to come through,
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i svoje ruke i dozvolite vibracijama da prolaze,
09:15
that in fact the tiny, tiny difference ...
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da i ta mala, mala razlika
09:19
can be felt with just the tiniest part of your finger, there.
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može da se oseti najmanji delom vašeg prsta, eto.
09:25
And so what we would do is that I would put my hands on the wall
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I tako smo radili sledeće - ja bih stavila svoje šake na zid
09:29
of the music room, and together we would "listen" to the sounds of the instruments,
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muzičke sobe, i zajedno smo slušali zvuke instrumenata,
09:36
and really try to connect with those sounds
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i stvarno pokušavali da se povežemo sa tim zvucima
09:39
far, far more broadly than simply depending on the ear.
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mnogo šire nego samo se oslanjajući na uho.
09:44
Because of course, the ear is, I mean, subject to all sorts of things.
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Zato što je, naravno, uho izloženo raznim uticajima.
09:48
The room we happen to be in, the amplification, the quality of the instrument,
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Prostorija u kojoj se nalazimo, pojačanje, kvalitet instrumenta,
09:53
the type of sticks ... etc., etc.
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vrsta palica, i tako dalje, i tako dalje.
10:03
They're all different.
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Svi su oni različiti.
10:11
Same amount of weight, but different sound colors.
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Ista težina, ali drugačija boja zvuka.
10:16
And that's basically what we are. We're just human beings,
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I to je u stvari ono što jesmo. Svi smo samo ljudska bića,
10:18
but we all have our own little sound colors, as it were,
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ali svako od nas ima svoje malene, takoreći, boje zvuka
10:21
that make up these extraordinary personalities
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koje čine te izuzetne ličnosti
10:24
and characters and interests and things.
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i karaktere i interesovanja i stvari.
10:27
And as I grew older, I then auditioned for the Royal Academy of Music in London,
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Kada sam porasla, konkurisala sam na Kraljevskoj muzičkoj akademiji u Londonu,
10:33
and they said, "Well, no, we won't accept you, because we haven't a clue,
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i oni su rekli, "Pa, ne, nećemo te primiti, jer nemamo pojma,
10:37
you know, of the future of a so-called 'deaf' musician."
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znaš, kakva je budućnost tzv "gluvog" muzičara."
10:42
And I just couldn't quite accept that.
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A ja to jednostavno nisam mogla da prihvatim.
10:46
And so therefore, I said to them, "Well, look, if you refuse --
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I zato sam im rekla, "Pa, vidite, ako odbijate
10:53
if you refuse me through those reasons,
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ako me odbijate iz tih razloga,
10:56
as opposed to the ability to perform and to understand and love
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nasuprot sposobnosti izvođenja, razumevanja i ljubavi
11:05
the art of creating sound --
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prema umetnosti stvaranja zvuka --
11:08
then we have to think very, very hard about the people you do actually accept."
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onda moramo vrlo, vrlo ozbiljno da razmislimo o ljudima koje zapravo primate."
11:14
And as a result -- once we got over a little hurdle, and having to audition twice --
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I kao rezultat -- kad smo prevazišli prepreke, i posle druge audicije --
11:20
they accepted me. And not only that --
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primili su me. I ne samo to --
11:24
what had happened was that it changed the whole role
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ono što se desilo je da je to promenilo kompletnu funkciju
11:28
of the music institutions throughout the United Kingdom.
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muzičkih institucija širom Velike Britanije.
11:32
Under no circumstances were they to refuse any application whatsoever on the basis of
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Ni pod kojim uslovima nisu smeli da odbiju ni jednu jedinu prijavu na osnovu
11:41
whether someone had no arms, no legs --
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toga da li neko nema ruke, noge --
11:43
they could still perhaps play a wind instrument if it was supported on a stand.
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i dalje je mogao da svira npr duvački instrument ako stoji na stalku.
11:47
No circumstances at all were used to refuse any entry.
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Nikakve okolnosti nisu korišćene kao razlog za odbijanje bilo koje pirjave.
11:54
And every single entry had to be listened to, experienced and then
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I svaki kandidat je morao da bude saslušan, doživljen i onda
11:59
based on the musical ability -- then that person could either enter or not.
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na osnovu muzičkih sposobnosti -- ta osoba bi bila primljena ili ne.
12:07
So therefore, this in turn meant that there was an extremely interesting
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I tako je ispalo da se pojavila prilično zanimljiva
12:13
bunch of students who arrived in these various music institutions.
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grupa studenata pristigla u te razne muzičke institucije.
12:17
And I have to say, many of them now
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Moram da vam kažem, sada su većina njih
12:20
in the professional orchestras throughout the world.
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članovi profesionalnih orkestara širom sveta.
12:24
The interesting thing about this as well, though --
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Doduše, još jedna zanimljiva stvar u vezi ovoga --
12:26
(Applause) --
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(Aplauz) --
12:31
is quite simply that not only were people connected with sound --
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je jednostavno to da ne samo da su ljudi povezani sa zvukom --
12:37
which is basically all of us, and we well know that music really is our daily medicine.
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što smo u stvari svi mi, a dobro znamo da je muzika naš svakodnevni lek.
12:44
I say "music," but actually I mean "sound."
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Kažem muzika, a u stvari mislim na zvuk.
12:47
Because you know, some of the extraordinary things I've experienced
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Jer, znate, doživela sam neke neobične stvari
12:50
as a musician, when you may have a 15-year-old lad
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kao muzičar, kad imate 15-godišnjeg mladića
12:55
who has got the most incredible challenges,
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koji je u velikoj meri hendikepiran,
13:00
who may not be able to control his movements,
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koji možda nije u mogućnosti da kontroliše svoje pokrete,
13:03
who may be deaf, who may be blind, etc., etc. --
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koji može biti gluv, slep, i tako dalje.
13:06
suddenly, if that young lad sits close to this instrument,
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Odjednom, ako taj mladić sedi blizu instrumenta,
13:12
and perhaps even lies underneath the marimba,
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a možda čak i leži ispod marimbe,
13:15
and you play something that's so incredibly organ-like, almost --
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a vi svirate nešto što neodoljivo podseća na organu, skoro --
13:21
I don't really have the right sticks, perhaps --
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nemam baš odgovarajuće palice, možda --
13:24
but something like this. Let me change. (Music)
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ali nešto slično ovome. Samo da promenim.
14:18
Something that's so unbelievably simple --
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Nešto što je neverovatno jednostavno --
14:19
but he would be experiencing something that I wouldn't be,
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ali on bi doživeo nešto što ja ne bih mogla,
14:25
because I'm on top of the sound.
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jer se nalazim iznad zvuka.
14:27
I have the sound coming this way.
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Meni zvuk dolazi sa ove strane.
14:30
He would have the sound coming through the resonators.
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Njemu bi zvuk dolazio sa rezonatora.
14:33
If there were no resonators on here, we would have ... (Music)
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Kada ovde ne bi bilo rezonatora, imali bismo --
14:43
So he would have a fullness of sound that those of you in the front few rows
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tako da bi on imao punoću zvuka koju vi u prvih par redova
14:47
wouldn't experience, those of you in the back few rows wouldn't experience either.
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ne biste doživeli; vi u poslednjih par redova takođe.
14:51
Every single one of us, depending on where we're sitting,
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Svako od nas pojedinačno, zavisno od toga gde sedimo,
14:54
will experience this sound quite, quite differently.
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će doživeti ovaj zvuk potpuno drugačije.
14:58
And of course, being the participator of the sound,
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I naravno, kao učesnik u zvuku,
15:01
and that is starting from the idea of what type of sound I want to produce --
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počevši od ideje kakav zvuk želim da proizvedem --
15:07
for example, this sound.
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na primer, ovaj zvuk.
15:16
Can you hear anything?
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Da li možete da čujete bilo šta?
15:19
Exactly. Because I'm not even touching it.
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Tačno tako. Jer ga čak i ne dodirujem.
15:22
But yet, we get the sensation of something happening.
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Ali ipak, stičemo utisak da se nešto dešava.
15:28
In the same way that when I see tree moves,
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Isto kao kad vidim da se drvo povija,
15:30
then I imagine that tree making a rustling sound.
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pa zamišljam da stvara zvuk šuštanja.
15:34
Do you see what I mean?
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Jel kapirate o čemu govorim?
15:36
Whatever the eye sees, then there's always sound happening.
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Šta god oko vidi, uvek je tu i zvuk.
15:40
So there's always, always that huge --
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Tako da uvek, uvek postoji ta ogromna --
15:44
I mean, just this kaleidoscope of things to draw from.
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hoću da kažem, taj kaleidoskop raznih izvora.
15:49
So all of my performances are based on entirely what I experience,
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Tako da su svi moji nastupi zasnovani na mojim doživljajima,
15:55
and not by learning a piece of music, putting on someone else's interpretation of it,
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a ne na učenju muzičkog dela, kopiranju nečijeg izvođenja,
15:59
buying all the CDs possible of that particular piece of music, and so on and so forth.
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kupovinom svih mogućih CDova sa tim delom, i slično.
16:04
Because that isn't giving me enough of something that is so raw and so basic,
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Jer to mi ne daje dovoljno nečega što je toliko izvorno i osnovno,
16:10
and something that I can fully experience the journey of.
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nečega čiji razvitak mogu potpuno da doživim.
16:16
So it may be that, in certain halls, this dynamic may well work. (Music)
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Tako da se može desiti da, u nekim salama, ova dinamika i upali.
16:34
It may be that in other halls, they're simply not going to experience that
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A može biti da u drugim salama, publika jednostavno to neće čuti
16:38
at all and so therefore, my level of soft,
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uopšte, tako da, moj nivo tihog,
16:41
gentle playing may have to be ... (Music)
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nežnog sviranja će možda morati da bude --
17:08
Do you see what I mean? So, because of this explosion in access to sound,
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shvatate šta hoću da kažem? Dakle, zbog ove eksplozije u pristupu zvuku,
17:15
especially through the deaf community,
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naročito preko gluve populacije,
17:17
this has not only affected how music institutions,
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ovo nije samo promenilo način na koji muzičke institucije,
17:22
how schools for the deaf treat sound -- and not just as a means of therapy --
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kako škole za gluve tretiraju zvuk. I ne samo kao sredstvo terapije --
17:28
although of course, being a participator of music,
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iako naravno, kao učesnik u muzici,
17:31
that definitely is the case as well.
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to je takođe slučaj.
17:34
But it's meant that acousticians have had to really think about the types of halls
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Ali predviđeno je da akustičari moraju stvarno da razmisle o vrsti sale
17:41
they put together. There are so few halls in this world
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koju stvaraju. Postoji tako malo sala na svetu
17:46
that actually have very good acoustics,
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koje stvarno imaju vrlo dobru akustiku,
17:50
dare I say. But by that I mean where you can absolutely do anything you imagine.
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usuđujem se da kažem. Pod time podrazumevam mesto gde možete uraditi šta god zamislite.
17:56
The tiniest, softest, softest sound to something that is so broad,
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Najtiši, najnežniji zvuk, pa sve do nečega što je tako široko,
18:01
so huge, so incredible! There's always something --
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tako ogromno, tako neverovatno! Uvek postoji nešto --
18:06
it may sound good up there, may not be so good there.
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može dobro zvučati tamo, a ne tako dobro ovde.
18:08
May be great there, but terrible up there.
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Može biti sjajno tamo, a užasno tamo.
18:10
Maybe terrible over there, but not too bad there, etc., etc.
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Može biti užasno tamo, a ne tako strašno ovde, itd.
18:14
So to find an actual hall is incredible
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Tako da je pronalaženje one sale neverovatno
18:19
-- for which you can play exactly what you imagine,
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-- u kojoj možete svirati šta god zamislite,
18:23
without it being cosmetically enhanced.
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bez dodatnih kozmetičkih unapređenja.
18:26
And so therefore, acousticians are actually in conversation with people who are
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Zbog toga akustičari u stvari komuniciraju sa ljudima koji su
18:33
hearing impaired, and who are participators of sound.
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oštećenog sluha, a koji su učesnici u zvuku.
18:39
And this is quite interesting.
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I to je vrlo interesantno.
18:41
I cannot, you know, give you any detail as far as what is actually happening
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Ne mogu, znate, da vam detaljno objasnim šta se stvarno dešava
18:47
with those halls, but it's just the fact that they are going to a group of people
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sa tim salama, ali je činjenica da se obraćaju grupi ljudi
18:53
for whom so many years we've been saying,
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za koje smo godinama govorili,
18:57
"Well, how on Earth can they experience music? You know, they're deaf."
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"Kako će, zaboga, oni čuti muziku? Znate, oni su gluvi,"
19:00
We just -- we go like that, and we imagine that that's what deafness is about.
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Mi samo -- uradimo ovako, i zamišljamo da je to poenta gluvoće.
19:04
Or we go like that, and we imagine that's what blindness is about.
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Ili uradimo ovako, i zamišljamo da je to poenta slepila.
19:06
If we see someone in a wheelchair, we assume they cannot walk.
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Ako vidimo nekog u invalidskoj stolici, pretpostavljamo da ne može da hoda.
19:11
It may be that they can walk three, four, five steps. That, to them, means they can walk.
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A možda može da hoda tri, četiri, pet koraka. To, po njima, znači da mogu da hodaju.
19:18
In a year's time, it could be two extra steps.
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Za godinu dana, to može biti dva dodatna koraka.
19:22
In another year's time, three extra steps.
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Za još godinu dana, tri koraka više.
19:25
Those are hugely important aspects to think about.
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To su izuzetno bitni aspekti za razmišljanje.
19:30
So when we do listen to each other,
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Zato kada slušamo jedni druge,
19:34
it's unbelievably important for us to really test our listening skills,
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neverovatno je bitno da stvarno isprobamo našu sposobnost slušanja.
19:42
to really use our bodies as a resonating chamber, to stop the judgment.
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Da stvarno koristimo naša tela kao rezonantnu kutiju. Da prestanemo sa osudama.
19:47
For me, as a musician who deals with 99 percent of new music,
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Meni, kao muzičaru koji se 99% susreće sa novom muzikom,
19:51
it's very easy for me to say, "Oh yes, I like that piece.
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je vrlo lako da kažem, "O, da, sviđa mi se ovo delo.
19:54
Oh no, I don't like that piece." And so on.
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O, ne, ne sviđa mi se ono delo." I tako dalje.
19:56
And you know, I just find that I have to give those pieces of music real time.
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A, znate, samo shvatim da tim delima moram da posvetim vreme.
20:02
It may be that the chemistry isn't quite right between myself and that particular piece of music,
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Može biti da hemija nije baš prava između mene i baš tog muzičkog dela.
20:07
but that doesn't mean I have the right to say it's a bad piece of music.
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Ali to mi ne daje za pravo da kažem da je to loše muzičko delo.
20:12
And you know, it's just one of the great things about being a musician,
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Znate, to je jedna od divnih stvari kad ste muzičar,
20:17
is that it is so unbelievably fluid.
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da je to tako fleksibilno.
20:21
So there are no rules, no right, no wrong, this way, that way.
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Tako da ne postoje pravila, tačno i pogrešno, ovaj ili onaj način.
20:25
If I asked you to clap -- maybe I can do this.
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Ako vas zamolim da tapšete -- možda mogu da uradim ovo.
20:30
If I can just say, "Please clap and create the sound of thunder."
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Ako samo kažem, "molim vas tapšite." I stvorite zvuk groma.
20:36
I'm assuming we've all experienced thunder.
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Pretpostavljam da smo svi doživeli grmljavinu.
20:39
Now, I don't mean just the sound;
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E sad, ne mislim samo na zvuk,
20:41
I mean really listen to that thunder within yourselves.
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mislim da stvarno slušate tu grmljavinu u sebi.
20:46
And please try to create that through your clapping. Try. Just -- please try.
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I molim vas pokušajte da to proizvedete svojim tapšanjem. Pokušajte. Samo -- molim vas, pokušajte.
20:51
(Applause)
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(Aplauz)
20:58
Very good! Snow. Snow. Have you ever heard snow?
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Sjajno! Sneg. Sneg. Da li ste ikad čuli sneg?
21:08
Audience: No.
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Publika: Ne.
21:09
Evelyn Glennie: Well then, stop clapping. (Laughter) Try again.
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Evelyn Glennie: Pa onda, prestanite da tapšete. (Smeh) Pokušajte ponovo.
21:15
Try again. Snow.
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Pokušajte ponovo. Sneg.
21:21
See, you're awake.
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Vidite, budni ste.
21:23
Rain. Not bad. Not bad.
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Kiša. Nije loše. Nije loše.
21:32
You know, the interesting thing here, though, is that I asked a group of kids
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Znate, zanimljivo je, međutim, da sam pitala grupu dece
21:36
not so long ago exactly the same question.
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ne tako davno isto ovo pitanje.
21:40
Now -- great imagination, thank you very much.
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E sad -- odlična mašta, hvala vam puno.
21:44
However, not one of you got out of your seats to think,
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Međutim, niko od vas nije ustao sa svojih stolica i pomislio,
21:47
"Right! How can I clap? OK, maybe ... (Claps)
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"Važi! Kako mogu da tapšem? OK, možda...
21:52
Maybe I can use my jewelry to create extra sounds.
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-- možda bih mogao da iskoristim nakit da proizvedem dodatne zvuke.
21:55
Maybe I can use the other parts of my body to create extra sounds."
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Možda bih mogao da koristim i druge delove tela da proizvedem nove zvuke.
21:59
Not a single one of you thought about clapping in a slightly different way
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Niko od vas nije pomislio da tapše na malo drugačiji način
22:04
other than sitting in your seats there and using two hands.
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osim sedeći u svojim stolicama i koristeći dva dlana.
22:08
In the same way that when we listen to music,
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Na isti način kao što slušamo muziku,
22:10
we assume that it's all being fed through here.
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pretpostavljamo da ona u potpunosti ulazi ovuda.
22:14
This is how we experience music. Of course it's not.
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Tako mi doživljavamo muziku. Naravno da nije tako.
22:18
We experience thunder -- thunder, thunder. Think, think, think.
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Doživljavamo grmljavinu - grmi, grmi. Misli misli misli.
22:22
Listen, listen, listen. Now -- what can we do with thunder?
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Slušaj slušaj slušaj. E sad -- šta možemo da uradimo sa grmljavinom?
22:29
I remember my teacher. When I first started, my very first lesson,
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Sećam se svog učitelja. Kad sam prvi put počela, na mom prvom času,
22:34
I was all prepared with sticks, ready to go.
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bila sam potpuno pripremljena, sa palicama, spremna za polazak.
22:38
And instead of him saying, "OK, Evelyn, please, feet slightly apart,
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I umesto da je rekao, "Važi, Evelin, ajde. Stopala blago razmaknuta,
22:43
arms at a more-or-less 90 degree angle, sticks in a more-or-less V shape,
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ruke pod uglom od otprilike 90 stepeni, palice otprilike u V obliku,
22:49
keep this amount of space here, etc.
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drži ovo rastojanje, i tako dalje.
22:52
Please keep your back straight, etc., etc., etc." --
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Molim te drži prava leđa, itd itd."
22:54
where I was probably just going to end up absolutely rigid, frozen,
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Gde bih verovatno završila potpuno ukočena i kruta,
22:58
and I would not be able to strike the drum,
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i ne bih bila u stanju da sviram bubanj,
23:00
because I was thinking of so many other things -- he said,
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jer bih mislila na toliko drugih stvari. Rekao je,
23:02
"Evelyn, take this drum away for seven days, and I'll see you next week."
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"Evelin, ponesi ovaj bubanj na sedam dana, i vidimo se sledeće nedelje."
23:07
So, heavens! What was I to do? I no longer required the sticks;
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O, nebesa! Šta je trebalo da uradim? Više mi nisu trebale palice,
23:12
I wasn't allowed to have these sticks.
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nije mi bilo dozvoljeno da ih imam.
23:14
I had to basically look at this particular drum,
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Morala sam u stvari da gledam baš ovaj bubanj,
23:18
see how it was made, what these little lugs did, what the snares did.
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da vidim kako je izrađen, čemu ove male drške služe, čemu služi snar.
23:23
Turned it upside down, experimented with the shell, experimented with the head.
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Prevrtala sam ga, isprobavala sa okvirom, sa glavom.
23:30
Experimented with my body, experimented with jewelry,
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Eksperimentisala sa svojim telom, nakitom,
23:36
experimented with all sorts of things.
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sa raznoraznim stvarima.
23:48
And of course, I returned with all sorts of bruises and things like that --
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I naravno, vratila sam se sa svakakvim ogrebotinama i slično --
23:51
but nevertheless, it was such an unbelievable experience,
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ali ipak, bilo je to neverovatno iskustvo,
23:56
because then, where on Earth are you going to experience that in a piece of music?
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jer, gde biste to doživeli u muzičkom delu?
24:01
Where on Earth are you going to experience that in a study book?
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Gde biste to doživeli kroz udžbenik?
24:05
So we never, ever dealt with actual study books.
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Tako da mi nikada nismo radili sa zvaničnim udžbenicima.
24:08
So for example, one of the things that we learn
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Na primer, jedna od stvari koju naučimo
24:11
when we are dealing with being a percussion player, as opposed to a musician,
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kad učimo da budemo perkusionista, nasuprot muzičarima,
24:17
is basically straightforward single stroke rolls.
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je otprilike najosnovniji niz pojedinačnih udaraca.
24:24
Like that. And then we get a little faster and a little faster and a little faster.
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Ovako. A onda idemo malo brže i još malo brže i još brže.
24:31
And so on and so forth. What does this piece require?
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I tako dalje. Šta se u ovom komadu očekuje?
24:34
Single stroke rolls. So why can't I then do that whilst learning a piece of music?
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Niz pojedinačnih udaraca. Zašto onda ne mogu da to uradim dok vežbam muzičko delo?
24:42
And that's exactly what he did.
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I to je baš ono što je i on uradio.
24:45
And interestingly, the older I became, and when I became a full-time student
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Zanimljivo, što sam bila starija, kad sam postala redovan student
24:50
at a so called "music institution," all of that went out of the window.
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na tzv "muzičkoj instituciji", sve to je palo u vodu.
24:56
We had to study from study books.
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Morali smo da učimo iz udžbenika.
24:58
And constantly, the question, "Well, why? Why? What is this relating to?
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I sve vreme je tu bilo pitanje, pa, zašto? Zašto? Čemu ovo?
25:02
I need to play a piece of music." "Oh, well, this will help your control!"
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Moram da odsviram muzičko delo. "Pa, ovo će ti pomoći da vežbaš kontrolu!"
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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Pa, kako? Zašto moram to da učim? Moram to da povežem sa muzičkim delom.
25:11
You know. I need to say something.
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Razumete. Moram da saopštim nešto.
25:14
"Why am I practicing paradiddles?
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Zašto vežbam paradidl?
25:20
Is it just literally for control, for hand-stick control? Why am I doing that?
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Da li je to bukvalno za kontrolu, za kontrolu ruka-palica? Zašto ovo radim?
25:25
I need to have the reason,
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Moram da imam razlog,
25:28
and the reason has to be by saying something through the music."
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a razlog mora biti izražavanje nečega putem muzike.
25:33
And by saying something through music, which basically is sound,
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A izražavanjem kroz muziku, koja je u stvari zvuk,
25:38
we then can reach all sorts of things to all sorts of people.
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možemo dopreti raznim načinima do raznih ljudi.
25:43
But I don't want to take responsibility of your emotional baggage.
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Ali ja ne želim da preuzmem odgovornost za vaš emocionalni teret.
25:46
That's up to you, when you walk through a hall.
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To je na vama, kada hodate kroz salu.
25:48
Because that then determines what and how we listen to certain things.
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Jer to onda određuje način na koji slušamo određene stvari.
25:54
I may feel sorrowful, or happy, or exhilarated, or angry when I play
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Mogu biti tužna ili srećna, ili vesela, ili ljuta dok sviram
26:00
certain pieces of music, but I'm not necessarily
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određeno muzičko delo, ali ne mora da znači
26:02
wanting you to feel exactly the same thing.
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da želim da osećate isto što i ja.
26:06
So please, the next time you go to a concert,
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Tako da, molim vas, sledeći put kad odete na koncert,
26:09
just allow your body to open up, allow your body to be this resonating chamber.
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samo dozvolite svom telu da se otvori, pustite da vaše telo bude rezonantna kutija.
26:16
Be aware that you're not going to experience the same thing as the performer is.
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Budite svesni da nećete doživeti isto što i izvođač.
26:21
The performer is in the worst possible position for the actual sound,
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Izvođač se nalazi na najgoroj mogućoj poziciji za taj zvuk,
26:25
because they're hearing the contact of the stick on the drum,
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oni čuju kontakt palice sa dobošem,
26:31
or the mallet on the bit of wood, or the bow on the string, etc.,
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ili udar o parče drveta, ili istezanje žice, itd.
26:35
or the breath that's creating the sound from wind and brass.
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Ili dah koji stvara zvuk na duvačkim instrumentima.
26:39
They're experiencing that rawness there.
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Onu tu sirovost osećaju ovde.
26:41
But yet they're experiencing something so unbelievably pure,
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Ipak, oni osećaju nešto neverovatno čisto,
26:45
which is before the sound is actually happening.
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pre nego što se zvuk uopšte pojavi.
26:49
Please take note of the life of the sound after the actual initial strike,
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Molim vas primetite život zvuka nakon što se dogodi prvobitni udar,
26:55
or breath, is being pulled. Just experience the whole journey of that sound
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ili udah. Samo doživite čitav put tog zvuka
27:02
in the same way that I wished I'd experienced the whole journey
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na isti način kao što sam ja želela da doživim ceo put
27:06
of this particular conference, rather than just arriving last night.
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ove konferencije, umesto da doputujem sinoć.
27:11
But I hope maybe we can share one or two things as the day progresses.
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Nadam se da ćemo podeliti neke stvari kako dan bude odmicao.
27:15
But thank you very much for having me!
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Ali hvala vam najlepše što ste me trpeli!
27:18
(Applause)
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(Aplauz)
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